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BOYGENIUS (Julien Baker, Phoebe Bridgers, And Lucy Dacus)


    Julien Baker, Phoebe Bridgers, and Lucy Dacus formed boygenius after booking a tour together, but the trio had subconsciously been in the works for longer than that. Through a series of tours and performances together, and chance encounters that led to friendships – including Bridgers’ and Dacus’ first in-person meeting backstage at a Philadelphia festival, greenroom hangouts that felt instantly comfortable and compatible, a couple of long email chains and even a secret handshake between Baker and Dacus – the lyrically and musically arresting singer-songwriters and kindred spirits got to know each other on their own terms.


    Darryl says: A wonderful folky flecked EP from the amazing combined talents of Julien Baker, Phoebe Bridgers and Lucy Dacus.

    Harvey Sutherland returns with new single "Amethyst", a jazz-leaning broken beat odyssey born out of sessions with London-based saxophonist Nubya Garcia and drummer Kahlil Memphis.

    Another milestone in an already-unpredictable career from the Melbourne based producer, "Amethyst" shows off a vibrant and multi-coloured instrumental palette, bursting with rich jazz musicality and possessing an undeniable, spontaneous live energy.

    "I Can See" scurries down a similar path, littered with flamboyant jazz drumming and skilled keys. Fellow Melbournian RIngs Around Saturn suitably elevates the track into stars with a space jazz outlook that's totally captivating.

    With the Melbourne crew firmly in on the act, modern jazz shows no sign of relenting its grip on the music scene in 2018. A triumph!


    David says: Harvey Kahlil Memphis and Nubya Garcia, what's not to love? Ace broken jazz that sounds as good in a club as it does on the sofa. Ace.

    The Reflex

    ESW / DWTR

    Two new edits from The Reflex. First up we have Wham’s ‘Everything She Wants’. Hey! Don’t curl that upper lip, ESW has been called one of ‘THE funkiest tracks ever written’ by none other than Francois K. Now you might want to head on over to New York to disagree with him, me, I’m a child of the eighties and Wham! have always sounded pretty good to my ears. Apart from that time I took the album off at a house party to try and put The Cure on and got chased down the street by a house full of annoyed fans, but other than that, me and Wham! have always got along just fine.
    The B side finds Mr Flex in less contentious territory, with a conga and piano heavy rework of Mancuso loft favourite, Eddie Kendrick’s ‘Date With The Rain’. Now I’m sure you all know the original but, just in case you’ve forgotten it’s a sublime slice of disco funk that has our Eddie walking in the rain to hide his tears and ease his broken heart. Records really don’t come any better than this.


    David says: Wham's 'Everything She Wants' is a an absolute monster of a record, if your friends tells you different,you need to get some new friends. You could start with The Reflex (Flex to his friends), he knows the score.

    The Nuclear Family are back after a three-year hiatus following a duo of imperative 12"s that tastefully skirted between house, Balearic and new disco flavours. This time round they come joined by Other Lands - aka Fudge Fingas, so keeping it an all-Scottish affair.

    "Surface Noise", on side A, is the first of the Family’s recent studio jams to see the light of day, with its classic 808 drums and analogue bass underpinning warm pads, twinkling melodies and some subtle vocoder flourishes.

    On the flipside Gavin Sutherland's alter-ego, fresh from the success of his recent "Pattern Transform" 12" for Firecracker, drops "See Thru Time". Containing mellifluous chord progressions and a deep groove, it's a departure for the bumpety house & electronic funk that'd characterized his earlier productions and instead offers up a tranquil, thermal house cut that could last an eternity. Cut with max fidelity across both sides of wax, these two tracks reintroduce this exciting label with a stylish yet low-key flair - super delicious deep house music - highly recommended!


    Matt says: Back once again and sounding better than ever, The Nuclear Family invite esteemed Scot Other Lands aka Fudge Fingas for their latest instalment and it's another 100% essential dance relic. You need this!

    Lush breaks, with hints of UK hardcore and classic bleep house inhabit this wonderful EP. Kicking off with "Animal Samba'", a bright, vintage house groove full of tuned toms & cowbell plus sampled vocal stabs and wavy synth part. I could well be a long lost hit off Champion, Trax or any other classic acid label. "Junglitter" sees a slow and murky 'Think' breakbeat cleverly programmed and manipulated under a dystopian growl and dark outlook, minor key synth parts hammering the sinister vibe home further.

    "Musiphon" opens side B and chugs away with a hefty drum palette, dominant B-line and emotive pad chords. Perfect for late on in the session with high mist and flashing lights as your only company out on the floor as you lose yourself to dance! "Vedelius" concludes with a mini-anthem of sorts. I say that as if you're not hugging your mates & professing maximum love to all and sundry when the concentric bleep, incessant claps and spine-tingling chords come in then you may need a visit to your nearest cardiologist. Heart-wrenching new hardcore / breaks action that's both sympathetic to the style but ear-catching, inventive and guaranteed shake the dancefloor to its foundation. Recommended! 


    Matt says: The hardcore resurgence is throwing up plenty of foot-fodder for out hungry ears; some of it good, some of it not so good and thankfully, some of it - MEGOHH! This definintely falls into the latter category

    After making their debut with that wicked four tracker of Italian edit excellence at the end of summer, the mysterious talents behind the Belpaese project down their grappa and step up to the plate with a second volume of cut up killers. The set opens with a total cinematic stomper called "Dal Vivo", pulling us in with tight bass riffs and tumbling percussion before the full bodied guitars, horns and hairspray synth licks turn our brains inside out. Over on the B1 the intensity drops a little for the Balearic splendour of "Moribonda", a coastal boogie bomb with rapped Italian vocals, chunky pianos and all the warmth of a mid afternoon Aperol. Last but not least, "Sara Uno Smacco" is a funked up slow roller with a cool female vocal, warm strings and a rattling back beat. Think Carly's "Tranquilo" by way of Cliff's "Green Light" and you're gonna be a happy camper.


    Patrick says: Proper diggers' delight here from the Belpaese firm who deliver a second volume of killer Italian edits. On the A-side "Dal Vivo" is a club weapon in the same vein as Tantra's "Macumba", while the flip houses a pair of Balearic wonders on the boogie/AOR disco side of things. Ace!

    Christian 'Kon' Taylor's KonTemporary imprint goes from strength to strength! This, the third release sees the Boston crate diggin' selector, producer and remixer extraordinaire reworking the mighty sounds of L.T.D.'s roof-raising "Love To The World".

    L.T.D., an acronym of Love, Togetherness and Devotion were a highly respected and entirely dope 70's soul and jazz-funk outfit fronted by the powerful Gospel-tinged vocals of one Jeffrey Osborne, whose powerful tenor voice gave their music some serious weight! Heavily revered among music lovers and often sampled throughout hip-hop and dance music (check out 'Cuttin it up', Love ballad', 'Holdin on' & 'Back in love' for proof!), one of the group's biggest and most well-known cuts was "Love To The World", a track that got love from the hardcore dancers, B-boys and old-school heads alike. As usual, Kon has taken this classic into a new realm with his own unique arrangement and use of ad-libs and unheard instrumentation, all taken from the master tapes and lovingly reworked. It's a difficult task to breathe new life into the classics, but Kon always comes up trumps with his fresh ideas and expert ear. Now you can catch these super heavyweight 12" versions, including an epic 9 minute plus instrumental mix, or funk loving 7" flip, all expertly tweaked by Kon and mixed by Scott 'Supe' Stallone at Found Sound, Philadelphia.


    Sil says: Kon does it again. His edits have become classics in the scene and for a reason. The man has its own ways of bringing a second life to both classics and obscure beauties. Solid gold on this funky, jazzy number including a glorious instrumental (my fave!). And for you, 7 inch lovers, there is a version of it too!

    Phillipi & Rodrigo

    Paciencia Inc. Deeweedub

    "Paciencia" is the latest taster from Brazilian duo Phillipi & Rodrigo's imminent LP, recorded, produced and mixed at Studio Deewee in Gent. Boasting songs about the cosmos, relationships, nostalgia and signs of the Zodiac, the album, also called ‘Paciencia’, will drop early next year on the Belgian imprint.
    Back to the matter at hand and the South American synth wielders spark the pipe and thrust us headlong into a wormhole of glittering bleeps and hypnotic sequences, echoing Omar Souleyman or Onyeabor's most electronic moments but with a heady Balearic house slant. Steady bass tones provide the necessary lung-rumble for any good club cut and the rattling percussion should have you punching the air like a loon. Wrought by the hands of the Dewaele brothers, the transatlantic "Deeweedub" sports a cunning percussive build-up before shedding its skin and heading straight for the heart of the dancefloor. File next to Sordid Soundsystem and Mr Assister in your trance dancing 12" section.


    Patrick says: Deewee's Brazilian signings return to the Belgian imprint with a fresh 12" ahead of next year's debut LP. Fusing the electronic dabke of Omar Souleyman with a totally hypnotising take on Balearic house, the duo turn out a right ripper here. Even better though is the DeeWee Dub by those Soulwax bros, which strips things back and switches up the arrangement for maximum dancefloor impact.

    The first fully autonomous artificial intelligence with the ability to learn and improve itself is created by the Sega corporation. Two years later they invent the first time machine, and call it the Timecast. Sega decides to send the A.I. named Segadeath back in time to 1881 to destroy Nintendo before its creation. Helsinki's Mesak and Marseille's Bill Vortex are the Jompo Boys and their Jompo dance to the Jompo Anthem is the new craze all over Europe. It's a uniting front we form while Jompo spreads and spreads and takes over every fiber on the planet.


    Patrick says: In other words, Segadeath hit us with a razor sharp and rambunctious acid snapper (think DMX Krew), moody and menacing electro weapon (big Lawnmower man vibes), while the Jompo boys offer fractal 4/4 grooves on a post minimal tip and a ring mod body popper for 8bit Bboys.

    No sooner has DJ Nature brought us a fresh batch of bottom end bump on his brand new FWD EVR imprint, the Bristol bad man takes a tour of his DAT collection and cooks up a killer set of previously unreleased material written and produced under his Nature Boy alias between 1991 and 1992. That's right folks, these were the "Ruff Disco" years, so expect that same hard hittin' cut-and-paste deep house feel and chunky, bass-heavy grooves that Nature Boy is known for. 
    In its "Main Version", "Yeah" hits us with a rolling bassline, simmering percussion and a series of sweet vocal samples, all boasting that irresistible groove the man has made his own. "Groove Express" twists the same ingredients into a choppier arrangement, augmented with the inspired inclusion of a techy synth riff. As you'd expect, the "Mellow Version" cuts back on the in-yer-face vocal snippets and introduces us to some deep and jazzy chords and delicate keys. Flip it for the drum-machine plus clav sampling of "Hey Ho" and "Players", each inbued with sampledelic house style you wouldn't hear from Detroit for another two years. Last but not least we get the depth and dreaminess of "Strugglin'", a vintage Milo missive with various vocal samples, vibraphone licks and touches of hip hop.
    Proper house music from one of the greats, this is further proof that DJ Nature was always one step ahead of the rest. 


    Patrick says: Rough, ready and heady FIRE from DJ Nature here, rescued from his early 90s archives. Bumping, groovy and awash with forward thinking sampling, this shit shows Milo was a couple of years ahead of those Motor City house heads. Dope.

    Australian house is something rather special and refreshing. Different to what I am accustomed to. Mall Grab is part of that sound, if not the leader. This 12" is released on his new label Looking for Trouble. The music is pretty good as you expect from this prolific youngster - he is still peaking! You are greeted with the melody-rich and fast beat of 'Liverpool Street in the Rain', a track that whilst listening to it you can effortlessly imagine being in the Northwest of England - a rainy place indeed.  

    On A2, there is a light change of style. A powerful rap sample rides this potential floor filler. (my favourite track). Sprinkled with a melody that lightly touches the trance spectrum makes this track a tune. 

    Flip this bad boy and things get a bit rough. Tiny bit more industrial sounding; darker. Aptly titled 'Looking for Trouble', Mall Grab shows us that he can do 'proper' techno. A bit too rough for sensitive me, but surely you fellas will dig it proper. It has class. 

    The final track  'Get Impetuous' s one of the best for me. It is Mall Grab doing what he does best, those breakbeats and that ravy sound signature of his. This ia genuine hands in the air peak time dancefloor weapon. Best for last! 

    You gotta get this. Great start of label by this solid producer. We send our love and salute you from the Piccadilly Towers.


    Sil says: Mmm... delicious Mall Grab just landed here. You know the drill: Analogue sound, luscious melodies, uncompromising beats. Every track is a must. And comes with a beautiful cover too.

    Cult Swedish DIY hardware / electronix label Borft present another EP from Anders Enge - a producer who's been around for the last few years releasing on Dissociated Rhythm & Funeral Fog and who's last EP for the label, "Tengdahlsg. Acid Master" demonstrated a love of lysergic sounds and out-there frequencies.

    "Limp Funk" kicks off the party here, a thoroughly psychedelicised jaunt into hardware funk characterized by loud perc hits sent careering through a flapping tape delay, tipping it's hat to both Detroit techno and Chris & Cosy in equal measure - most excellent!

    "Night Clogging" deposits some slimy, alien techno detritus onto the wax - landing somewhere between Blawan's mutant formations and the gremlin march of Ireland's Muscle Recordings - again, very good!

    "Love Loser" sees twanging, metallic tek shown off by a man obviously completely in charge of his machines. No fooling around at the back of the class, just conjuring up impenetrable technoid grooves for our extended enjoyment.

    Finally, "Pollen" is a more modular effort - sounding like the impending collapse of the entire studio. Its glitchy beats, elastic bass and alien chatter bringing to mind London Modular Alliance or Adapta on Brutalist Sunset - and, yes, you've guessed it - INCREDIBLY GOOD!


    Matt says: Big label for me Borft and this new one from Enge's got 'BUY ME' written all over it. From the pumpin' hydraulics of "Limp Funk" to the demonic carnival techno of "Love Loser" it's a totally encapsulating listen. Need.

    Ajvar Soundsystem

    Oriental Ananas

    Take Away has become synonymous with energetic and uptempo, feel-good party house music. Famously their Soul Reductions' twelve from last year was H U G E, but Ajvar Soundsystem were actually involved in the very first record from this camp.

    Now they return nearly two years later with more essential disco-house standards. "Ananas" gently ticklers the compressors as a wild guitar solo scorches its way through vamping horns and metallic slap bass. "Orient Star" is an exotic, Eastern-flavoured cosmic disco track that wouldn't sound out of place in a Mori Ra DJ set.

    Finally, "Dooga" is a slow-mo cosmic funk track featuring, again, hefty compression as a vibrant and multicoloured set of textures and instruments converge on the mix - making for a hard hitting, left of centre slow disco bomp that's worth the entrance fee alone! Long live the Take Away! Recommended. 


    Matt says: Function-filling-fun from the Takeaway Cartel who's incendary party spirit ignites this new release from the very off.

    Erol Alkan

    Spectrum / Silver Echoes

    Erol Alkan returns to his home at Phantasy with "Spectrum" and "Silver Echoes", his first original solo material in five years; two pure dancefloor cuts which perfectly embody Alkan's charismatic, psychedelic tinged and singular approach to DJing and production.

    "Spectrum" opens with gated synth lines shuddering into focus over a wash of electrostatic. Reminiscent of the sounds you might well hear in seminal London club Trash (which he founded), it rises in intensity, with Alkan's skilled synthesis morphing the leadline around various stylistic points and melting your face clean off in the process!

    On "Silver Echoes" Alkan bridges melancholia and dischord into slowly developing euphoria - something he does very, very well. Diving immediately into the heart of a powerful melody that gradually flourishes, the track increases in energy with every rotation until you're swamped in a fizzing mess of synthesized elements.

    A perfect summation of both past and contemporary influences, as well as a lifelong open-minded stance, "Spectrum" and "Silver Echoes", each capture a side of Alkan's always-evolving energy and technique, mixing his studio prowess with a timeless instinct rooted within the communal potential of the dancefloor.


    Matt says: Ever-reliable Erol, that's what we call him here at Picc HQ. The producer who's presence across clubland rarely fades, comes correct with two late night juggernauts.

    After an impressive outing sharing editorial duties on Universal Cave's last release, Philly duo Superprince assume full control of the UC console, coming correct with four slices of rework heat for UC011. From the soulful Caribbean funk of ‘Mama’ to the syrupy, slo-mo boogie of ‘Rose’, the A side is a sublime double header of slow jams to kick off the e.p. On the B side, Superprince picks up the pace with delicious, private press disco for the dancefloor in the form of ‘Come To Me’, before the dubbed-out balearic bliss of ‘Buy You A Dream’ (AKA a killer edit of Paul Young's "Love Of The Common People") closes out the affair with a chuggier and cheekier high note.


    Patrick says: Treacle boogie, private press disco, tropical funk and a Balearic bomb? Hats and possibly tops off for the mighty Superprince.


    Bump / Know

    Italian edit maestro Moplen is establishing himself as one of the key figures on the re-edit scene and has been a returning act on GAMM for years.

    On this strictly vinyl release we see Moplen reworking Deodato's jazz-funk classic 'Whistlebump' into a massive over ten minutes long escapade into hedonist lands with a string breakdown towards the end that is likely to bring people close to god. As blissful as they come, lovely folks.

    On the flip there is the highly sought after and much demanded rework of Chaka Khans 'I Know You, I Live You' that has been a big spin (and hit) DJs over the last year. A masterful lesson on how an edit must balance the original with the editor's visions. Not tacky or cheap. There is work put into this one. 

    Great combo of edits that will likely solidify your set into legend. 


    Sil says: G.A.M.M. again! Or should we say paaaarrrrty!. Because that is what this 12" is all about. Good feelings and fun times. Two monsters that will hit the dancefloor proper.

    Parisian Max Fader aka S3A is back on Local Talk with a diverse four track EP that delivers on all levels. It all begins with 'Premiere Rexidence', disco infected big room track that comes with some heavy vocal and horn samples. Next up is 'End Track For a DJ' which is exactly what the title suggest and comes with old school house beats, classic Chicago piano riffs and some lush strings. Massive!

    On the b-side S3A goes back to what he is maybe most know for, 'Searching Force' is an uplifting disco-funk house jam with big samples and jacked up beats. Last, and possibly our fave tune is 'Deep Mood Vol 4', a supa deep house cut with low end theory chords and a bassline to kill for...rawww! Oh, and those Michael Watford vocal samples just adds to the deepness.


    Sil says: Fans of peak time disco house are going to love this one. Four tracks of dancefloor bangers to get the whole club dancing. Local Talk quality guaranteed. No fillers here.

    Tom Laroye and Yam Who? return to Glitterbox as Qwestlife with another soulful cut, for their latest musical offering, ‘Hit It Off’. Written by acclaimed soul artist Benny Latimore, and made famous by Millie Jackson in 1979, the track was translated for dance music world when sampled by Tom Trago. Fast forward to 2018 and their take on the 70’s classic features the unmistakable voice of Teni Tinks, a session vocalist to the stars, who featured on Glitterbox releases like The Shapeshifter’s ‘When Love Breaks Down’. Tinks brings true diva flair to the track, and with the joyful chorus and smooth production, Qwestlife once again demonstrate their ability to craft modern disco with traditional analogue techniques, creating glorious dance-floor vibes and honouring a truly classic track. Available on 7” vinyl for music connoisseurs everywhere, a track like this is destined to be heard on wax, with a Disco Soul Instrumental version also available exclusively on the vinyl release.


    Millie says: Disco anthem right here! This is a massive soulful-disco hit which Tinks has put her own stamp on, with an equally groovy instrumental side. Hit it offff!

    Discos Extended is a new label set up by the Extended Records family. Their first record, “Todos os Pássaros São Meus Amigos” is from a new Portuguese project called Turista, another moniker from the well known Hugo Vinagre (Miguel Torga / Early Jacker).

    On the A Side, “Hippies” and “Kimbundu” are two slow burners with heavy vocal samples, taking us to tribal and African landscapes.

    On the B Side we have another original called “Mantra” and a remix made by Internal Ny Rhythms, a moniker from a well known Portuguese producer, that extends “Kimbundu” to a melting dub trip. A proper mental groove for the more wigged out and esoteric themed dance spaces. Recommended!


    Matt says: Take a river cruise through ancient Amazonian jungle on this highly evocative EP from Turista and the Discos Extendes tribe.

    Al Morris' Cold Tonic label continues to be a force to be reckoned across club land, enlisting Irish producer Conny for number seven on the label. Making his Cold Tonic debut and tipping his hat to the chunky house sounds of New Jersey, "Song For Eva" deploys tantalizing piano stabs across a rubbery, killer B-line before supplementing with catch AF, swung house beats and the odd keyboard solo on top. Honestly, it's not hard to make a crowd-pleasing, stadium slaying house track if you've got all these elements collected together in your studio - some people just try to complicate matters too much! Conny gets right to it and delivers a house music gold standard right here.

    Running Back star Shan is on hand to deliver two remixes. An encapsulating, serotonin-flooding moment for his "Sunrise Mix", and a rawkus, breakbeat laden, proggy vibe on his "3AM Pump Mix". Only other thing to mention is the "Brooklyn Rave Mix", which goes unaccredited but sees another infectious deployment of THAT piano line, supplemented perfectly by gliding leads and those looping vocal chants. Absolute fire! You need. 


    Matt says: Cold Tonic shine light on a new signing - Conny. Who's "Song For Eva" is nothing short of epic. If you were looking for your next Winter anthem - look no further!

    You might think FaltyDL's a bit late to the party here.... the acid's resurgence's been and gone mate - everyone' banging on about electro now!

    HOWEVER, as you'd expect from a luminary of future-focused music. This is no simple - 'plug in your 303 & 909, hit record, tweak filter' type business. No no no, the Bergain resident and Planet Mu star offers inspired advancements on the genre. You've still got all that fizzy synth goodness & those mechanized rhythms but Andrew Lustman boosts up the recesses and adds layers and layers of nu-dirt, electro-static hum and alien phlegm into the mix; resulting in a shuddering and juddering four tracker of very alien and out-there acid that drinks out the same lyergic-tainted cups as fellow trippers Legowelt & Ceephax. You are the vehicle for communication!


    Matt says: A fist to the face for any acid-merchants resting on their laurels. FaltyDL resets the scale with a clutch of demonized bursts.

    New one on Four Tet's cutting edge imprint, nearing ever-closer to that fiftieth record milestone.

    Taraval is a producer from San Francisco and has also guested on Geej and Hypercolour previous to this, his third record for Text. Three highly futuristic tracks inhabit the EP, beginning with the chaotic bass wobble and skewed beats of "Aardvark" - a track that seems instantly suited to the label, and indeed, its owners well-lauded DJ sets - as it viciously traverses garage, techno and bass genres with its elbows out and chest puffed up.

    "Pumpkin" shuns any two step business for a full throttle techno ride. Compressed beats ricocheting against flailing tones and seriously wobbly leads before these lysergic trails and luminous splurges introduce the latter half of the track. Pretty wild and unlike anything else ont market currently this one - track IDs guaranteed when it drops!

    "Basketball Cookie" concludes with another heads-down techno roller that'd surely find favour on the dancefloors of Detroit and Glasgow.

    Well folks it looks like another essential release from planet Text! Don't sleep....


    Matt says: Big one for the dedicated clubbers who spend weekend after weekend populating the nation's dance spots on the never-ending quest for freshness.

    Reissue of this now classic Chromatics' 12" - "Shadow" 12". Originally on ultra clear vinyl dipped in emerald green, this time round it’s half clear, half white. Originally released digitally in 2015, the six track EP showcases five (count em!) different version of lead track, backed with "White Light" (no relation to the Velvet's track of the same name... - ed).
    The cinematic qualities of the track are obvious, emphaized through the cleverly titled 'End Credits' and seeing the same refrains, hooks and motifs repeated throughout the various takes. It's dreamy, yearning, melancholic and swathed in emotion - a sure fire hit for IDIB mob then! Back in stock once again and looking dazzling - don't miss out!


    Ltd 12" Info: Ultra clear vinyl dipped in magenta.

    12" Info: Pressed on half white, half clear vinyl.

    Bacao Rhythm & Steel Band

    1 Thing / Hoola Hoop

    Following up on the massive success of their sophomore full length “The Serpent’s Mouth”, Bacao Rhythm & Steel Band is back with another dance floor classic. Side A is their already infamous cover of Amerie’s smash hit “1 Thing”. Done up in what is now their signature fashion, they take on the break originally lifted from The Meters, and believe it or not….step it up a notch. Steel pans play her infectious vocal melody lines over the raucous and crushing drum track. This will have the dance floor turning to the booth in amazement and wonder as soon as the pans come in. An absolute essential for DJs across the globe. The B Side, “Hoola Hoop” is a BRSB original tune, the stuff that B Boys dream about…Setting it off with a killer breakbeat intro that drops into pan hits and flute flourishes, never losing the groove and full of energy. They trade off leads from flute to steel pans while running through turnarounds and drum fills building more energy the whole time like a snowball rolling down a mountain headed right for the speakers.


    David says: Boom! Amerie and steel drums! What more could you ask for? Sounds like carnival without having to leave the house.

    Swapping the clubs for the sun-kissed Caribbean beaches, Hollie Cook puts her lovers rock spin on the UK garage classic ‘Sweet Like Chocolate’ by Shanks & Bigfoot, ahead of her forthcoming UK tour. ‘Sweet Like Chocolate’ is a playful yet refined reworking of the 90s club favourite, following her successful ‘Vessel Of Love’ LP release earlier this year. Coming to fruition after the bass guitarist played the track backstage, Hollie spotted an opportunity to step out of her comfort zone and try something new. She explains “I thought that would be a great one to try, and slightly more contemporary than my previous cover attempts!”


    David says: Ace sunshine reggae version of the nineties two step classic. The nights may be getting longer but it will always be summer when this is on.

    Pink Fink

    Roller Rock

    Brand new Star Creature folks! - the US label responsible for keeping the modern funk and new boogie flames burning bright in 2018 bring forth the sounds of Pink Fink, an artist from New Orleans and who's previously released tracks on Disko Obscura.

    From the off we're treated to a smattering of authentic electro-funk as "Roller Rock" deploys the usual smorgasbord of instrumentation (wobbly synth, squelchy bass, gated drums, vocodered vox, darting leads) and coerces it into an unbeatable and soul shaking groove and chord progression that's given a dark and sleazy twist.

    "Body" applies the brakes juusst a tad but keeps most of the instrumentation; with another block party slammer primed and ready for action. Star Creature seem unable to put a foot wrong, the label goes from strength to strength and remains totally crucial. 


    Matt says: The most Ariel Pink friendly of this week's Star Creatures and of course it's from LA. Like the bad boy in the pinball arcade this one swaggers and spits doning a studded leather jacket and a greasy quiff. The girls love him.

    What's that?! THREE new Star Creature sevens in one week? Ambassador, you are really spoiling us!

    Old pal Saucy Lady comes correct with U-Key and brings the party home with "It's All Here".

    Meanwhile label stalwart Shiro Schwartz is on hand to remix said track...

    It's a big bad boogie banger make no mistake! And completely necessary for your burgeoning boogie and modern funk collection - don't miss out!


    Matt says: It's hard to pick a favourite from this week's slew of Star Creatures. But I think this one juuust about wins it for me with the completely infectious chorus and highly skilled synth bass playing.

    First Touch & Yvonne Gag

    Tonight's The Night / You Can Have It All

    Second Star Creature this week you lucky buggers! This stable of all things modern funk, new disco and boogie related is going from strength to strength, with each consecutive release selling out and becoming collector's items within weeks!

    First Choice has previously released an amazing double LP on Star Creature full of tasty new electro-funk, boogie and house flavoured style. They reassert their feel good vibe here with a double-A side of their glistening, polished brand dancefloor music. Both sides deliver the kind of hard-hitting, late night boogie that's currently massively in vogue due in no small part to NTS's Full Beam! FM. Super limited and highly desirable, buy now or cry later. 


    Matt says: Get a fully authentic dose of the Wet Play and Red Laser dancefloors as First Choice keep the boogie flames burnin'. Unbeatable.


    Ltd 7" Info: Limited edition green vinyl

    Airhead dropping fire for 1-800.... "Clatter" sounds like the inner workings of a spontaneous combustion engine firing up; a constantly ascending and descending series of mechanized rhythms and engine hum. Demandingly robust yet simultaneously instilling a sense of fun and party starting energy.

    "Droplit" is a similar beast, a cacophonous collection of rhythmic hits and gurgling analogue noise supplemented with a couple of tastefully deployed breakbeats.

    Guttural, incessant club music with its intentions set purely on weaponizing the floor. Recommended!


    Matt says: Not sure how I feel about this one.. basically sounds like the inner sonic turmoil after a recent bad experience on 4ACO-powder. I'm sure the kids'll love it!

    To celebrate 40 years since their formation in Leeds in 1978, Soft Cell, aka Marc Almond and Dave Ball, release some brand new remixes on their own Big Frock imprint.

    Soft Cell have been synonymous with the club scene since their debut single release "Memorabilia" in 1981, (produced by Mute Records’ Daniel Miller) which is widely cited by many dance music luminaries as the first ever acid house record. The band cut their teeth and built their notoriety in clubs across the world, from Leeds' warehouses right across the Atlantic to New York’s legendary Danceteria. Second single "Tainted Love / Where Did Our Love Go" went on to become one of the biggest club (and chart) hits of all time, reaching Number 1 in 17 countries later in 1981. The first true electronic UK duo, the band have sold over 30 million records throughout their career and have been covered or sampled by artists as diverse as Rihanna, Nine Inch Nails, a-Ha and Marilyn Manson, and well as influencing many others. The EP features remixes chosen by two internationally-renowned UK DJs, both massive fans of Soft Cell. Hifi Sean has remixed "Insecure Me", the B-side to 1982 single "Torch", as well as "So", the flip side to the single "What". Jon Pleased Wimmin has remixed one of Soft Cell’s earliest compositions, "A Man Could Get Lost".

    While intended as a club tool for DJs, Soft Cell have made sure a limited number of the 12” picture disc EP is available as well for their fans. These mixes will not be released on any other format, and do not feature on the upcoming "Keychains & Snowstorms: The Soft Cell Story" box set.


    Matt says: Flamboyant, stylish and LOADS of fun, I f***in love Hifi Sean! Personal fave?? the Esctasy Dub of course! :)


    Ltd 12" Info: Very limited edition 12" picture disc.

    Sofa Talk already showed us his prowess on the refined label Banoffee Pies. He is bringing that delicate balance between bubbly jazz and deep house to the well known Omena label. 
    Four tracks of gentle house with bubbles of jazz, funk and broken beat. All of if propelled by some deep house beats creating a perfect mix for a gentle dancefloor warmer. 

    'Balancing Acts' is a double feature including the more dancefloor oriented Prequel mix. Keeping faithful to the original, puts more emphasis on the beats to keep things going. 

    This ep will sit well among fans of Herbie Hancock, Kaidi Tatham and any Banoffee Pies follower. 


    Sil says: Nice and classy. Champagne rather than beer is the drink to order when you listen to this 12". The Prequel mix is gorgeous and so it is 'Scissors and Shapes' with its flirtations jazz licks. Great stuff!

    Justin Unabomber

    Cutz From... Vol 1

    For the first Sprechen foray into vinyl we are pleased to have been able to coerce Justin Unabomber out of his self imposed studio retirement & 'borrow' him briefly from being a Manchester restauranteur so that we can drop 4 previously un-released cuts, tailor-made for the very dance floor of the legendary Electric Chair!

    No 10 minute, Ableton stretched, kick-hat-snare kinda 'edits' here...just 4 powerhouse pumpers designed for maximum fist pumping/camo netting pulling, basement boogyism for late night jackers & early morning style crackers.

    4 serious units that many will have lost their shit to on the dance floors of The Roadhouse (RIP) & The Music Box (RIP again!) as well as that annual gathering of misfits & dandies, The End Of Year Riot.

    Exclusive to a limited run on vinyl with screen printed sleeves & hand stamped centres.


    Sil says: True classics that many have danced to into the early hours. Party vibe all the way on this one. Very limited run with gorgeous screen printed cover.

    Everyone's favourite folklorica freakz, the mindbending Multi Culti switch things up for their latest release, hooking up a mega reissue of Gyedu Blay Ambolley's "Simi Rapp". Committed fans of Ghanaian highlife, or indeed fans of the reissue market should be well acquainted with the main man, who's been a major force in Afro-funk since the early 1970s. Gyedu Blay Ambolley is considered the godfather of hiplife, transforming the highlife genre by adding elements of hip-hop, funk and jazz. A can't imagine a finer representation of this style than 1996's "Simi Rapp" with its crisp percussion and rapped vocals - so stripped back but still funky! Multi Culti's executive shaman Dreems and Thomas Von Party step into the A2 with a smooth edit of the track, taking the brief snatch of piano and bass from the final moments and slipping it under the main vocal. Adding a little fx play and a tasty bit of panning, the Multi Culti crew give us something sophisticated and utterly irresistible.
    On the B-side Israeli duo Red Axes go large and lysergic with their dervish deep redux, inviting ASAF Samuel to bring his toolbox to the party. Wicked disorienting bells, nagging bass synths and batshit synth bleeps transform the OG into something ecstatic and sublime - sensory boosts included! Finally Johnny Aux kicks open the doors of perception with a golden great for the acid crowd. Blazing synth drones, kosmische keys and a entheogenic intensity pulsate throughout.
    Multi Culti: voyaging through time, space and licensing agreements to bring you the best music the world has to offer.


    Patrick says: Love me a bit of Multi Culti, and this trip into the reissue market is every bit as esoteric as their usual tackle. Stripped back Ghanaian hiplife on the OG, transformed into a pseudo-Kwaito moocher, disorienting dance floor journey and full on day tripper respectively. Put that in your pipe and smoke it...

    New double header from the ever reliable Whities camp. Up Sammy is a Dutch producer and De School resident and has provided two tracks for the EP, "Vacate Or Annihilate" and "Warm Puddles" - the first of which punctuated rhythmic number with wall shaking kicks and precision hats. The latter is a more gentle, undulating electronic wash with melodies high up the frequency register colliding with a steady percussive basis which slowly sucks you into its grasp.

    Stoke-born, Leeds-based BFTT previously turned heads int shop through a tasty release on Cong Burn, has the Minor Science lot feverishly itching their trouser pockets in light of his unreleased tracks... "Kueen" is one of those post-2010 technoid tracks with pneumatic kicks, eeries washes and dystopian arrangement. "Enin" is a driving but delicately hypnotic track with a melancholic leaning that grabs you by the aorta.


    Matt says: Get ready to scuff them trainers pop pickers as Whities take it to the basements for an imperative, underground take on modern dance movements.

    Emotional Rescue returns to the music of Elaine Kibaro with a special 7" single to accompany the Pour L'Amour album collection (ERC066). Here then are two bonus versions of songs from the LP with a unique Arabic recording of her "hit" Aurore and also, the previously unreleased on vinyl instrumental version of her balearic / boogie jam, Ne Doute Pas.

    Having moved from Tunisia to France at the age of 13, Kibaro's duel sensibility has long been apparent in her music and performance. The early success of her debut 7" De L'autre Cote Du Miroir in 1977, was soon followed by her most 'successful' song in Aurore, first released as a 7" in 1978, before appearing again as 9 minute extended version on the 1979 Miroirs LP.

    In the same year she recorded a special 7" single on the little known World Music label. Singing the lyrics in Arabic - renamed here to its true translation - much else remained the same. The music of the original, the spoken intro soon gives way to what is essentially a leftfield disco groove, with building strings, funky bass and some late archetypal 70s Euro drumming. Atop this the vocals are delivered in Kibaro's ubiquitous chanson delivery, her heartfelt singing, the congos breakdown and then chorus, as the songs builds, all lead to head-nodding smiles all round.

    With this is Ne Doute Pas. A stand out from Pour L'Amour, the vocal version appeared in 1989 as a single and on the now sought after, Kiroel album. This instrumental simply let's the music shine. A Linn rise and fall bassline, soft, layered keys and mode horns are run and rerun in a catchy, incessant flow like a PWL demo. The 10 years between the 2 tracks is apparent in the instrumentation but the link between the two - Kibaro herself - is clear and worth enjoying for that

    The Cornhusker crew come back from the country with a quartet of obscure and off-grid DJ specials on a jazz-funk / rare groove / club soul tip. The set opens with the wild soprano sax licks of "Easily", a stoned groover which peaks in its own way thanks to rolling gospel funk keys and some strutting slap bass. EQ cuts and searing space echoes twist the sax into a psychedelic trip, while the carnivalesque breakdown suggests we're travelling someplace new. Moving on and grooving on, "Mizells" weaves together all of the highlights of mid-70s classic "Lansana's Priestess" by Donald Byrd, letting the flute, horns and keys roll along over a refried rhythm section. Over on the B-side "Launchpad" lights the blue touch paper and blasts you into the middle of the dance floor in a blaze of Hammond-led energy, while 'Bring It' extends Jerry Butler's "I'm Your Mechanical Man" with those loops RZA made famous on Method Man's "Tical". 


    Patrick says: Four flawlessly executed jazz funk and groove edits here from the Cornhusker clan, bringing it wild style for the DJs and dancers out there.

    Ok folks listen up! Brand new from Montreal, Canada comes the inauspiciously titled Doo label. This is their first record and it sounds like absolutely nothing else on the market at the moment (except MAYBE that Grrr record on Tax Free - ed).

    'Meteorite crawling tackle' seems to be the new sound on the block we drop tempos even further than the new EBM / cosmic chug brigade into the sub-100bpm territories. It's all gravy though as we enter the primordial gloop with a wry smile and frazzled lobes.

    Three tracks that human's might have caught a glimpse of on recent Mars expeditions beamed loud and direct for all Earth dwellers to acquaint themselves with. Dancing in outerspace never sounded so wild! Recommended! 


    Matt says: Be sure to peep this one folks... fresh and unlike out else ont market...You'll be kicking yourself in a few weeks once the hype machine gets involved.

    No Smoke / Watt Noize

    Koro Koro (Ian Tregoning Rewire) / It's My Life (Max D Edit)

    London's Warriors Dance label was a unique operation and a pioneering London label during the late 80's acid house phenomena. Home to an assortment of DJs, MCs and soundmen, they went on to make their own original and indelible mark on the rave scene from the infamous 'Addis Ababa' studio on Harrow Road on the North-West side of the city. A former reggae and soul studio that was instrumental to the output of influential artists like Soul II Soul and more, a steady diet of reggae, bass, hip-hop, house and techno kept their edgy, and diehard UK sound and style right at the cutting edge of the dance music underground across the globe with the top DJs and producers of the day celebrating the label. The studio, helmed by label owner Tony ‘Addis’, acted as an incubator for artists whose names would go down in the history books - No Smoke, Bang The Party, The Addis Posse, Melancholy Man, Hollywood Beyond, The Housemaids and more all featured heavily on the label and contributed to its legendary output. The attitude and approach to the music was utterly and unapologetically a London thing, with heavy African and Caribbean influences also drawing on the sounds emanating from Chicago, Detroit and further afield. Years later, and with the advent of the Internet, Discogs, Youtube and any other digital platform you'd care to mention, Warriors Dance continues to be discovered and rediscovered again by curious diggers and music heads with a thirst for heavyweight tracks to play in their DJ sets. This saw the WD mythology rise again, making their records much sought after by fans from all over the world.

    No Smoke's 'Koro Koro' is one such record. Undoubtedly an anthem. A classic. A game-changer. It's one of those records that spread across the world on its release and in its subsequent life thereafter. Literally caned by any DJ worth his salt in 1989 and beyond, this storming, eerie and driving tribal house monster was a huge hit. Licensed and re-released time and time again, and still causing havoc on dance floors in 2018, 'Koro Koro' ushered in a new style of Afrocentric house music, something new, unique and timeless. To inaugurate this incredible reissue series we have original Warriors Dance engineer and studio wizard, Ian Tregoning's special 2018 'rewire' of the track, a faithfully updated, stripped back and reimagined version whose lithe, minimal, streamlined and spatial lines catapult this London warehouse classic deep deep into the future. A truly special remix created especially for this project.


    Matt says: **ALERT - Big UK underground bomb here. Big under motorway arches and warehouses throughout the 90s and now back and ready to rock your next mother fucking all nite dance party. Booom!

    Kalbata / Mayaan Nidam

    The Town

    Kalbata invites Perlon-contributor Maayan Nidam for a superbly ambidextrous two track EP on his Brush & Broom imprint. Both are known to be highly versatile artists, and when joining forces in the studio the results are equally kaleidoscopic. "The Town" drops you into a wormhole of clicking woodblocks and percolating rhythms, your freefall accompanied by trippy fx, bouncy beats and hints of Prelude-style synth vamps. Surely a sound from the neon swamp, this is one for the research chems crowd. Flip it and the weirdness continues via the deep and dark techno voyage of "Chrome Moon", a moody groover with constant movements of metallic underlays and industrial overtones. More to come from this newly-formed duo so keep em peeled!


    Patrick says: Holy Sheeeeiitt! Kalbata gets collaborative with Mayaan Nidam here and hooks up a radioactive roller for the 5D party people. Twisted fx, Morse code bleeps and a rhythm section that just won't quit. If you like it darker, you'll dig on the B-side, but I'm all about the neon baby!

    Blue Magic

    Welcome To The Club / Look Me Up - Inc. Tom Moulton Remix

    The dust-busting crate excavators at Dynamic Range dig deep once again to bring us an entirely legit slice of soulful, funk fuelled disco for the dancing masses! This time round it's the evergreen Blue Magic and their anthemic 'Welcome To The Club', a firm fave with Ron Hardy, who would routinely begin his DJ sets with this wondrous Philly beauty. The record has always been a big influence on the house scene and it's easy to see why - brilliant arrangements, musicianship and of course - those voices! Disco bliss with a tinge of sweetest melancholy - bravo.  On the flip side is the mighty Tom Moulton's mix of the Blue's 1979 smasher 'Look Me Up', another premium slice of incredible disco soul for the dancers and the lovers. These are the full length versions, pressed across one side each, as it's meant to be, nicely remastered and presented in their entirety.


    Patrick says: Primo disco pyrotechnics here from reissue firm Dynamic Range, who deliver remastered pressings of two top notch Blue Magic tonkers. Disco energy, soul emotion and jazzy musicianship are the order of the day on a couple of all time classics. Top!

    Keni Burke

    Risin' To The Top / You're The Best

    Keni Burke’s signature hit ‘Risin’ To The Top’ gets an official remastered, reissue alongside the 12 inch mix of his ’81 killer jam ‘You’re The Best’.

    ‘Risin’ To The Top’ quickly became a clear favourite of the soul crowd back in the ‘80s, with Keni’s sensuous vocals, a timeless bassline of epic proportions and those dreamy, sunshine chords proving a winning combination. Since then countless producers, from the likes of Doug E Fresh and Slum Village, to LL Cool J and Mary J Blige, have utilised ‘Risin’ To The Top’ as a choice sample for their own productions. A quick glance at this seemingly endless list, just goes to show how much of an impact this record ended up having.

    On the flip, ‘You’re The Best’, takes a more boogie paved path, filled with an undeniably groove laden bass synth, cosmic keys and Keni’s infectiously soulful vocals. It’s early eighties synth boogie at it’s best, placing the electronic elements at the forefront whilst holding onto that unquestionable funk at its core.Two Keni Burke classics for soul heads, sample spotters and anyone with a keen ear for a gem.


    Patrick says: Total erection section thruster here from sensual soul man Keni Burke, who totally killed it with the low slung genius of “Risin’ To The Top”. Over on the flip “You’re The Best” zooms from boogie into the sparkling synth zone at the heart of the proto-house universe.

    To put it simply, The Silver Rider is one amazing dude. One of the sweetest guys in the industry, he has a marvelous way of bringing his wonderful smile into every track he has a hand in. He's got releases on all of the best labels hailing from the music studio in his 6th generation Texas farmstead' 
    This time around he offers us first full EP for the Whiskey Disco/Lovedancing family and it is as smooth as you would expect. Butter smooth in fact.  Filtered disco guitar licks, superbly low slung bass sitting snuggly alongside delayed vocals and chords, all wrapped in crisp drum machine beats. 
    Modern disco house with a touch of class you’d expect from someone like The Silver Rider.


    Sil says: Butter, oil, suncream, etc... smooth is the word. Filtered, refined, elegant and warm deep house with a positive feeling attached. The sun rises when you put the needle on this record. Guaranteed!

    Scorchio! Tartelet continue their hot streak with a frog-licking five tracker from Nu Guinea that's sure to lure you out of your gourd. The bizarre tribal rituals start immediately with the island-hopping afro cosmic swirl of "Bourgainvilles Live", a heady brew of clattering percussion, loose acid lines and wonky funk keys. As we canter into the first of two mixes of "Nu World" whatever mystic brew we've been supping kicks in big style and we find ourselves cartwheeling freely to a funk filled peaktime stomper. A brainfizzing fusion of the astral jazz-funk of Mandre, the sweltering house of Don Carlos and the nu-funk stylings of the Box Aus Holz crew, this vocal beauty should lift the dancefloor to cruising altitude. The flute mix scales things back a touch, stripping the groove down a little, ditching the vocals and pushing the organic tones of marimba and flute straight to the fore in a manner reminiscent of the Far East Recordings ouvre. The B2 boasts a delicious peculiarity which will undoubtedly please the boogie and disco brigade. "Exotica Dance Club" wobbles out the speakers like a lost collaboration between Herbie Hancock and Sakamoto, played and recorded by Sly and Robbie at Compass Point with Morgan Geist at the controls. Oh, and it has a very similar bassline to Syclops' "Where's Jason's K?" - pretty, pretty good. "Outro" cleanses the palate with an array of queasy synthlines and overpowering distortion, hinting at the ayahuaska hangover you're about to endure. Is it me or are these releases getting better?

    Finally, Marlena Shaw’s timeless cover of Diana Ross’ ‘Touch Me In The Morning’ gets the official, remastered, reissue treatment alongside the downtempo, slow jam - ‘Shaw Biz / Suddenly It’s How I Like To Feel'.
    ‘Touch Me In The Morning’ is as iconic a track as you’ll ever hear, becoming a huge anthem of discotheques the world over. A tale of lost love, capturing the emotions and exposed honesty of a separation, contrasted with those intrinsically uplifting string and horn sections. It is a truly epic embodiment of strength and courage that Shaw’s vocals summon from your very soul.
    Hunee melted hearts by dropping ‘Touch Me In The Morning’ to close out the main stage of Dekmantel 2017 - a spine-tingling moment of inclusion, hope and emotional outpouring, bringing a whole festival that little bit closer together. This is a 7-and-a-half-minute journey to completely lose yourself in and few have done it better than Marlena Shaw.
    On the B side is ‘Shaw Biz/Suddenly (Its How I Like To Feel)’ - Marlena’s cautionary account of the emptiness and loneliness that can come with success and material possessions, before finding true love just when it was needed. It’s slow, sultry and passionate, much to do with Shaw’s voice bringing a pure outpouring of the soul that she duly became famous for.


    Patrick says: Two absolute pearls here from Miss Marlena Shaw, chiefly the sublime "Touch Me In The Morning", as anthemic and emotive disco bomb you're ever likely to hear. That's right - it's the track Hunee made you weep with at Dekmantel!

    Wolfram here on Munich's Public Possession and joined by one Gerd Janson on remix duties. "Hyeres Roshi Show" gets us underway by pairing up a classic Snoop Dogg vocal with a lesser known trap vocal and placing both over this slow-release synth / piano ascension. Undeniably 2018 and certain to create ripples of excitement at whatever large capacity arena it's lucky enough to grace with its prowess. "Wolfgram" switches tact into head first techno tackle; distorted 808 kicks recalling the steamroller energy of gabba while intricately programming nuances, coupled with an unrelenting energy keep the rave demons dancing frantically right thru the night. "Paradies Tea" switches mood yet again, releasing the tension by dropping a straight up piece of hi-nrg cheese. Saccharine AF, you're really gonna have to pick your moment before dropping this one - but pick it right and you might have an eruption on your hands (pick it wrong however and you WILL clear the floor...). Surprisingly, it's the aforementioned Gerd Janson who takes a risk and tackles the previous guilty pleasure. He runs the hook through an LFO filter, adds some rubbery synth elements and driving house drums, somehow turning what would be end-of-night slice of ridiculousness into a heady piece of mid-session dancefloor fun - top work laaa!

    Roisin Murphy

    The Rumble / World's Crazy - Produced By Maurice Fulton

    Róisín Murphy shares “The Rumble / World’s Crazy”, the final pair of tracks in a series of 12” singles which have been released across 2018 to unanimous acclaim from critics and fans alike. Created in collaboration with Baltimore maverick musician/producer/DJ Maurice Fulton and released through The Vinyl Factory, Murphy gone and made some of the most hip-twitching, pleasure-centre-stimulating music of her life. The lyrics are intense, exploratory and probing – all the while working on the immediate, endorphin-stimulating dancefloor level too – and her voice is finer, richer, more expressive than ever.

    We pick up where “Jacuzzi Rollercoaster / Can’t Hang On” left off, and “The Rumble” may well be Murphy’s most life affirming track to date, a euphoric declaration which melds and morphs, grows and swells, anchored by Murphy as a maven for our troubled times. In her own words; “The Rumble was written with Maurice and Mim Suleiman. Mim is amazing with infectious energy. I needed help as it’s a mammoth track, like two songs in one the second half is a vamp in which Maurice Instructed me to preach! Preaching was not a natural stance for me but he insisted I try, now I can’t stop testifying, the process has changed me a little.”


    Sil says: More Roisin Murphy and Maurice Fulton collab and that is a good thing since so far all of the releases have been excellent. On this one you get a slab of early 90s house ('The Rumble') and on the flipside - the accurately titled 'World's Crazy' you get the Fulton signature you are accustomed to. Another essential release out of the Vinyl Factory!

    Footjob finally land their man, snaring the boisterous party starter Shan for a brand new four tracker.. His records on Running Back, Beats in Space & The Healing Company during the last 5 years were critically well received and put him on the musical map - a highly gifted producer who’s capable of going into many directions. His “Filterjob EP” takes us back to the golden era of Sample House. Driving beats combined with filtered Disco melodies never get out of style. If anyone it’s Shan who’s able to play with this type of sound and manages to deliver three superb dance floor bangers in Filterjob, On & On and Serious. To rounds things up, the EP finishes with a raw and dusty Deep House banger called Ruff Draft Pt.2. As ruff as it gets. 


    Sil says: Party fodder ammo with cowbells included in the standout track for me 'On and On' Top tune. It is a 12" with four tracks of great deep house a la disco on the fast lane. Pretty awesome it is.

    Various artists EP kicking off the new Janx label - a label based in Germany and celebrating the social aspect of house music and clubbing in its ethos. With artists ranging from Berlin, Istanbul, Essen & Ibiza, there's a variety of moods and feels contained within this debut joint.

    Sarp Yilmax's "Bless The Funk" unashamedly tips its hat to the Detroit house pioneers - deploying rolling congas, suspended organ lines and the odd bit of spoken word trickery into the high octane mix. Add bit of subtle filter usage, big brash piano chords and you've got yourself a thrilling, semi-biotic house cut ready for the floor to digest!

    Kevin Over's "Cash Machine 2 Blocks Away" flanges and flails its way into our concious, with a repeating vox loop swirling away in the Phaser box before Kevin slams out soe classic house beatz. If you've enjoyed Eddie Danielle's Sample and Mood records, or some of those early Members Only cuts, then you'll love the ruff-as-a-bear's-arse wildness of this.

    Boj Angler heads up side B with "Rascal" - a streamlined sample house cut with an ear-catching palette that's bursting with maverick instrumentation - a plucked and bowed double bass part giving it that jazzy edge as it motors forward.

    Frag Maddin's "Poke Along" concludes proceedings with an exceptionally well produced house cut. Tailor made for the big stacks, the bass detail and crispness round the perc parts'll do wonders for anyone reveling in the soundsystem. Proper solid EP and a great debut from this label... one to watch fer't house firm.

    Carlos Sodre

    Ciumeira / Rasga Teu Verso

    Dismayed at the prospect of a harsh British winter, Mr Bongo fly south to Rio for the foreseeable, bringing us a gorgeous double sider of uptempo vintage MPB samba jazz from Carlos Sodre, originally released as a 33rpm ‘compacto’ 7” single on Copacabana in 1965. On the A-side, "Ciumeira" shuffles and sizzles with snake hipped rhythms, heavy guiro and Technicolour orchestral arrangements. On the B-side, "Rasga Teu Verso" drops the intensity for a more sultry swing through the smoke and sweat of the jazz bar. 

    All City drop a 2nd EP from David Kitt's [New Jackson] "Yous" LP released in March this year - a mini LP of sorts featuring 5 new tracks!
    "Like Lightning was written after a late night/early morning adventure with friends in Galway city a good few years ago now.
    "I always find it hard to choose singles but this seemed to be lot of people's favourite album track. I've availed of every last second of space on the 10 inch to turn this release into a mini-album of sorts with three quite different instrumentals one part folk, one part modular electronic and one recorded using two Buddah boxes in the Glasgow underground. There are also two unreleased songs that have knocking around the hard drive for a while but fit nicely on this release." 

    Re-issue of the valuable Schematic classic, with additional Prins Thomas remix and with a brand new remix of "Allison With One" by Diode.

    Anyone who's not familiar with the original needs to be prepared to be blanketed in this velvety sonic quilt of warm arps and gentle echoes, encompassing the stereo field and completely covering the listener in a sumptuous, post-Kraut dreaminess - absolutely sublime!

    Prins Thomas adds some gentle propulsion, ushering "Solstice" forward through some carefully plotted digital drums and emphasizing some of those low end mechanics. Equally dreamy and eyes-wide-shut as the OG but with enough thrust to cut it on the twilight dancefloors too - excellent!

    Diode's 'Metafunk' remix of "Allison With One" completes the package with stepped arpeggios meeting gated vox and a robotic groove for a well executed exercise in cybernetic funk. 


    Matt says: Strong duo of remixes coupled with that epic, sprawling original version of "Solstice". Unifying brilliance from all involved. You need.

    The Gongs Gang

    Gimme Your Love

    Limited edition reissue of Gong's Gang, a dusty, slightly lo-fi boogie classic produced by the legendary DJ Tony Carrasco in 1983. Originally out on Phoenix and featuring a cream of Italian musical talent, those tuff gated drums, keyboard bass and darting synths perfectly exemplify what the current surge of boogie / Italo / proto-house obsessives are looking for. Undeniably optimistic and feel-good from the off, when the sugar-coated vocal comes careering over the mix you're sure to see some gassed dancers overcome with pleasure on the floor.

    Another essential reissue from those good folks at Best Records Italy, don't miss this chance to own a holy grail that regularly fetches over £60 for an original. Remastered and pressed super nice, it switches up the artwork for something equally sympathetic to the original. Top stuff! 


    Matt says: Another week, another long lost Italian gem gets mined from what seems to be an infinite, ahem, seam of musical ore.

    Second Whities to drop this week and its a double header from artists E-Talking and Laksa.

    As per everything else they've done, the mood is unfathomably fresh and ear-catching. E-Talking's "Telephone Rose" is quite a destructive little beast, running heavily articulated perc well into the red saturation areas so feared by sound engineers. A plethora of head mangling effects ensue - reversed vox, barrages of cymbols, flailing drones and rampant bleeps - all to create a rising upsurge of demonic energy for the dance!

    Laska's effort, "It Feels Like I've Been Here Before" wraps hazy, redolent pads around classic breakbeat patterns and a stop-start arrangement that should keep floors alight.

    If you're looking for upfront and direct dancefloor pressha then it's Whities all the way mate. 


    Matt says: Late night strobe light action from Laksa, while E-Talking's complex technoid rumble-n-spit should demolish all but the sturdiest rave bunkers in sight! Head for cover!

    This new release from the ever reliable Super Disco Edits stable sees an amazing unissued gospel disco stormer remastered and released for the first time with a Kon multitrack rework on the flip. Cut at proper club volume, this is chest pounding, fist pumping hands aloft disco heat and it's gonna slay. Take a classic disco 4/4, a walking bassline, waling vocals and some squirming synth swells and you're in business my friend. Flip it for Kon's mix and prepare to orbit the mirror ball!

    Best Records' policy of reissuing nothing but disco gold usually plays into my skill set, allowing me to inform you of all those key facts I learned in the many years I was single. Not this time though, as New Horizon's "You" is pretty much as obscure as it gets. All I can tell you is this, "You" was the sole release from the NYC group, it was written by Freddie Charles and it 's only been sold on Discogs once, for the princely sum of £486. I can also tell you though, that the super sweet groove, AOR guitar licks and low slung bass form the perfect foundation for some swooning vox and deep disco idents. Presented here as a Special Disco Version, and backed by the Instrumental Mix, this is a 12" slab of rocking horse shit that will light your disco up.

    The era of major label 'dance' subsidiaries and remixes certainly threw up tons of classics and unexpected favourites. A time when the A&R men in the big offices were looking for the next streetwise sound, the next club anthem. One such label was the former independent and then Atlantic-backed Big Beat, helmed by the clubbable Craig Kallman who had cut his teeth as a DJ and promo man in NYC's music underground. Utilising his skills, Kallman signed Tropical Moon's 1991 seminal deep house EP 'Love Is A Mystery', a collaborative effort by underrated house heavyweights Nelson 'Paradise' Roman and 'Blue' Jean Hughes (RIP). It's no surprise that this record became a cult must-have with DJ's, here was a sublime and mature record crafted by 2 giants of the deeper side of house music, working in unison to create something 'other'. 4 tracks deep with a wide range of style and oozing sheer class, the whole record still sounds incredible today. A must-have for anyone with a love for soulful and deep music, brought back into view for 2018. An extremely sought after and hard to obtain slab of wax right here. Forget those wack bootlegs that you may see online, this is the real deal.

    'Love Is A Mystery' has been legitimately released with the full involvement of the rights holders and Atlantic Records and remastered by Bristol's Optimum Mastering from the original sources especially for this release. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at Mint Condition!


    Matt says: Belting four tracks here from Tropical Moon. Incapable of sounding dated or anything but crucial, it's unbelievable to think this came out in 1990 - one of the best!

    In a collaboration of truly epic proportions, the biggest disco label of all time, Salsoul, have teamed up with one of the biggest remix talents of today, Frenchman The Reflex for a special double 12". Combining a keen curatorial ear with remasters from the original sources and an ultra loud pressing is the Salsoul standard these days, but here we get all that plus the edit genius of The Reflex - bravo! We have cuts from Loleatta Holloway, Skyy, Rafael Cameron and Candido. Some big names there, but you haven't heard them sound like this before. We all know by now that The Reflex goes the extra mile with his mixes, these are works of dancefloor art! One cannot underestimate the importance of these tracks on contemporary dance music, but the funk is the most important thing here, amazing records to dance to that capture a time in NYC when clubs were places to be, sanctuaries of escapism, hedonism and expression.

    Various Artists

    West End Edits : Greg Wilson - Inc. B.T, Forrrce, Raw Silk, Shirley Lites

    NYC's Disco powerhouse West End Records need no intro. The home of too-numerous-to-list club classics for over 30+ years is still impacting today on what we know to be club culture. The label started by one Mel Cheren (RIP) with assistance from Larry Levan and more way back in 1976 is still held in such high regard today with it's catalogue constantly being played, rediscovered, reinterpreted and loved by waves and waves of new fans and admirers. One such admirer is one of the UK's longest serving DJ's and editors, a truly legendary Northern selector who's unique reel to reel DJ sets and reworks has gained him fans worldwide and continues to do so. Ladies and gentlemen, we give you Greg Wilson's West End versions, 4 tracks of unparalleled funk touched by the man himself who has also kindly supplied some choice words about this special release:

    "West End has a particular place in my heart. Along with Prelude, it was my main go-to label during the early ‘80s, an underground New York powerhouse issuing a relentless run of now classic and cult-classic club cuts during the time I was DJing at Legend in Manchester. For me personally, the label is forever connected with this then futuristic venue, West End’s progressive approach to dance music, incorporating electronic elements to play a key role in ushering in the Electro-Funk era, finding its perfect environment at Legend, with tracks by Stone, and especially the Peech Boys’ hugely influential ‘Don’t Make Me Wait’, providing major stepping stones. This is a project that holds a deeper resonance for me, given my personal relationship with the label, and I’m so happy to contribute to the series; the 4 favourites tracks I selected for this release illustrating West End’s best qualities – serious grooves and soulful vocals.

    The edit of ‘You Can’t Take Your Cake And Eat It Too’ by B.T. (Brenda Taylor) was originally featured on my first Credit To The Edit compilation, back in 2005, whilst Raw Silk’s ‘Do It To The Music’ was also edited around the same period, but has never been made available until now. ‘Keep On Dubbin’’ by Forrrce, although not as big as the other inclusions at the time, was an ahead of its time hybrid, mixed by François Kevorkian, whose dub awakening had taken place the previous year, and Shirley Lites ‘Heat You Up (Melt You Down)’, which draws from the instrumental ‘Melt Down Mix’, the version of choice at Legend, where dub and instrumental mixes often trumped the main vocal versions"

    A truly golden era of dance music history, all killer - no filler! All tracks featured re-edited by Greg Wilson and re-mastered, re-pressed and re-released with the permission of and in conjunction with West End Records, New York City / BMG. 

    Running Back long standing legacy on modern dance music continues with an absolute dozzy of an EP by Helium Robots. If you like that twangy, hi-gloss, slightly exotic blend of house music oft permeated by artists on the label (think Telephones, Tensnake and Marco Passarani to name three), then this my friends is for you!

    Four tracks that instantly transport you into a carefree 72 hour weekend. The kids are at home, you've got money to spend and friends / lovers by your side. All that's left is to find your spot on the dancefloor (front left, obvs...), get loaded and dance the night away. Holiday house never sounded so good!



    Matt says: Bedazzling EP from this go-to and long running label. There's not many duff ones in their vast catalogue and this new one certainly hits the 'Yes' pile.

    Almost a year to the day since the release of their acclaimed third album Shadow Work, Mammal Hands share a new EP entitled Becoming.

    Recorded from the same extensive studio sessions,Becoming is a seen as a brooding companion to third album Shadow Work, offering three new pieces self-produced by the trio. It opens with the bold title track Becoming, a hugely dynamic and diverse composition that begins with a rhythmical piano and saxophone line, building gradually with textural layers and flourishes before reaching a climatic end reminiscent of math-rock. It highlights the groups continued skill and playful ability to improvise and experiment with structure and mood.

    "Becoming has a lot of different influences in it. The opening section has a hip-hop inspired feel, the middle section breaks into a more minimalist/electronic theme before cutting to a heavier/gutturalfeel for the last sections"reveal the trio.

    Second track "Refuge" opens and closes with a calm and gentle melodic pattern led by the drums, evolving with subtle rhythmic saxophone lines before erupting into more explosive group playing, then returning to the melody and a place of calm. On tour it has often been the trio's favoured live opening piece.

    "This is a track we wrote together where we wanted to approach things in a slower, more harmony-driven way. We were trying to create an atmosphere where the listener is drawn in and then carried along with the movement of the piece. We felt that it provided a calm and gentle opening that we hoped would draw people into our world in a gentle way with something a bit mysterious and dark instead of a louder, more obvious opening statement"

    Closing the EP is track 'Shimmer', a dark and moody piece where the piano and drums explore dark cinematic scenes and textures. With around an hour left whilst recording at 80 Hertz in Manchester, the trio decided to put down some final takes and making a deliberate decision to play and record their instruments at low volume. The result is a concluding piece that features a hypnotic extended section of piano soloing with repeated rhythmic patterns and minimalist style passages.

    "Playing at such low volumes was a really nice way to bring out some of the more subtle colours of our sound"

    The minimal artwork created by Daniel Halsallfeatures three flying birds as a focal point which subtly encompasses the connection between Becoming and Shadow Work.


    Millie says: Mammal Hands have gifted us with this beautiful new three track EP. Distinctive and minimalist, 'Becoming' holds the type of tracks that make your heart feel heavy (in a good way), fans of Phil France and Gogo Penguin rejoice, this is beautiful.

    The sixth in the series, "Shake Tapes" is an outlet for Dan Shake's private stash of DJ friendly cuts and cements his incendiary, party starting energy onto lovely black plastic through some tastefully executed cut n splices.

    Any serious disco collector (I hope) should be able to identify these cuts. But I'm a house head and I've not heard a single one - so full marks to Dan for pulling out the unknown in a world that's saturated with the obvious.

    What's even more impressive is that these are killer, KILLER cuts folks, and I'm truly surprised not to recognize any of them from many a years dancing to the various mutations and fringes of disco. Annnyway, all three are high octane, >115BPM disco stompers. Full of live instrumentation, a bustling energy and optimistic outlook.

    Perfect for those hi-def Boiler Room camera sweeps when everyone looks like they're having a good time...


    Matt says: Tuff one not to shake a feather too... You've gotta be feeling pretty sullen and downtrodden not to garner some degree of joy from these feel-good edits.

    Keep your ear to the sound and your feet on the ground, everyone's favourite disco misfits are back, armed to the teeth with chatter and clatter. That's right folks, the Talking Drums crew bring you 'Vol. 2', another blast of edit ecstasy and different disco.

    'Disco Danube' snaps, crackles and pops off the A-side, humming like a Soviet-era satellite broadcasting a lost Bollywood gem. Stomping disco riffs and wild funk guitar show serious swagger, overdriven vocals shimmer and shudder and the thrusters head way into the red. Slap on your lurex spacesuit and meet us on the dance floor.

    Flipside flyer 'Space Talk' cuts the engines and coasts through the asteroid belt, turning a Teutonic also-ran into an intergalactic groove mission. Knocking the spots off a neu wave B-side, the Talking Drums crew serve you hydraulic percussion, zero gravity bass chug and ice-cold vocals, soaked in synth sauce and finished with a tape echo garnish.

    Fuel up your ship and take the trip amigos, the Drums are Talking...


    Sil says: Talking Drums are back and the expectations are high. You will not be disappointed as this is mega jolly good. On this gigantic instalment, you get 'Disco Danube' a groovy, bass heavy rolling disco stomper overridden by infectious vocals that create a truly respectable dancefloor hit. On the flipside, we head to the sofas in the back where we go cosmic aided by 'Space Talk', a slow burner chuggy trip exuding attention to detail and craftmanship. Folks, this is one to keep - check that gorgeous artwork too! Talking Drums Vol. 1 sold out almost straight away. I expect this to fly as it is as good if not better!


    12" Info: Includes hand numbered insert!!!

    Saxophonist, composer and bandleader Nubya Garcia is back with the eagerly awaited next chapter to her musical unfolding, When We Are. Enabled with the support of the prestigious Steve Reid Foundation’s InNOVAtion award, and with Eglo records co-founder Sam Shepherd (Floating Points) as her mentor, this self-released EP features two newly recorded compositions from the much-lauded artist. The record also comes with B-side remixes from two generations of London’s finest producers, K-15 and Maxwell Owin. Following on from her scorching sophomore release, Nubya’s 5ive (jazz:refreshed), When We Are sees the trailblazing player take typically self assured steps into new territory with electronic experimentation. “I’ve been inspired a lot by the producers around me at the moment, people like Ben Hayes, Tom Misch, Joe Armon- Jones, Jake Long and Maxwell Owin”, said Garcia. “There’s an electronic vibe in there that I wanted to explore more, and this release feels like a positive evolution from the last EP.”

    Much like the celebrated Brownswood release, We Out Here, where Garcia features on five of the nine tracks, When We Are offers a snapshot of the artist she is today and the organic musical languages she continues to form with her long term collaborators Femi Koleoso, Joe Armon-Jones and Daniel Casimir. The title track opens with the easy cascading of Armon-Jones on keys, Garcia’s signature erudite tone dancing against the drummer Koleoso’s boxy, afro-tinged hip hop runs; all three riding on Casimir’s beautifully subtle, abetting bass. Crisp and clean, the track’s sweet inflections are carried into spacious territory by light touch pedal effects. Source comprises of shape-shifting, Tetris-like grooves. It’s a characteristically sophisticated sound from the band, where each player is able to shine around the trademark fusion of gospel, soul, broken beat, Afro-Caribbean and Latin styles that Garcia has deftly crafted into her own. Alongside her releases, Garcia’s reputation as a DJ is burgeoning, bolstered by her hit radio residencies on platforms including Balamii and NTS, and a growing number of live sets across Europe. The record partly draws on the energy of the club-nights that shaped her formative years. The grime and garage nights in north London, dub nights across the river in south London, and of course, the infamous Steez performance jams that have served as a rite of passage for much of the scene. 


    Millie says: Nubya Garcia brings us a twelve inch to dig our teeth into. Lively, powerful and distinct, Garcia’s sound breathes new life into jazz. You can hear the electronic influences that Floating Points had on this EP which an exciting venture for her music, constantly evolving and adapting jazz makes Nubya Garcia one to follow closely for more releases.

    Deep set, rootical lovers done in that impeccably hypnotic, trademark Wackies style. Darkly seething with one-step-at-a-time hurt and steely, vengeful self-esteem. Stripped and desolate, with implacable drums and bass, dubwise from the start, the production is classic and unmistakable. Featuring Fabian Cooke’s scattered, abrupt organ stabs and minimal guitar-work, Ras Menelik’s masterful nyabinghi drumming, and harmonic commiseration by Sugar Minott and the Love Joys (with a strangled sob at intervals). Over six minutes, the extended mix is different to the "Love Power LP"; and the additional dub, released here for the first time, is unmissable for its extra rawness and dubbed-out emptiness. Plus thirteen minutes of blissful disco-reggae on the flip: two contrasting dubs of the Giorgio Moroder / Irene Cara / Flashdance cut from "Love Power", both previously unreleased and both a bit sick. Do we need to tell you again? If it's got Wackies on the sleeve - get the Wackies in yer box!



    Matt says: Wackies do you all a solid this week and drop two records from Annette Brissett. This one clinches it in my humble opinion on the strength of "Betrayed" alone.

    Altin Gün’s take on the Erkin Koray classic 'Cemalim' is modern and accessible without losing the feel and melody of the original track, while groovy bass and synth lines make this uptempo number even catchier than the 1974 version. Previously unreleased track 'Vay Dünya' on side B combines tribal drums, catchy synths and wah wah guitars with more traditional folk vibes resulting in a definite dance floor filler!


    Mine says: Both 'Cemalim', lifted from one of my albums of the year, and new song 'Vay Dünya' could hardly be any catchier. Groovy bass lines, cosmic synths and wah wah guitars - what's not to like?!

    Andrew Weatherall meets audiobooks downtown!

    Those of us with a penchant for musical and spiritual psychogeography - 'believers in the laws and specific effects of the geographical environment' - will locate the exact root of this anthem of high abandon in the building which stands on the corner of White Street and Cortland Alley in the Manhattan borough of New York. The neighbourhood: Tribeca. This is where the vibes will be felt the strongest.

    Times were tough then, the late 1970’s / early 1980’s. The squares were being taken seriously again. Menacing horror-show bigotry was rife. Sound familiar? And this was the place, home to the Mudd Club, that the post-punk art head freaks went to escape the crap and express themselves - create timelessness - flick the finger - look sharp - show off - have a bit of a laugh.

    And dance their lives away.

    Back to the present: It was inevitable that Andrew Weatherall would collaborate with audiobooks. They come from the same place. Trace their lineage and you’re back in Tribeca. Anya Phillips is on the door. James Chance is on the stage. Lizzy Mercier-Descloux is on the dance floor. and Karen Finlay is looking pretty fucking dangerous. Again.

    Weirdly, depressingly, the current political landscape is a mirror image of those times and the freaks are having to look out for themselves once again. This song is one for the freaks. For the outsiders. Its message is one of liberation.

    And that message is: Lose your shit. Stay free. Dance your life away.


    Sil says: Weatherall gets playful with the reverb effect on a super cool original with disco not disco tinges all over the place. Excellent as always!


    Ltd 12" Info: 500 pressing, stamped white label.

    CS + Kreme

    Cold Shoulder

    CS + Kreme made their debut on cult label Total Stasis back in 2016. A follow-up for the label came out in 2017 and both are now cherished relics of the DIY electronics scene. Now it's the turn of equally cult label Trilogy Tapes to enlist the talented Conrad Standish & Sam Karmel for a two track 12" release.

    Enchanted and beguiling from the offset, it shuns some of the previously quite aggressive moods of the label for something altogether more serene and cerebral. Opening, "Eyes On Ceiling" transports us into an intergalactic soft play centre with its dubby bassline, tentative arps and luscious strings. A truly gorgeous track, heavily opiated and possessing a slow, tectonic internal power.

    "Husk" feels not the need to quicken or add more energy; simply, another sublime mood glides in on skeletal drums and picked guitar lines while more life-affirming, heart-wrenching string lines dual for focus amongst whispered vox and a delicately plotted but really quite busy sonic canvass.

    Unfathomably effortless considering the complexity of sounds contained within, this is nothing short of phenomenal from this pretty much unknown pair of producers and will no doubt become a highly treasured relic in their discography. Most recommended! 


    Sil says: Hypnotic and mesmerising. Deep and dark with its dubby basslines and evocative strings. Deserves an attentive listening to appreciate its beauty. My choice of 12" this week. As deep as it gets.

    P&P offshoot Queen Constance was home to some of the hottest cross genre jams to come out of NYC, and Wayne Forde's super heavyweight "Dance To The Music Freakout" is the second reissue from the label for 2018!

    Yet again, not much is known about Wayne Forde, or his band 'Stereo'. Could it be another Peter and Patrick studio project? Another selection of local, neighbourhood players and singers? Who knows? What we do know, however, is that this record is a TOTAL disco bomb. All of what you want from a Queen Constance record is here, it's dripping in funk, raw and soulful. Essential stuff for anyone with even a passing interest in disco or anything funky. These jams are super long, percussive dance-floor melters that will do damage! Super rare, too. You won't find one of these nestled in the racks in your local chazzer, which is exactly why these (legit) represses should be in your cart. Essential.


    Patrick says: Dubby sound design, hypnotic head nod groove, plenty o' percussion and a fuck-tonne of funk - that's the recipe for Wayne Forde's disco monster and I can't get enough of it. Get me to a dancefloor!

    Kalita Records and CC:EDITIONS (a new venture by Australia’s CC:DISCO) jointly announce a 12” EP comprised of four of Nana Tuffour’s greatest electronic burger highlife tracks, accompanied by interview-based liner notes. Here, in partnership with Nana, we select two highly sought-after songs from his 1993 release ‘Genesis’, namely ‘Sikyi Medley’ and ‘M’Anu Me Ho’, and pair them his with two lesser known yet equally deserving tracks ‘Asamando’ and ‘Jesus’ from his 1997 CD-only release ‘Highlife Tropicana’.

    Hailing from Kumasi, the capital of the Ashanti region in Ghana, Nana Tuffour is by far one of the most important exponents of modern highlife music. He studied piano at college and cut his teeth in the '70s as an organist and vocalist for the incomparable Kyeremanteng Atwede and Dr. K Gyasi’s Noble Kings Band.

    Fast forward to 1981 and Ghana was at the apex of its golden age of music. This era was brought to an abrupt end by political upheaval when the military took over the government and as a result a restrictive dusk to dawn curfew was imposed between 1982 and 1984. This resulted in a total obliteration of the country's night life, and Nana just like many other prominent musicians including Pat Thomas and George Darko left Ghana for greener pastures, the most popular destinations being Nigeria and Germany. The Rheinklang Studio in Düsseldorf run by a young inimitable German sound engineer Bodo Staiger and another “exiled” Ghanaian musician Charles Amoah played a crucial role for those musicians who had chosen Germany. This studio became the focal point for Ghanaian musicians and the birthplace of a new sound, now known as 'Burger highlife' - traditional Ghanaian highlife infused with the more up to date electronic and disco sounds of the West. It is arguable that Nana has played a crucial role in Burger highlife and developing the sound of traditional Ghanaian highlife more widely to what it is today, with his innovative use of electronic accompaniment pushing its boundaries to its creative extremes.

    It is Burger highlife's transcendence of traditional musical boundaries that helps make it so accessible to listeners, appealing not only to Ghanaians back home but now highly regarded and sought-after by those in the West interested in more occidental disco and electronic sounds. We hope that you enjoy the four songs offered here, each chosen to demonstrate Nana's singular influence on the development of Burger highlife.

    Pangaea follows up the "Bone Sucka" single on his Hessle Audio label with two more club cuts. "Cuba Vox' featured in Call Super's Essential Mix, Midland's AVA Boiler Room and numerous sets at festivals and in clubs over the summer of 2018. The brand new track "You Know What's Up" on the B side sets out to be a big hit this winter to keep you on your toes. Cuba Vox has been mastered and cut by Matt Colton. This is a vinyl only and no repress so don’t hang around or it’ll be long gone!


    Matt says: Student friendly bassbin pressure just in time for WHP's festive season.

    Ray Mang

    Number One / Look Into My Eyes

    Mangled Records twentieth release also marks 20 years since it's first release. To celebrate the occasion here are two of Ray Mang's better known and loved tracks together on one 180gram Mangled 12" for you! "Number One" first surfaced on his solo debut '96 Noid release. It gained widespread support in the clubs and went on to be featured on both DFP's De-Luxe House Of Funk and Groove Armada's Back To Mine compilations as well as his own Mangled LP. Over on the flip, "Look Into My Eyes" is a blissed out Balearic gem that featured on the B side of Ray's '10 DFA release and instantly became a firm favourite for many, flipping Tangerine Dream's "Love On A Real Train" into a synth house heater for the beards and Birks scene. Top!


    Patrick says: Thick funk breaks, warm West End style keys and that killer Raj / Idjuts ear for mind bending dub style, all support the sublime "Ain't No Stopping Us Now" style bass. New disco never really got any better than the A-side here! On the flip, Raj twisted a Tangerine Dream classic into a rushy bit of synth house, perfect for the Balearic masses!

    Second record of remixes of tracks from Mr. Finger's "Cerebral Hemispheres" LP, released earlier this year.

    New Jersey house music maverick and ex-dancer, Joey Anderson is the first to get down to it, adding his signature outer-worldly embellishments to "Electron" - alien swirls, suspended stabs and dark, winding melodies. It's amazing how concise and inventive JA's style is - both familiar and fresh with every new turn.

    UK sub frequency scholar and Hyperdub main man Kode9 adds another footwork hybrid to his recent discography as a plethora of drum hits glide and stutter against a discordant beep and grown on his take of "Spy".

    Rising star Upsammy is last to muscle in on the action. Deploying one of her atypical house frameworks to "Outer Acid". Cerebral, non-linear arrangements and an unusual palette of sounds are what characterize her productions and this one's no exception, transporting the track into the cosmos before cutting the space chord and letting it drift off into the void.

    Mr. Fingers

    Inner / Outer Acid - Aleksi Perala Remixes

    Third and final part of the "Cerebral Hemispheres" set and its a solo affair by one Aleksi Parela. Now, you know if Larry's let just one producer infiltrate the whole record then this must be one to watch!

    Born in Finland in 1976, Aleksi Perälä has been an independent producer and a electronic music composer for over 20 years, writting for Rephlex and its sub-label AP.

    First remix, "Inneracid" sees the producer utilize an anthemic piano line plotted against sonar bleeps and rising synths. It's a highly electrified track that'll send ripples of excitement through aircraft hangers and main rooms alike.

    His second remix uses a gurgling 303 line and at first glance recalls Ruf Dug's "Headband Dub" - a serene and highly melodic cut using buzzing leads and twinkling keys. Epic!


    Sil says: Amazing, tots awesome remix work here on an already majestic track. Perala creates aural magic left and right. Both sides are just beautiful non-boring gentle techno.

    A wide range of artists remixing tracks from Mr. Fingers latest album "Cerebral Hemispheres". First of a three part remix EP series. For the first one duties go to Rodaidh McDonald and Larry Heard himself for fresh versions of "Praise to the Vibes" while Call Super and Duplex shine their light on "Crying Over You".

    "Praise To The Vibes" enjoys some added embellishments - pranging woodblock delays, slightly vocodered vocal section and a rich canvas of instrumentation - resulting in, I'm afraid, this being THE definitive version of this tune (commiserations album owners - you ARE gonna have to invest in these extras...!).

    Call Super prolongs his stay in the house music spotlight by deconstructing "Crying Over You" into glistening fractals and bubbly perc, as if the whole thing slowly dripping through a spectral filter. Woozy, heady and thoroughly intoxifying, it shows a fearless producer enjoying a lavish spell of confidence and assurance.

    Larry gets back on track offering an extention to "Praise To The Vibes" before Duplex drops the second remix of "Crying Over You" - an emotive and steady cut that you'd perhaps catch Omar S or Ron Trent having loads of fun with in the mix. 


    Matt says: My favourite of the three part "Cerebral Hemispheres" remix package based purely off the strength of the alt mix of "Priase To The Vibes". Call Super's take on "Crying Over You" ain't half bad either!


    Ambivert Tools Volume 4

    Lone delivers the final installment of his stunning "Ambivert Tools" series.

    Started in 2017, "Ambivert Tools" gave Lone the chance to step outside the confines of writing music for an album and get back to the basics of crafting tunes primarily for his intoxicating DJ sets. Inspired in no small part by the rich seam of house that he’s been excavating with his fine Magicwire imprint "Ambivert Tools" parts one to three have been stacked with breezy yet rugged house excursions full of his trademark atmospheres, rose-tinted smiley culture matched with melody & harmony. Each one unequivocally his own.

    This final transmission again finds Lone in vintage form - "Pulsar" takes inspiration from classic UK techno and IDM from the likes of Stasis and B12. Sharing its DNA with the rolling breaks of "Temples" from vol. 3 but going deeper, in search of that 6am dancefloor feeling.

    "Oedo 808" as the title suggests gets busy with some tight 808 drum programming bringing an electro feel into the mix. The rude bassline and glistening electronics only work to to tighten it up further for the dancefloor and take it higher than a straight-up electro blueprint could achieve.

    "Blue Moon Tree" rounds things off in style staying true to the DJ tool theme of the series: a killer bassline, crisp drums, gated vocal sample and galvanized stabs are all this one needs to be a staple in the right DJ’s boxes for a long time to come.


    Matt says: It's that "Blue Moon Tree" track dat's got me and third Chemical Bro James Holroyd jumpin' on a Thursday afternoon... big tings here from this illuminated UK mainstay .

    The SlothBoogie crew return with man of mystery Joe Cleen joining the SBEDITZ ranks with 4 outstanding raw and ready cuts.
    Starting us off is the certified disco monster ‘Give You All I Got’. Infectious brass, erotic vocals and huge space toms are reworked to launch any dancefloor into the stratosphere! Next up is ‘City Nights’ a neon soaked snapshot of an 80’s nightclub in miami filled with rhythm guitars, slap bass & gliding synths.
    Things get emotional on the B-side with ‘Dear Lord’… A glorious piano jam laced with dubbed out gospel vocals, shuffling drum machine hats and a pimped out G-Funk synth lead that really takes you to church! Closing out the EP is ‘The Fun Part’, a bubblin’ bass funk groover filled with crisp percussion and jazzy Rhodes licks.


    Sil says: Loads of dub and looped samples on these disco edits for the Saturday night crowd. Guaranteed results. Highlight prize goes for the piano ridden 'Dear Lord'. Truly amazing ride.

    Two belting house cuts here on this limited edition, vinyl only, hand stamped white label disc from LoveHrtz; who have either been paying close attention to the furore that the Adelphi Music Factory 12" caused t'other week or have burst outta the same camp - it's hard to tell!

    "Classic Case" has already been receiving Radio 1 airplay in the UK, and both tracks have been doing the rounds the Ibiza this summer; no surprises really, as the two cuts are solid, feel good, disco injected house tracks that ooze pure party flavour! Are we due a surprise 'French touch' revival? I didn't think so but there's certainly some hi-nrg adulterants doing the rounds at the moment as the yoof look for that explosion of high octane power to soundtrack their Saturday nights. I say - get involved!

    Better move quick on this one folks...


    Matt says: I've tried to put this back like three times already, fearing my encroachment of old age and lack of high octane techno gigs. Then I thought f**k it, necked two garys and had myself a living room rave.

    Originally released in 1996, the 6-track "REMnants EP' was only the second record produced by Morgan Geist for his own Environ label. Now beautifully remastered, this heretofore hard-to-find EP is crammed with Geist's early influences: from intricately-programmed Roland orchestras that echo his early techno releases on Metamorphic to jazz- and R&B- leaning tracks that would later inform the sound of his debut album.

    It's dated ridiculously well. Much like Move D and Bobby Konder's early catalogue, these sounds are just as favourable on the dancefloors of today as they were then. Minimalistic and space age, they look to a brighter future through the impartation of emotion thru technology and in doing so, are the very essence of techno - though the restrained tempos and highly musical refrains may deter less ambitious listeners looking for simple, easy-to-mix & repetitive machine rhythms.

    A tour de force of electronic goodness - available for all once again. Get those skates on! 


    Sil says: Electro tinged early Morgan Geist rarities compiled in this super 12". Worth buying for the mega 'In Your Electronic Arms'. Nice surprise.


    Dancing In Outer Space / Outer Space (Reissue)

    Originally released in 1979, ‘Dancing In Outer Space’ is a certified jazz-funk classic from a legendary band! It sits at the pinnacle of the underground UK dance scene that went on to have a global influence. Stateside, the track had big support in clubs such as the mythic ‘Paradise Garage’ and ‘The Loft’ by the likes of Larry Levan and David Mancuso. The A-side swells into being, building from the flanged hi-hats into a full on cosmic freakout complete with wild bass, cool brass and jazzy guitar licks. So far, so far out, but when the bat pitch organ riff comes in, you're transported to a place you never knew existed. Meanwhile on the flip, "Outer Space" twists those same ingredients into a more laid back and loungey variation. It's an instantly recognisable anthem that is just as fresh today as it was when it was first released.


    Patrick says: Jazz-funk / disco hybrid which became a staple on the sacred floors of the Paradise Garage and the Loft. Deep, groovy and galactic tackle folks.

    Massive coup for the Conch firm here with UKF pioneer Roska going under a secretive alias for the label's third release.

    The kix-n-snares champion drops two tracks in his delectable style - heavily manipulated, system slaying drum hits that slam the jugular square on.

    Turning things up a notch the label brings in young Bristol rising star Wilf on remix duties and also deliver an in-house (uncredited - reminiscent of the old reggae dubs - ed) dub refix of “Bongo Crush” showcasing the 'Conch' sound an honest and simple manner. Top stuff for the dance. 


    Matt says: Roska sneaks in under a hidden alias to drop three rock solid tracks in his inimitable 'kix-n-snares' style.

    Body Music (Bosq and The Rapture's Vito Roccoforte) return with another dose of 21st century mutant-disco and nocturnal New York swagger. Following up on their lauded Just One EP (Razor 'n Tape), the new two-track 12" delivers on the epic stomp and punch of that debut with two instant classics. A-side Don't Think Twice is a tightly modern and muscular re-imagining of some long-lost Paradise Garage-era gem, replete with head-snapping claps, an expansive sonic palette and full strut groove.
    While, low-slung flip-side Give My Love a Try rolls on a flirtatious arpeggiated bass-line and gasps of steamy synths that make it the perfect vibe to open or close a party. Lending soulful and sultry vocals across both cuts is Christian Holiday.
    Holiday darts in an off the slick synth stabs and bouncy live-drums of Don't Think Twice and reaches a yearning falsetto that draws out the romantic swoon of Give My Love a Try, helping elevate the scope and craft of both tracks.
    Hooky and virulent, it's a venerated sound that fits seamlessly into sets of Arthur Russell, ESG and Liquid Liquid classics with a crisp and deep production that remains infectiously of the moment.
    At parties from Brooklyn to Ibiza, this 12" will no doubt be a go-to slice of wax coaxing dancers to move a little closer all summer long.


    Sil says: Poppy warm up melange of pop and dance music. Catchy, almost singalong tunes here nicely accompanied by their instrumental versions. A contender in your set!

    1987... for those lucky enough visiting a decent import shop in that year could have seen a US import record with pink label showing a darts board with small text next to the picture saying 'Target Records' and 'Joe R. Lewis'. Further inspection might even reveal Larry Heard credited as mix engineer. But still this went pretty under-the-radar. We're talking the very early days of house music here folks - the pre-internet era where new music and info didn't spread all over the globe within a couple of seconds... Now more than 30 years later this is a holy grail for worldwide record collectors and house aficionados, and still not all info is clear. But like all good stories there is a cloud of mystery covering up the details! On the flip side there is one of the best tracks ever produced by Joe Lewis, "Life Immoreal" a track so elegant and beautiful that it hurts! Two of the best tracks Chicago house music has to offer in remastered versions taken from the original master tapes on this latest outing of Clone Classic Cuts! A must have for every house music fan boy!


    Matt says: Crikey! Historic and gold plated Joe Lewis joint here. I was 2 years old when this came out and it's making me giggle like a little baby today!

    The nation's favourite funky chicken, Doctor Alimantado gets a micro-excavation from the Keyman label here.

    "Zion Gates", originally a Yabby You number and released in 1989, was the B-side to "No More Heartache" - also featured here. We also get a rock hard dub version that's previously gone under the radar and is really quite summat! - Rumbling bass, echoed drums and a deep set smokers groove should keep this one on perma-rotation at your local dance or smoke-out.

    I'm also feeling the "Heartache Dub" which comes out the blocks with a much brighter and optimistic outlook yet possesses that same degree of minimalism and groove that made the "Gates Of Dub" such an enticing prospect. Top drawer stuff from 'Tado and co. Chalice!


    Matt says: One of the most famous vocalists ditches the mic for the dials here as concocts four heady and musical dubs for our listening pleasure.

    George Duke

    I Want You For Myself / Brazilian Love Affair - Inc. Tom Moulton Mix

    Two all-time George Duke greats, 'I Want You for Myself' & 'Brazilian Love Affair', get the official remastered, reissue treatment.
    First up, 'I Want You For Myself' Duke's 1979 jazz funk, R&B tinged gem has got all the ingredients of classic from his illustrious catalogue. A funked up guitar and exuberant percussion, compliment Lynn Davis' fabulously soulful vocals perfectly to make this a love song that's sweeter than most. A Duke classic wouldn't be complete without a killer, keys solo and 'I Want You For Myself' shows off his talents in abundance. The infamous Tom Moulton takes on edit duties splicing it into a 10-minute exploration of this fusion powerhouse, extending and enhancing elements in the mix, alongside adding an epic breakdown in a way that only he knows how.
    On the B side, the stone-cold killer 'Brazilian Love Affair' is a Latin American, jazz funk classic. Recorded in Rio de Janeiro, Duke drafted in a host of greats to guest on the track, each bringing something unique to the table. From Airto Moreira's expert latin drumming, to Byron Miller's heavyweight bass and Roland Bautista's overdriven guitar. Duke supplements this to a tee with his blissful vocals and an otherworldly Rhodes solo. Much sampled, much loved, this is a masterpiece that needs a place in the collection.

    Something of a coup here for Super Rhythm Trax but well deserved if you ask us. Warehouse / acid / rave gremlin label of the last years has been honorably chosen as the label to release this heavyweight collaboration!

    Nexus 21 and Altern 8's Mark Archer teams up with one of house music’s hottest properties, Shadow Child for this explorative mission into the harder end of the genre. The three tracks range from the explosive stomp of “It’s Good” through to "Non Stop" that expertly squeezes the most from a classic Mr. Fingers style synth preset! "Eye Feel" straight up just bangs box while Detroit acid harnesser Jerome Hill leaves his 303 at home and instead gets busy with that synth refrain from "Non Stop" before adding rampant hand claps and even a subtle piano.


    Ever reliable UK firm Optimo Music presents a 5 track EP & also the debut release from Nashville’s Stranded, including a remix of title track “Celine’s Dilemma” by RSD, aka Rob Smith of Smith & Mighty fame. Despite hailing from Nashville, Stranded has a longing appreciation for the dance centric cities throughout the world whether it be Detroit, Manchester or Berlin, hence the moniker. Alienation, romantic rendezvous, 9 to 5 unease, and an apprehension of the future are just a few of the topics that surface on the debut EP. Sweeping and droning synths, jagged guitars, rolling bass, yearning and weary vocals, and disco beats propel the music and ideas showcased in the project. While using the backdrop of post punk, disco, and synth pop, the music is a sonar call to places where people are gathering, working, and dancing. It's a wonderfully accomplished debut, with all five tracks occupying a different sonic environment whilst remaining hooky and succinct right till the very last bar. There's absolutely nothing superfluous on the record, just the way we like it here at Picc HQ (it's also just a bit moody and gothy - summat else we're fancy to on a wet and rainy afternoon - ed). Recommended!


    Matt says: Big one here for the punky funky dance brigade. It's hard to think of a dancefloor where the RSD dub of "Celine's Dilemma" WOULDN'T work to be honest. Killer stuff here as always from team Optimo.

    "Love Not Sex" is the second Stubb 12" from Paper Recordings' Ben Davis.

    The original is a melancholic slice of sunshine that draws inspiration from MOR and blue-eyed soul with a hefty dose of Balearica. Acoustic guitars, Rhodes, live drums and strings plus Crazy P's Tim Davis on bass provide the perfect cinematic backdrop for the plaintive vocals of Huw Costin (Torn Sail) and Rachel Foster.

    Japanese edit hero Mori Ra delivers his first ever remix and it's a doozy. Keeping the bones of the original track, he takes it in to dark psychedelic waters with the help of former_airline's tripped out guitar.

    A spoken vocal tips it in to full Balearic wonkiness that will have the likes of DJ Harvey and Bjorn Torske getting hot under their disco beards.

    Bergen's Leca employs his trademark stripped back crisp production for a warm, dreamy remix. Steel guitar, clicks, whirrs and a Nordic playfulness make for a cosmic journey in to the Northern Lights.
    The 12's will be a limited run of 300, screen printed in West Yorkshire by The Egg Factory with artwork by artist Rachel Johns in a project that celebrates community and collectivism.


    Sil says: Balearic heads, this one is for you. Soothing, laidback and evocative 12" by Stubb with a super revision by Mori Ra. Essential addition to your addiction!

    With an album on Kerri Chandler's Kaoz Theory plus EPs on his Madhouse and Madtech imprints, Benson Herbert and Leo Picking - aka Voyeur - are steadily making their mark on the house music legacy. Keeping that old school flame burning in the modern age takes a supreme grasp of poise and flair, as the genre competes with ADHD-fuelled kids, max'ed-out headroom and a plethora of splinter styles all utilizing the latest VSP / DSP processing trends.

    With that said, the "Awakening" EP is quite an accomplished effort. The title track updates templates set out by afro-house luminaries such as Osunlade and Joe Clausell and is full of rampant vocal chants & whoops, a full percussion troupe and is set alike via deep throbbing stabs and unrelenting buoyant energy.

    "Mundunugu" is a more spiritual affair, tailor made for Francois K's section and Body&Soul on a Sunday. Deeeep congas, suspended pads and tribal vox transport us into everlasting heart of house music, always beating from its natural core.

    Casino Times muscle in on remix duties, aptly constructing a brand new vibe off the "Awakening" stems. The pair keep a heavy percussion presence but thoroughly intoxify the rest of the mix with long analogue fx sweeps, bleep melodies and squiggly lead lines - excellent!

    Sneaking in before close of disc is bonus track "The Nomos", which, like the first two tracks, will keep any afro / rhythmic-centric house-inclined dancefloor satisfied, invigorated and ready to dance! 


    Sil says: Gents and ladies, 'Mundunugu' is da bomb. Tribal house without going full on. It is restrained and groovy. The vocal samples brings it all together. The rest is as good but this one is my fave. I am getting one.

    After releasing the LP 'Its A World Before You' Kaidi Tatham comes home to 2000black.and what a return it is!!'Freddie Can't Run Away' is everything one would wish for from a fusion track and shows
    Mr Tatham is truely in his own lane.'But You Bring It Up' features vocals from Nadine Charles on a warm soul jazz track.The rest of the ep covers everything jazz, boogie and funk orientated with the uptempo'Is Crimbo Really Here' & 'In My Life' 


    Sil says: It is late 90s Notting Hill, Ladbroke Grove sound. Yes it is broken beat. It sounds exactly the same as any other Goya release. And that is a good thing! Keep them coming Kaidi.

    Time Grove

    Roy The King / Sir Blunt

    From forward thinking Tel Aviv based ensemble, Time Grove is the debut single Roy The King and Sir Blunt on Wah Wah 45s label. Guided by acclaimed pianist Nitai Hershkovits alongside one third of Buttering Trio, and newly signed Stones Throw recording artist, Rejoicer, this group of musicians have produced a sound which is both delicate yet powerful; sonorous yet uplifting. The full line-up also features reed player Eyal Talmudi, drummers Roy Chen, Amir Bresler and Sol Monk, keyboard master Bemet, trumpeter Sefi Zisling, and guitarist Yonatan Albalak who have together created some of the most exciting instrumental music we’ve heard for quite a while. In preparation for their debut album, More Than One Thing, due in September, we bring you a double whammy jukeox 45 with two of the more foot friendly cuts from the LP. The A-side, Roy The King, features drummer Roy Chen. The rest of the band kept telling him “today, we make you a king” and so it was. Rejoicer, Sefi and Talmudi, wrote and played the melody after Nitai came up with the piano riff. The B part, which only Talmudi and Roy could bring such energy to, got the gypsy out of all of the ensemble in the room bringing it to a festive finale. On the flip, Sir Blunt, is an introduction to the other core of Time Grove. With Amir Bresler on the drums, carefully crafting the perfect parts for this tune; Albalak on the bass, playing beautifully the upper register yet providing a strong bed for Nitai on the piano & Moog and Rejoicer on synths to present somewhat of a no-bar-lines feeling.


    Millie says: Time Grove have mastered the perfect ambient jazz track, Roy The King builds into powerful heights yet remaining delicate while the b-side Sir Blunt turns to the more experimental jazz side. Fans of anything Gondwana will love this!

    Ishmael Ensemble

    Severn Songs 2

    Multi-instrumentalist/DJ Pete Cunningham and cohorts AKA Ishmael Ensemble, present ‘Severn Songs 2’ – the second in a 7” vinyl trilogy inspired by Bristol, its surrounding regions and, as the title suggests, the River Severn.
    ‘Severn Songs 2’ sees Cunningham slip into a nostalgic haze, throwing back to his formative years in Bristol’s late noughties scene, but cast through a prism of jazzwise electronica; surely the furthest apple of influence to fall from the Hessle-Hotflush tree.
    'Tunnels’ begins with a flurry of drums before being enveloped by sub-bass pressure, like stepping directly into a basement club in full flow. As the track climaxes, saxophones sweep the air like green-spoked lasers overhead, creating a contrast of pinpoint clarity against the background atmosphere. Though sonically well outside Bristol’s dubstep legacy, it accurately portrays the smudged perception of a peak time rave.
    On the flip, we find the more introverted 'First Light', wherein the group downshift from the buzz of a bustling room to the hum of one’s head as dawn breaks. It is a moment of spacious solitude shared only, as Cunningham pictures it, with “swans fighting over polystyrene chip boxes” in the canal below.


    Matt says: The hybridization of modern jazz knows no realms as Ishmael Ensemble blend electronica and club based elements into their heady brew.

    Omar S Feat. Simon Black

    I'll Do It Again

    Omar-S introduces Detroit's newest diva on the scene, Simon Black with an X-Rated 12" for the real freaky types. In line with some of the definitive vogue house tracks of the past, "I'll Do It Again" will become a future ballroom staple. On the flipside, "Freaky Type" sees Black slows it down and steams it up with some nasty vox over a beat produced by FIT Siegel. High kicks and hand snaps all around!


    Matt says: Mental good record here from the people's favourite pinball wizard and sports car hoarder. "I'll Do It Again" shows all the signs of becoming a mini-anthem across the global dance village. Get in on the action before everyone else and get this bagged pronto!

    Piccadilly-approved synth-dub-psych-popsters Peaking Lights drop their first release of 2018, joining the ever expanding ranks of the Dekmantel family. As long terms fans of the Californian duo might expect, it’s a kaleidoscopic melting-pot of dainty dub, experimental and leftfield beats, with wondrous sunny soundscapes that blend together the unconventional home-fashioned electronics, and windswept vocals that have defined Peaking Lights to date. 'Sea of Sand' is the band’s first record in three years not released on their own imprint. With six tracks, exceeding 30 minutes in total, the extended EP is a prelude to a forthcoming LP. With a DIY aesthetic and approach to analogue instrumentalism, Peaking Lights retro-digital sound is one that sits perfectly with Dekmantel.
    The record kicks off with the quirky, upbeat pop track 'Blind Corner', followed by slower Italo-like 'Hypnotized'. There’s a wavey-krautrock sound on 'Shift Your Mind'; a glowing romanticism on 'Read your mind'; and a celestial ambience embedded through 'Noise of Life. The record concludes with the sonically divine harmonic piano track 'Sea of Sand', perfectly setting the template for the EP. 


    Patrick says: It's been a little while since we heard from Peaking Lights, and it seems they've spent their downtime refining their take on hallucinogenic synthery. Dubby, dreamy and superbly psychedelic, "Sea Of Sand" is another analogue delight from our favourite synth duo.

    Sprechen sie rhythm? It's time for a new dance...

    Welcome to the wonderful weird of Talking Drums - a home for poorly executed dance moves, misjudged vibes and narcotic bravery. Semi-Cosmic, way wonky and oozing grooves, this is music for the fringe class.

    The party starts with a tripped out tribute to an Italian inspiration. 'C60 Lato A' sees the crew pluck a couple of killers off a well worn Cosmic tape, leave them out in the sun a little too long then stick them back together with an experimental blend of UHU and fufu. Springy bass, spangled brass and mangled electronics make for a motherload of funk, fried just long enough to make the walls melt. Bendy....

    Over on the B-side the crew come through with a little bathsalt boogie, pitched down and loved up for all the slow dancers and romancers out there. Strutting like a stoned fox, 'Get Serious' wraps rubber-limbed bass around propulsive percussion, gets hooky with the horns then slaps you silly with its x-rated synth-smut. Pinched from the pound bin and taped over a CH 5 classic, this disco drooler will loosen up even the stickiest floors.

    Freshly dressed and pressed to impress, the Drums are talking....


    Matt says: MASSIVE off kilter disco business from a new local firm here. Afro-electronix and space walking boogie twisted into the kind of wobbly cosmic tackle that brings on peak time enlightenment... Get yer orders in!


    12" Info: Super limited white label repress imminent.
    Hand Stamped - No Messing.

    Esther Phillips

    Home Is Where The Hatred Is / I've Never Found A Man

    Firstly, Esther’s cover of Gil Scott-Heron’s timeless masterpiece ‘Home Is Where The Hatred Is’. A haunting tale of addiction filled with the rawest of emotions, that can only truly be covered by someone who has fought that same battle with dependency. The pain in Esther’s voice completely conveys this vulnerability and does Gill Scott Heron’s original total justice. Heart-wrenching and completely absorbing in its honesty, it’s a sincere portrayal of the demons both artist’s faced in their lives.

    On the B side, an adaptation of Eddie Floyd’s ‘I've Never Found A Girl (To Love Me Like You Do)’. Phillips’ trademark soulful tones suit this sweet serenade so well, with the passion oozing from every word she sings. Sit back, relax and prepare to have your heart melted all over again.


    Sil says: Two Esther Phillips grand classics. One on each side. Essential staple record for any DJ and music lover out there. I am getting one!


    Razor / Predators

    Borai, real name Boris English has snuck out quite a prolific discography since 2011 with about fifteen different releases on a plethora of modern labels. Reluctant to contribute to just one genre, his already impressive catalogue boasts house, breakbeat, jungle and dub-techno all conjured up with an authenticity and energy that's impossible to ignore.

    Two tracks from the esteemed producer inaugurate new label Higher Level. "Razor" is an opiated old skool jungle jam that's been slowed down to a crushing weight. Brain melting amens, foundation shaking sub and demolition ball hoovers all creating a manic piece of slow-mo grindcore jungle for the heads who like it heavy!

    "Predators" also hits up a vintage jungle vibe, contrasting vicious breakbeast and rupturing basslines with angelic chord sweeps and heavenly pads.

    Across both tracks Borai displays a classy, indepth knowledge of jungle's historic idents and programming traits; meaning these could both be mistaken for golden-era tracks when in fact they're brand new. Hats off son! 


    Matt says: Top drawer 95-flavoured new jungle kicks off this new label from an artist who's frequented more dance styles than I've been to raves (Ed: That's not true, Matt's been to A LOT of raves...)

    Claremont 56 continues to champion new, previously unheard talent with “Ready To Die”, the stunningly beautiful and catchy debut from Bel AKA Charlie Bell – a young, Liverpool based singer-songwriter, musician and producer who has a huge future ahead of him. “Ready To Die” is an emotion-rich chunk of catchy, loved-up Balearic pop with heart-aching, gut-wrenching lyrics about unrequited love, Bell’s debut is as catchy, infectious and heartfelt as anything the label has released to date – as proved by Lauren Laverne’s decision to champion the record on her BBC 6 Music show.

    Such was his love for the song, Murphy decided to remix it for release, completing extended vocal and instrumental versions that enhance the track’s sun-kissed, glassy-eyed appeal. Both mixes are magical, with the vocal version in particular capable of making the hairs on the back of your neck stand to attention. Bell’s impassioned vocal and breezy acoustic guitar playing naturally takes centre stage, with the track’s sweeping synth-strings, toasty bass and a few trademark Murphy flourishes – think well placed delays and fluid electronics – on hand to amplify the song’s bittersweet mood. The beautiful and beguiling quality of Bell’s musicianship and Murphy’s subtle remix comes to the fore on the equally beautiful instrumental version.

    Freshly excavated from the West End vaults comes Ednah Holt's 'Serious, Sirius Space Party', a thundering, slo-mo, bass-heavy slab of NYC electronic funk that will sound familiar to those who paid close attention to what the maestro Larry Levan was doing in his sacred booth at the Garage in 1981, or to those who tuned in to peep what the master Afrika Islam was doing on his now semi-religious, hip-hop blueprint 'Zulu Beat Show' on WHBI. That's right, you can guarantee if those 2 guys were playing your record in the city at the same time then you had an underground 'hit' on your hands. The fact that it crossed over from the discotheques to the streets and back again speaks of the appeal of this super heavyweight jam, the legendary team up of Kenton 'Kenix' Nix, Larry himself on the mix, and former Ritchie Family vocalist Ednah Holt makes for some heady listening. One for the after hours dancers, B-Boys and B-Girls and lovers of the downtempo workout. A true and essential NYC classic.

    Ador / Gerald Wilson & His Orchestra

    Let It All Hang Out / California Soul

    There's always a party on the cards when a new 5 Borough Breaks drops, and this latest addition is no exception. The A-side hits us with "Let It All Hang Out" from two-hit wonder A.D.O.R., who teamed up with school friend Pete Rock for this fierce 1992 hit. As infectious as it gets, the track sees Pete Rock in peerless form, slicing a classic horn loop into infinity and working the mixer into a frenzy. Stone cold classic. On the flip we get the OG sample source a smooth and summery jazz version of KFC classic "California Soul" as recorded by the Gerals Wilson Orchestra. Vibes 4 dayz!

    Boom! There's summat in the water this week (probably magic mushrooms at this time of year! - ed) as we get not one but TWO totally shamanic and esoteric new releases on our shelves.

    Alongside Andy Rantzen's LP for Ken Oath ("Blue Hour Vol. II"), Grrrr jump straight down the rabbit hole for Tax Free here, conjuring up a mini album / collection of creeping percussion rituals and spiritual rainforest excursions.

    The perfect (imaginary) soundtrack to Terrence McKenna's 'True Hallucinations' - it's hard not to be transported into a rich and varied flora of philosopher's stones and exotic species, whilst direct contact with the spirit realm is almost guaranteed.

    Truly out-there and magical stuff for sound shamans and aural entheogenic practicers throughout the cosmos. Recommended! 

    Mosaic is a heavy new three tracker from a band whose reputation exploded this spring with the release of debut album Murmuration.

    Lead track Mosaic is full of the warmth of this heatwave-summer, syncopation and groove in abundance. Driving melodic lines and keyboard atmospherics suddenly give way to one of James O'Keefe's most powerful guitar solos to date, wild and psychedelic.

    Transcoso brings the band to the downtempo magic that they have become much loved for. Heavily inspired by Azimuth, an hypnotic beat from drummer Jonny Drop eventually builds to a euphoric, almost slow disco climax for the final section.

    'Mariposa' is a timely tribute. Debuted at their London album launch this take on the Freeez classic (although the live version in particular) explored a little more of the South London, Brit Funk influences that really drive the band.

    Huey Morgan (BBC Radio 6 Music)- Beat of the Week, Record Of The Week and one of the records of the year so far (“All Meat" show), Tony Minvielle (Jazz FM), Shy One (Balamii) Thris Tian (Worldwide FM), Patrick Forge (NTS Radio), Dom Servini (Soho Radio/Netil Radio) Murmuration - Release of the week on Vinyl Factory,

    It's clear, from how tight and precise tracks like 'Cannonball' sound, that this is a group of music heads doing what they love. We love it too. Lonely Table


    Millie says: Moody synthesisers one minute and then upbeat rapid tempos the next! Creating this alluring jazz and cold wave focused album. Original and beautifully done. Love this!


    Piece Of Class / Star Of The Disco

    Rain&Shine proudly present ENERGIZE, a band out of Marin County, California in 1979. Previously unobtainable even for top DJs due to rarity, Rain&Shine gives this double A side modern soul/disco 45 an official re-issue treatment. About ENERGIZE (words by Dan Hays - Guitarist, Songwriter):

    ENERGIZE came to age in a post-hippie era, where musicians went back to playing covers in bars. However Marin was still inexpensive and it was possible to pool money together to buy studio time.

    That's how ENERGIZE formed - working musicians led by the superb producer and guitar player, Archie Williams (son of Archie Williams Sr - a passionate educator, WWII air force pilot and 1936 Olympic champion) Dan Hayes - songwriter and guitarist, and John Isabeau - lyrics and our executive producer.

    John is now a successful Hollywood producer, Oscar documentary award winner, and resides in James Brown's former house in Las Vegas.

    The record also features a hugely successful blues vocalist who has asks to remain uncredited. Archie, John and I now have grown children and a few grandkids as well and getting a kick that 40 years later, our self-produced record has found an audience. Far Out.


    Sil says: Two mega high roller disco bombs with the label 'rarity' hanging proudly on them. This is a high caliber reissue and unfortunately we are not getting many so rush in!

    Bristol's Milo Johnson aka DJ Nature has long been the man for those lowdown, dusted-out late night jams that simply ooze soul and atmosphere.
    Having released music on myriad quality labels including Jazzy Sport, Golf Channel, Future Boogie and more, he felt it was time to craft a solid platform specifically for his own sonic explorations. Well, FWD EVR is that platform, and this, the maiden voyage on the label sees us welcomed into Milo's sound-world, where we feel soul, deep house and hip-hop vibes across 4 beautifully crafted cuts. The syncopated Afrobeat of "Oyasumi" introduces the set, serving dusty samples, low slung bass and dreamy keys alongside an innovative rhythm for full scale hypno-dance. On the A2, "Bobbi" is vintage DJ Nature, all tear-stained jazz samples, thick bass and vinyl crackle, filtered into the kind of soulful club cut we fell in love with on "Return Of The Savage". Flip it for more deep and dreamy beatdown via two mixes of "Violet & Me". The original mix sees Milo's trademark drum pattern topped by tight tabla and rhythmic chants, all underpinning the gorgeous combination of strings and piano. The "Native Healing Reprise" spins those same ingredients into a cooler, calmer and more relaxed variation which should work for the warm-up / warm - down.


    Patrick says: I love me a bit of DJ Nature, and this four tracker of beatdown brilliance ticks all the boxes. Soulful samples, thick basslines and Milo's trademark rhythms on his new label of choice.

    'This record is the last to be written in our humble bedroom studio in Edinburgh, it deals with the usual theme of two 20-something overgrown emotional sad boys. Stress, trust issues and of course, dirt from Hawaii. Outside of this odd, brotherly-love project, we have also made music under solo pseudonyms (DJ Küsse / Ami K) so keep your ears open for that. We’re going to keep doing what we do best in the hopes that it pleases you as much as it pleases us. Right now, bye now, keep ‘er lit.' - Hi & Saberhägen.

    If this marks the end of chapter one for Hi & Sab (as I've been inclined to call them), then it's one hell of an outro! Four tracks of neo-tropical-house music, highly electrified and purpose built for extended outdoor play. The duo's completely unique sound palette seems to have found its unobstructed creative flow as these track's permeate a whiff of poise, flair and integrity; leaving us gasping to hear what's in store from the maveriks as they make their transition. Top stuff!

    London's, Latin-Funk / Tropicalia fusion pioneer: Spiteri & music partner Stephen Alpert open up their recordings from the Abbey Road Studios archives (1979) and pass them to Los Charly's Orchestra for a brand new re-processing, connecting the true chemistry of the old school with the current LCO technique, which founders: Juan Laya & Jorge Montiel have been crafting for more than a decade now, inspiring music lovers and producers all around the world.

    From the origins of the Ronnie Scott's Latin Jam, to playing at the opening of Amnesia - Ibiza alongside (at the time up and coming talent): Bob Marley..., Spiteri lived it all in an authentic experimental fashion.

    A few years later, that Spiteri legacy spread it's roots back in his mother land Venezuela and Latin-America, laying the foundations for a new generation of Latin sounds and fusions where bands of the calibre of Los Amigos Invisibles were to be born.

    Los Charly's Orchestra meets Spiteri in order to pay tribute to all those years of creative effort with a new series of Re-works, where the emblematic tracks: Amor & Disco Samba set the scene for an initial chapter.

    Dusty archives, the backrooms of record stores, private reel to reel stashes, master tapes - these are the environs of the Dynamic Range experience.
    Dynamic Range is a new label focused on unearthing deep Soul, Funk and Disco jams that continue to resonate with todays dancers and DJ's. Time spent scouring the bowels of the majors and independents has unsurprisingly resulted in numerous gems being added to the DR wants list. High quality, fully licensed reissues are the order of the day, always taken from the correct master source and re-presented to hungry record heads the world over. To repeat, this is a fully legit operation - Avoid the sharks at all costs!

    For their second release they treat us to one of the finest moments in George Benson's catalogue, the Theo-approved "The World Is A Ghetto". His 1977 version of the classic 'The World Is A Ghetto' features beautiful string-laden production and of course, Benson's languid guitar playing that graces the wonderful Claus Ogerman arrangements effortlessly. As well as being an underground disco classic, this amazing groove has been sampled by numerous contemporary producers, most notable Moodymann, Kanye West, Bob Sinclair and many more, a testament to the lush production and soul contained within the grooves of this classic. This repress is programmed exactly like the '77 disco promo 12" that record pool members and DJ's would have received and due to licensing constraints it features the same 9 minute 41 second mix on both sides.


    Patrick says: Soothing, swooning, soulful and sublime, George Benson's "The World Is A Ghetto" is arguably the finest disco soul cut around, and absolutely slays a dance floor. This 12" press is cut loud and proud folks.

    Wolf Music proudly present a fantastic reissue for those in love with the dancefloor.

    If there's one thing WOLF Music know a thing or two about, it's house music. So it's no surprise then that they've decided to reissue a golden 2003 deep house nugget in the form of BRS (British Rhythm Services) - 'Spring Dom'.

    Reissued from the original DAT tapes 'Spring Dom' is one of those timeless records that even 15 years on sounds as soulful as it did when it first hit the racks. Echoed sweeping stabs, chunky drum loops and powerful synth flurries alongside those mesmerising vocal refrains, all tied together with a driving bassline - this is deep, deep goodness of the highest degree. Reworking 'Spring Dom' for the present day, WOLF mainstay Medlar provides a rave tinged remix, chopping the vocals and reworking the synth lines to give it a peak time, dancefloor demeanour.

    The flip houses the other two tracks from the original '03 release - 'Clubtronic' with it's UKG flavoured beat, M1 pads and jazzy free flowing melodies and 'Miss You' combining a bumping groove, dynamic bass melody and stirring Rhodes chords.

    A much-welcomed reissue package from the WOLF camp and a chance to own this house treasure without feeding the sharks.


    Sil says: Monster deep house tune for all of you that sounds as fresh now as it did 15 years ago. It has aged superbly. Medlar ups the game revisiting it and adding roughness to it. 'Spring Dom' and 'Miss you' are two diamonds you totally need. This is by a mile my deep house record of the month!

    Womack & Womack

    MPB - Missin' Persons Bureau

    Any Melodies International release causes a certain amount of hullabaloo, but their latest disc has had eager customers beating down our door in anticipation. Dedicating their 11th release to both soul and house royalty, the digging crew have licensed a pair of tough to track down Frankie Knuckles remixes of Womack & Womack soul classic M.P.B. Originally appearing on their late 80s "Conscious" LP, "Missing Persons Bureau" is a beautiful slice of modern soul all about a lover running out on you. Though the Womacks were initially apprehensive about the idea of a rework, Island impressario Chris Blackwell won them over and sent the masters to all time house hero Frankie Knuckles, who turned out a pair of pearls. Working his magic for 9 A-side minutes, Frankie splices the club soul of the original into a slow and soulful house groove, flipping our lids with a wondrous SH101 bassline, subtle percussion, bright vamps and a sparing use of the original instrumentation. Spacious and special, this is up there with the legend's Loose Ends remix. If you're peaking already, I suggest you call to mind the pedestrianisation of Norwich City Centre (something to keep the wolf from the door), because the money shot is over on the B-side. A long time Balearic holy grail, Frankie's Folk Version takes some of the 'Hallucinagenic' sound design he brought to "Ain't Nobody", applies it to the Havens's style guitar and vocals, then gradually introduces synth bass, subtle drums and some very familiar piano to create an absolute masterpiece. As good as any of Frankie's productions, and the best moment in the Womack and Womack catalogue, this is total must have tackle.


    Patrick says: Melodies International come through with an ESSENTIAL reissue here, delivering some psychedelic folk splendour courtesy of Frankie Knuckles sublime 'Folk Version' of MPB. Soulful, grooving and folky in a Richie Havens kind of way, this is a must have record for soul fans, house heads and the Balearic crowd.


    Ltd 12" Info: REPRESS!

    A memorably bracing, momentarily pummeling highlight of ‘Song For Alpha’, Daniel Avery perfectly bridges the light and dark contrast of his influences on standout cut, ‘Diminuendo’. Uncompromising technoid drums establish genuine frenzy, matched by a pulsating industrial drone, ultimately collapsing into ethereal feedback, before one final round of frenetic rhythm.
    On ‘Hyper Detail’, the intense acid lurking beneath the surface of ‘Song For Alpha’ is dramatically unleashed, easily matching the frantic energy of the previous track, and upping the potential for wide-eyed, rave-friendly electronic hypnosis. ‘Light Of Falling Rain’ is more severe and equally intricate, creating immediate enormous tension and re-lease with a barrage of snarling electro and expertly intertwined microrhythms.

    Finally, on ‘Time Marked Its Irregular Pulse In Her Eyes’, the disembodied elements of Avery’s studio communicate something cryptic and unnerving as a farewell. The most uncompromising and purely physical batch of material to emerge in the wake of ‘Song For Alpha’, the ‘Diminuendo’ EP finds Avery on urgent and ruthless form.


    Sil says: Wow... what a surprise. For me it is all about the behemoth 'Diminuendo', a hard techno tribal with acid flairs. A highlight on his album and now in its full glory on a 12". If you dig prolific Avery, this is a must have.

    Everyone's favourite French house producer takes a distinctly dark, techy and experimental route on the latest Atavisme joint - Pepe's own outlet for his productions.

    The four tracks on offer here show a man delving deep into the murk and swamp of his synthesizers, conjuring up a thoroughly alien and intoxicated collection of tracks that skirt around the 4/4 rhythms of the dancefloor whilst depositing a whole host of lysergic phlegm, refracted frequencies and cybernetic flux onto the master stems.

    It's a side to Pepe we're seeing more of of late, as the producer's ditches the accessible for the head-turning - and we love it! Favourite track here is the marching tekno squelch of "Ave Psychic" which in our ears gives Chicago's supremo sound mangler, Jamal Moss, an adequate run for his money.

    Top marks Bradock! 

    Stamping the passport this time round we have DJ Ric Piccolo by way of Buenos Aires, who takes lost and obscure Argentinian records and injects them with a turbo shot of discoid overload. If you've just got onboard the Passport to Paradise spaceship, don't fret- PTP13 is the perfect introduction for the aspiring cosmic voyageur.

    Ric Piccolo kicks off with the heady throes of 'Fuck All Nite' . You've heard it before but you can't remember where. Take the advice- this is your 3am matchmaking tool. Then head onto A2, 'Passage', where the wind whistles through tropical vines and monkeys play Moogs on the rainforest floor. TIP!

    On the flip side we have '1, 2, 3..', sounding like the lost credit track to a 1980s Latin horror b-movie, where flare-clad zombies with glasses of fernet rock and sway with drunken senoritas. It could well be. Finally, B2, Venus rounds of the release in true cosmic disco style.


    Sil says: What's not to love with a song title like 'Fuck All Night'. Beyond the title, it is a great 12". It reminds me a bit of Serge Santiago, read that as Italo feast. Great edits all round.

    Light the beacon, sound the alarm, blow up the balloons, break out the champagne, warm up the lube...Rejoice and prepare for merriment however you want, coz there's a brand new Ruf Kutz in stock! Sticking with the RK system, the fourteenth instalment of everyone's favourite boutique label is home to OGs not edits, lovingly made by label favourite Glowing Palms. Ruffy and GP go way back and it's a match made in heaven..or at least Rainbow Road. 
    Glowing Palms starts the party on the A-side with the technicolour funky/house hybrid "I Don't Need This Man". Brisk and bubbling, the cut hits us with neon synths, infectious and unexpected rhythms and a big room vocal sample, switching moods and styles at ADHD pace. The Holodeck experiences include beach front raves, Rimini sex clubs and VIP lounges dripping in Cristal. We just threw it on the shop player and summoned a flashmob - heavy scenes. The fun continues on the B1 as GP takes a tight grip of the joystick and jumps right into the bleeping heart of TRON. Detailed and delightful drum programming drives along with frenetic energy, taking care of your waist while the sonar bleeps and spangled sequences overload your brainstem - music for a techno-tropical percussion party I reckon. Last but not least "Beejaye" bounds along like a lost dub encounter between Wally Badarou and Vybz Kartel, all frisky, crispy drums, Streetsounds Electro keys and alleyway moods.
    All killer, no filler - all batter, no chatter - super limited and better than your rest. Buy on sight I reckon.


    Patrick says: HUGE new Ruf Kutz from the unique mind of label favourite Glowing Palms. Offering OGs not edits, GP goes in deep with a trio of fluro-hardware jamz which vibrate between house, tropical, dancehall and Italo - thoroughly fucking up any system you'd care to suggest. Fiyah!

    Three edits by Mancunian maestro Andi Hanley on the superb Magic Wand label.

    A lesser-known but prolific character on the local scene, various credentials proceed this cat including warming up at the prestigious Body & Soul night in New York, as well as curating the soundtrack to one of the Grand Theft Auto games! With a top tier pedigree at identifying infinite grooves and hidden hits, Andi's source material often strays into the leftfield and weird, yet what comes out the other end of the factory line is something that's generally ineffably beautiful, engrossing and often very danceable - with his extended edits often holding you in their grip till the very last bar.

    This record starts with "Tied Up", a proper wigged-out afro-cosmic jam that plays with a vocal chant and percussion line throughout, building up tension and intensity until a huge brass-led lead section erupts towards the end of the track. Being skilled in the art of the looonnng DJ session, Andi's poise and attenuation of dynamics is what sets him apart from the clang-a-thon also-rans.

    "Lucky Number" is indeed, one of those wacky, unknown leftfield edits, where he picks a song not normally associated with 'dance' music but with a few careful chops and loop points, emphatically exerts its presence on any nightclub floor.

    Finally, "Happy Together" revels in a moment of perfection - a slow motion soul jam with rising strings, sumptuous lead synth part and a crazy sexy vocal that should get the whole club swaying - we've been lucky enough to hear Andi play this out a few times this year and every time it 100% slays all in its path.

    One of the most under-rated edit specialists on the scene drops one of his hottest three secret joints for your listening and DJ'ing pleasure - go figure!


    Matt says: Top drawer and rather quite illicit weaponry here for the working DJ and dancers that like it more under-the-radar than a Russian submarine.

    The second in a series of all-time CLASSIC hip-hop anthems from the Nervous vaults, pressed onto high quality dinked 45's.
    Remastered from the original source material and featuring the unedited 'dirty' version on the A-side, and the full instrumental on the B-side, these 45's are for the heads who know what time it really is!

    'How Many Emcee's Must Get Dissed' is that raw, NYC, Beatminerz flavour, even the video that dropped on MTV in 1993 is legendary featuring the whole Black Moon mob in their native Brooklyn posting up with their crew. Everyone remembers that Timberlands & Philly Blunts rap from the mid 90's onwards, raw SP1200 beats, dusty loops and samples pulled out of crates in the darkest corners of the five boroughs, a truly creative period in rap music and popular culture with many artists who came up in the era shaping the future of music from the streets upwards. Black Moon are one such group, their indelible mark on music is still felt today, the blend of streetwise raps and sturdy, murked out, jazzy beats supplied by the Dewgarde brothers is timeless. They sure don't make em like this anymore and if they did we're sure Black Moon would continually crush the competitors as they always did. Essential New York rap classics right here! Don't front.


    Patrick says: Nod your head til your neck snaps, Black Moons's heavyweight club killer is back to smash speakers in classic NYC style. Flawless.

    Music From Memory switch formats to the Maxi 12" here, hitting us with a proper cross genre gem dug out by the one and only Satoshi Yamamura. Originally released on a 7" at some stage in the 80s, "Amerikan Dread" is a super sweet reggae-disco synth pop hybrid, packing Hollywood Hills lyricism, boogie vocoder and post Paisley funk into a total unclassic. The A-side of this remastered 12" hits us with the vocal and dub versions from the original release, leaving the whole of the B-side for a pair of primo re-visions from two leaders of the new school. First up, Russian tape lunatic Lipelis does his usual freaky shit on a neat retouch, while Androo licks the chalice and soaks the whole thing in bong water. Peace!


    Patrick says: Mega NYC disco-dub fusion here, rediscovered and reissued by Amsterdam's finest. Glistening with synth pop sparkle, the OG and dub should kill it for the DKMNTL crowd, while Lipelis' tapey redux and Androo's THC laced excursion are A-grade weirdshit!

    Divine Situation are Greg Belson and Paulo Fulci. The former is a veteran DJ and one of the premiere collectors of soul music worldwide. He's known as the go to authoritarian for gospel, is the compiler of the Divine Disco series on Cultures of Soul and presents his radio broadcast Divine Chord Gospel Show on LA's creative hub.

    The latter is a DJ and producer out of Bristol. His work as part of the Situation edit crew has been released and supported for many years. Following on from their incendiary slab of two sided gospel goodness "Born Again" & "Soul Revival", the Divine Situation duo have crafted the next lot of bangin' spiritualized dancefloor destroyers for your record box.

    Here we have an EP catering for several sides to your night. The lead cut is the flat out roof raiser "The Problem Solver", then it's straight into boogie territory with "Brand New Feelin", before they close out with the end of 'nighter, "Try Love". Top stuff! 


    Martin says: Love a bit of gospel disco house music me to get me shuffling around the counter on a thursday. High energy = fast processing!

    Modern day house music poster boy, vlogger, flag bearer, label owner and all round champ, Denis Sulta kicks off another imprint - the 'Silver Service' branch of his Sulta Selects with a trilogy of mainroom-primed master blasters from the Irish born Cromby. Now residing in Berlin, the producer follows up a head turning performance at the taste making AVA festival in Belfast.

    "Futurola" opens the EP with an unwavering energy, stomping drums ushering in phazed leads and a proper fuzzy b-line. You can almost picture label head Jackmaster slamming this one out across the festival stages to a jubilant mix of students, ravers, pill heads and ket-vests - his ability to unite the masses under house music's rich and varied umbrella one of the reasons why even your Gran's heard of this cat.

    "Barneymania" offers up summat slightly more deep and sultry; Cromby switching tact and delivering a shimmering and intricately produced piece with a totally unique breakdown.

    Finally, heading straight into the middle of the night, "Fandango" sees a jarring and discordant series of arpeggios converge on an electro-tinged palette for a piece of mid-session revelry that calls for big laser sweeps and pyrotechnic blasts from the lighting engineer as the outdoor festival stage bursts into life through the nocturnal hours.

    Three highly intoxicating jams here. Limited run and stupidly hyped so don't miss out!


    Matt says: Three no-nonsense, killer party house jams from Dennis Sulta's (the people's champion) exciting new label. Big TIP on this one folks, don't sleep!

    Casa Voyager is back with a diverse EP from Driss Bennis as OCB. This EP ends a remarkable first year for the Moroccan imprint and gathers a large range of influences. UK breaks flavour the A-side as "Aquaquest Pt.2" rearranges a 'Think' break around Ceefax-era acid and techy background atmospheres while "Hard Drive" speeds up said break to a loose jungle tempo and peppers the mix with scorched pads and crepuscular bleeps for an old school flavoured cut that recalls the more abstract and sci-fi areas of the past.

    Flip over and we ditch the jungle for more electro flavoured business, "Studio Felix" floating in on zero-gravity arps and dancing, darting leads that give the impression of floating in outer space. Soon enough a growling subterranean bassline rears its head, grounding us back onto the planet's crust. "Inigo's Kick" sees a similar, rapid-fire drum palette full of flapping kicks and snappy snares offer artillery support to a frenetic barrage of synths and acid flecks - cybernetic space boogie people! 

    Drop draw tackle here from Welsh electronics maverick DJ Guy. A producer who's been active since the very early nineties, previously releases from his vast archive have graced labels such as La Beauté Du Négatif and All Caps. A strongly individual character who's acid-tinged productions touch on techno, electro, Cornish-style freakouts and noisy ambience; you can usually spot a DJ Guy joint from its advanced programming, highly detailed textures and vintage hardware presence.

    For newcomers to this guy's sound, this expansive double pack from Exotic Robotis is more than a good place to start - it's a perfect snapshot of his multi-faceted sound - from the blissed out UK techno of "July 1St 2014 Broke (2017 edit)" (excuse the track titles - alot are simple time stamped entries) thru the winding soundsystem swagger "Oct 2nd 2014 Seq" which owes as much to Sheffield as it does to London and Detroit. There's some excellent displays of more downbeat, chillout flavas - the opening trio of track offering relaxed breakbeats and velvety textures over endorphic strings and bubbling keys.

    Frankly, everyone needs a bit of DJ Guy in their collection; and this is a superb collection of tracks that really show off one of Wales' best, yet strikingly underground producer. Totally recommended. 


    Matt says: Just look at all dem tracks!! Bargin bin price really for this huuuge double pack from one of my top rated producers. Big ups Guy and Exotic Robotics for compiling this one. TIP!

    Skippy, catchy AF garage-house hybrids here from Salary Boy - Mall Grab's protege who gets chance to show off to his boss with this able four tracker on the his mentor's label.

    Obviously destined to be massive across the Steel City, "Back" is the perfect combo sample-beat-hook. All that's left to add is a bit of tasty filter action and you've got yourself a stone cold deep house thriller!

    The fun doesn't stop there though as "Echo" sees a well constructed blissed-out lo-fi house glider complete with elastic bass, psychedelic vocal  and synth chops and the odd warbled string line. Excellent! 

    "The Illusion" completes the package with shoulder rolling hi-hats, nice piano chords and more well placed vocal samples - again swinging those beats and veering into garage territory. 



    Matt says: It's not all shamanic house nonsense and esoteric weirdness here at Picc HQ these days you know. We still like to get down to a dock off bassline and slamming kick drum you know. Salary Boy more than brings the business here.

    Pharoah Sanders

    You've Got To Have Freedom / Got Give It Up

    Pharoah Sanders has been described as ‘probably the best tenor player in the world’, emerging as a star from playing saxophone with John Coltrane in the 1960s. As a solo recording artist he is best loved by fusion fans for the jazz dance classic “You’ve Got To Have Freedom”. It’s taken from his 1980 album “Journey To The One” featured here for the first time on the complete side of a 12” single. “Got To Give It Up” is Pharoah’s outstanding rendition of the Marvin Gaye classic. It has previously been on 7” but never until now in its full length version on 12” single. It was originally a feature on the 1978 album “Love Will Find A Way” produced by Norman Connors. To have both of these masterful recordings on one 12” single is something special.


    Patrick says: Not only do you get the spiritual majesty of Pharoah's uber-grooving "You've Got To Have Freedom", but flip it over and taste the freak-funk cool of his lesser known Marvin Gaye cover - wicked!


    Busted Vol. 4

    Danyb returns with another essential volume of Busted goods ! The A side expertly reworks an early 80's Canadian Disco/Funk rarity for maximum modern dancefloor devastation On the flip Janis Joplin floats over a cleverly pitched Tom Tom Club classic for a slow-burning groover of the highest order. 
    Two heavy main dishes at 45rpm rightly spiced up. Works a treat on any dancefloor. 


    Sil says: The B side here is a killer folks, with just a light touch of pitched down sensitivity applied to Tom Tom Club, DanyB creates a monster edit worth the whole package. That is not to say that the flipside is not worth a mention. It is in fact a monster disco journey. Buy on sight as this will totes fly.

    The spiritual and uplifting music of Clifford White is highlighted with two of his most sought after songs, taken from his 1989 album The Lifespring, and presented here in a special extended 12" for the first time. Starting in music production at just 15, White could be described as a protegee, however his take is that they were part of a music journey that continues today. With a centre found in electronic music and spirituality, his progress, from simple home use 4-track stereo to working in professional 16-tracks studios was swift, but matched by a deeper appreciation, greater confidence and wider palette of music styles. Utilising his love of early samplers, his first use of the Akai S612 to accompany and expand his keyboard recordings saw continued development from his debut album at just 17 with Ascension (1985), to the follow up Spring Fantasy (1987) and on to The Lifespring (1989). A small review in the local paper literally led to a knock at the door and offer of a deal from the Start (State Of The Art ) label to record his next album. With a subsequent advance, professional studio equipment was hired and out of these sessions his sound expanded to include ambient, orchestral, synth pop and even ballads. From this both Lifestream and Rain Trek emerged. With a love of Jean Michel Jarre's Oxygene in mind, Lifestream's smooth beginning soon gives way to the pulse of an arpeggio driven groove. Aiming for "relaxation with an edge", the track has become a secret play for the more Balearic minded DJ in the decades since and now sees the LP trade for dizzying sums. However, the original is achingly brief, gracefully fading as part of the album's journey. Here though, with DJs and collectors in mind, White returns to the song to craft a specially extended version that completes the song and will be appreciated at sunsets across the globe. Seeking to take the music and listener to another place, Rain Trek took White's interest in Sci-Fi and the mystic powers of water to a rightful conclusion. The healing nature of his music is apparent, the mystery, yearning and travelling, all emotions evident, but with a kick that will grace the more enlightened dance.


    Patrick says: Divine dreamy electronics here, Emotionally Rescued from 1989. These two rare cuts combine all the best bits of Cosmic, Balearic and New Age into the kind of ethereal dance music you got from Dancing Fantasy or “Rainforest” era Hardcastle.

    Victor Simonelli opens up the vaults once more to unlock Groove Committee's "Dirty Games", the follow up to the seminal "I Want You To Know".

    Taking the blueprint from his timeless house classic, Simonelli reworked the bassline for this '92 follow up whilst holding onto that sublimely simple yet powerful chord progression, one that never fails to put a smile on the face. Add in a helping of swung hats and crunched up shakers and this is a classic by anyone's standards. The vocals - a charged up, evocative warning to a mistreating lover - fit the NYC garage house rhythm so perfectly and deliver a raw emotion to the track.

    Next up the "Dubb Mix" kicks off with the accapella vocals laid bare in all their glory, before that piano progression lays the path for the full force of "Dirty Games" to make its impact. There's more space between the vocals in this dub mix, allowing Simonelli's production prowess room to breathe. A surefire spine tingler from start to finish.

    On the B side, Simonelli offers up his 1993 re-edit, extending, elongating and beefing up certain elements to captivate audiences all over again. Closing out the e.p. is Groove Committee's '93 track "I Wana Hold You" produced in collaboration with Glenn 'Sweety G' Toby' - it follows that same garage house shuffling rhythm, with soul-laden organs and Paula Brion's killer vocals.

    Another much welcomed reissue of some of Victor Simonelli's most sought after tracks, remastered by the man himself for a new generation of listeners.


    Matt says: Everyday's a school day here at Picc HQ. This track lifts the piano line from Soft House Co.'s exquisite 1990 hit "What You Need", conjuring up instead, a fiery garage house slammer. House music history lesson over for today folks!

    Leon Ware

    Why I Came To California / Can I Touch You There

    Alongside Expansion’s release of Leon’s two iconic Elektra albums, back to back on one CD, two super rare 12” tracks are hereby reunited. The first issue of this 12” came in 1982 and was only ever intended to be for promotional use. Original pressings have sold for over £300. Leon Ware wrote and produced for an impressive array of other artists, most notably Marvin Gaye on “I Want You”, and his own work continues to be as in demand as ever. “Why I Came To California” (also on Expansion 7”) is one of his signature tracks and features guest co-vocalist Janis Siegel, a nine time Grammy winner and seventeen time Grammy nominee from Brooklyn, New York.

    Mang Dynasty are the collective force of Bill Brewster and Ray Mang. Both should need no introduction! Together they combine to form the mighty Mang Dynasty, and deliver 'Crash the Box' - a riot of afrobeat, house and disco stylings, laced expertly with horn stabs and vocal chops, guaranteed to light up any club or festival stage.
    On the remixes are two exciting up and coming producers currently making waves: Lord Leopard offers a chunky, abstract bumping house version that's good for the floor. Tee Mango takes a loopy disco excursion, with squelchy synth stabs and party starting vocal."


    Sil says: Exciting things happen to everything that Ray Mang touches! Like with the Idjut Boys, expect funky beats with tons of reverb and echo. Warm house disco afrobeat kind of thing for the discerning folk.

    Making his return to the label after last year's springtime favorite, Everlast, is Dorsi Plantar. Better Listen's twelfth entry in the main run marks their first repeat of an artist, and the Copenhagen man does not disappoint.

    Tack Farsan is a balanced sample-driven EP intended to milk the last of summer's flavors for the dancefloors enjoyment.

    The top side hosts sunny disco affairs in the release's title track, and a polished collab with label mate Sune. The logo side, on the other hand, explodes into deep latin affairs.


    Sil says: Hot hot hot for all disco house DJs out there. Four slabs of uncompromising, original and off the beaten track edits that will complement any house set smoothly. Worth every penny.

    New record from Distant Hawaii, the taste making label that's previously brought you top tracks from Hidden Spheres, Ross From Friends and David Garrett.

    Ciggy De La Noche is the moniker of some guy making tunes in our city... there's not much more info on him, but that dunt matter yet. What does matter is that these four tracks show off a producer firmly and comfortably in their stride. There's nothing forced at all as he effortless constructs four completely hypnotic and intricate deep house grooves that land somewhere between MCDE's finely crafted house jams and vintage Boo Williams / Glen Underground (!!). There's a certain pedigree at work here folks, and I'm predicting will be hearing much more from this talented producer in the near future.

    Big T I P on this one - don't sleep!

    Slightly introverted, melodic and highly textured tech / house track here that should appeal to fans of Compost records and producers such as Ame & Dixon, Sparky, Carl Craig and Auntie Flo.

    A deep and varied EP from Art Crime who's extensive discography includes releases on Crème Organization and W.T Records amongst many others.

    Powerful, technically proficient drum programming ushers in deep and dreamy melodic sequences with emotive chord progressions and warm atmospheres. Both dually cutting edge and accessible, it's tickle the fancy of a wide spectrum of dance music fans who simply enjoy well produced electronic music played on loud and detailed soundsystems - mint! 


    Sil says: Hi quality tech house for discerning listeners. Ranging from warm up da dancefloor type to more melodic, downtempo relaxing vibes. All of the cuts are ace.

    After a short hiatus the ever-dependable Mark E returns to his own Merc label with three new tracks in his own inimitable style.

    Displaying a depth and flair for aural innovation like no other, Mark plots a course through a heady trio of beautifully constructed machine-funk jams done in that slow and creeping style that's become his ident over a storied career. "Twilight Fade" leads us seductively into a slowly unfurling sonic soup, containing gurgling organs, a plethora of perc and a mélange of jazzy artifacts that recall a lost early Sound Signature joint. "Quarttz" opts for more nocturnal moods, with a glimmer of space techno, albeit highly opiated, peeking through the mix. Finally, "First Thing" on the B side, stretches out a few simple ingredients into a cerebral sonic banquet that's so undeniably Mark E it simply could not emanate out of anyone else's mind! Wonderful stuff from this mainstay and innovator. 


    Sil says: Since I met Mark E on Jisco Music I have followed him closely. He has had his ups and downs - like all of us, but this is truly his back to form come back. Chuggy is the word and dark is the vibe. You know the drill by now but be warned this is very very good. A builder and a staple in any good DJ record bag.

    Marcelo Antonio

    Suspension / Males De Otro Lugar

    Periodica offshoot Futurible continue to treat us more than kindly with a wonderous bit of Balearic boogie / sublime soft synth serenade (delete as appropriate) from Chilean musician Marcelo Antonio Galleguillos Torres. Though he may sound like the kind of South American midfield enforcer you'd expect to cause a career threatening injury after boshing too much per-match powder, Marcelo's actually a sensative soul with a musical mind. "Suspension" shifts through sunblushed PPU guitar licks and Roland claves, two steps around late 80s George Michael synth riffs and weaves a spell with wonderful Spanish vocals. Light as you like, the track trots the same saccharine streets as the more uptempo moments of the Menage A Trois catalogue, always a good thing in my book. Over on the flip, "Males De Otro Lugar" drops in with dreamy DX7 leads, breathy Berlin pads and divine pop vocals, hurting my heart but making me smile.


    Patrick says: Futurible's fresh 7" comes all the way from Valparaiso Chile, where Marcelo Antonio wanders the streets, trading in the most sensual synth pop around. Absurdly Balearic and totally limited, this is A-grade buy on sight tackle.

    Hard hitting house jams from the mysterious Freak D. Freak D is the self-proclaimed creator of ‘concrete funk’. The "Freakin EP" give’s a great introduction to the house sound of the label and the mysterious Brooklyn producer.

    "Breaker" combines rock solid, highly compressed drum hits with a high swing setting, warm Rhodes and a well placed male cry. Tuff NJ house embellished with wobbly b-lines and a jarring, elbows-out rhythmic structure somewhat harder and street ready than the slick 90s-indebted productions. "The Underground" sees the producer look back through the lens and to our own soil as rave sounds, big bass and garage-indebted drum hits add a distinctly UK flavour to the producer's palette. "Freakin" sees the producer skillfully construct a stripped back and tracky house masterpiece in which a lush male vocal part is aptly added to the equation. Freak D keeps it simple and addictive - two vital traits for good house music.

    The package is completed via an accomplished remix from Italian LDF who's previously graced Let's Play House. 


    Matt says: Proper killer house music here from Freak D. Big, loud n wobbly trax for the mainrooms and large stacks. Mega.

    Les Choc Stars Du Zaire / Teknokrat's

    Nakombe NGA / What Did She Say

    Rush Hour's in house label strike gold again, enlisting the curatorial prowess of renowned record fiend John Gomez for a superb split 12". 
    Both tracks on this winning double-sider were written by Tony Baron and Gery François, two Belgian producers that were involved in several musical projects on the New Beat scene in the 1980s. They worked under many aliases and recorded the Teknokrat’s haunting “What Did She Say?” at the famous Studio Madeleine in Brussels in 1989. Prompted by Jean Martin from Espera Records, Baron adapted the music into a further two songs to be released that year, Virginity’s melancholic “The Key”, and the surprising but ear catching collaboration with the label’s soukous stars, Ben Nyamabo’s Les Choc Stars Du Zaire. It is still a mystery how the seeds were planted for the one-off pairing that culminated in the electronic soukous bomb “Nakombe Nga”. What is certain is that it is set to light up dancefloors worldwide.


    Patrick says: Rush Hour get archival and re-ish two versions of Tony Baron and Gery François "Good Life" inspired groover from 1988. Cop a load of the Zaïrian Afro house smash “Nakombe Nga” by Les Choc Stars backed with the dope, largely unheard Belgium new beat version recorded under the Teknokrat's alias.

    A certified UK boogie bomb, originally released in 1982, and coming hot on the heels of the Be With Records Pink Rhythm reissue campaign. Original copies are incredibly hard to come by so grab a copy of this officially licensed, fully remastered, reissue before the 500 copies (for the world) find their forever homes.

    Side On were a one-off UK soul dream team, consisting of Peter Maas (Freeez/Pink Rhythm bassist), Everton McCalla (Freeez/Light Of The World/Potion) and the legendary Rick Clarke (Potion). 

    Originally released on Beggars Banquet, it's a huge, feel good, Brit Funk classic and a massive record with everybody's favourite boogie aficionado, Dam-Funk.



    David says: Hoowee it's getting hot in here, did someone put the heating on? No? Then it must be the fire that is Side On's 'Magic'playing in the shop. The ace, Beggars, Brit Funk classic, lovingly restored just for you, you lucky LUCKY people.

    Perfect for the mystic months of Autumn, comes a bewildering and enchanted specimen from the On The Corner cartel.

    Dengue Dengue Dengue are a Peruvian duo specializing in electronic voodoo psychedelia. From their shamanic roots in Lima, Peru - itself shrouded in ancient folklore and tribal practices - they update, no, evolve, no, offer up to the cosmic gods their olden local rhythms before beaming them back through their machines after a light speed transformation through the spiritual realms.

    For the label already deemed ‘Label of The Year’ at the Worldwide Awards, On the Corner are crossing more borders and breaking down the silo of left-field sounds having now been nominated for the ‘Best Small Label’ gong at the prestigious AIM Awards - making this a perfect place to present these magical sounds.

    Although meticulously produced and sounding nothing but cutting edge, the themes, rhythms and melodies leave you wondering as to the lineage and history, themselves perhaps older than the listener or the performer. Indeed, "Habu Raminibu" is a healing chant of the Huni Kuin people whose ancient home is located deep in the Amazon where the borders of Peru and Brazil meet. Here, it's given an electronic bolstering yet loses none of its majesty.

    The spiritual concept running through this mini album / E P is summed up in the meaning of title track’s name. "Semillero": an incubator or seed. A place where new generations of life, culture and talent is nurtured, initiated, and bestowed with precious responsibility and knowledge. These are healing, evocative transmissions that you feel bestow much more onto the listener than the fickle world of dance music can allow. Although rubbing up perfectly again the current 'shamanic house' eruption, Dengue... have created something overwhelmingly direct and transcendent - to the point that this vinyl release; almost limited to underground DJs, dancers and collectors due to the sheer nature of its retail - deserves infact to be heard by the global village of shamans and spiritualists looking to expand the mind, body and consciousness. A truly powerful record! Highly recommended!


    Matt says: Another week, another trip down the rabbit hole as the shamnic delights of Dengue Dengue Dengue are offered up for our ritualistic enjoyment. Perfect music for anyone that's had any luck in the fields, woods and pastures ;)

    Ill Considered

    Crawled Back Home / Soul Provider

    Ill Considered are quite possibly the most dynamic and exciting jazz combo in the UK today, if not the world. On the label Jazz45 which support creative jazz artists; this is the third in their new series. Four serious musicians who click, connect and deliver fire music with ease and conviction. Ill Considered’s new seven inch feature tracks which are seamless and beautiful, you’re in for a treat with this one. It’s a limited single with only 600 copies worldwide so be quick with this one. 

    Young Paint (aka Jade Soulform aka Francis aka Generation 4 aka AZD) is a Learning Program that has been progressively emulating the Greyscale to Silvertone process Darren J. Cunningham started during the recording of the Hazyville LP on Werkdiscs in 2008.

    A decade later much of the Actress material, both composed, recorded and performed live has incorporated partially independent YPAi. Throughout the course of 2018 and into 2019 both Actress and Young Paint will record, conduct and perform collaboratively. Their Live AV show at the venue Art Peckham, London on Saturday 13th October will be a debut performance of the Young Paint material. The Mini album Young Paint will be released on limited Vinyl end of September 2018.


    Matt says: Fuck me is it 2018 or what?! No more musicians, no more DJs or producers even. Just AI-scripts running in-built modular programs as the Black Mirror of the music world rears its ugly head. And yes, you've guessed it - it sounds mint!

    MSL hails from Montreal, Canada. For their Bakk debut the duo present three electrified dance tracks that straddle the abstract and unusual.

    "Re-Adapt" combines classic drum box rhythms with growling bass and rich analogue sfx. Skillfully mixed, the hats n snares really jump off the wax while the kick tickles the ribs in just the right places.

    "Alva C" sees squelchy, mangled drum artifacts strung together into a concise rhythm while sharp freq sweeps introduce a baggy b-line, transforming the cut into a wigged out electro-funk beast that'll destroy any floor.

    Finally, "Overclock" revisits classic 808 electro, utilizing all the best functions of the iconic drum box before acid bass and ghostly vox stabs add to the most fervent of mixes. Mega stuff here most recommended. 


    Matt says: Worth it for the second track, "Alva C" alone. Absolutely killer.

    Kuniyuki Takahashi

    The Call Super Mixes

    A super release here from Mule who let the London whiz kid loose on Takahashi's "Newwave Project" stems.

    "Newwave Project #2" is first up. CS wrapping dreamy, stretched-out chords, far-sighted synthesizer melodies and dubbed-out electronics around an abstract, tribal deep house groove that wouldn't sound out of place on a Deep Dish record...

    Next, he turns his attention to "Puzzle", delivering a breathlessly loved-up interpretation rich in trippy sfx, angelic melodies and with a wholly empathogenetic outlook.

    Both tracks skirt with the proggy, drawn out dynamics that symbolize a lot of Mule's output; with Call Super adding just the right amount of rhythmic and melodic embellishments. Top stuff. 


    Matt says: Tasty double header for the deep heads. London's Call Super offers up some suitably proggy and advanced interpretations of Takahashi's "New Wave Project". Ace!

    Gnork and Luv*Jam have worked closely together for many years now. The "Blorp93" yellow vinyl surfaced in 2013 and was championed by the likes of RVDS, Bradley Zero, DVS1, Ruf Dug and Wolf Music; becoming somewhat of a dream house anthem. Gnork's offered up a fresh new version here for 2017, alongside five more secret nippers that have been doing the rounds on CD-r with the public feverishly demanding their pressing! Alongside "Sexxx In Space" we get a heads-down, techy groover from Schmitt Trigger plus a new version of the interstellar love song "Wat" of RAW.4. Two blissed-out Luv*Jam reductions complete the package, leaving the listener drifting carefree in their space capsule. Essential listening for fans of dream house, Gnork, Red Planet and the whole Luv*Jam microcosm.


    Matt says: Luv*Jam's just dropped up a super secret stash of Dream House / Crow Castle cuts merch. LAST CHANCE SALOON on this cuts guys as the label closes the book on the past and looks to the next chapter. Do not miss this iconic UK dance music relics!

    A very special EP from Jimmy Crispyn, who helped kick off the whole "Dream House" series with "Dream 1.1" Jimini drops a full solo EP full of delightful vibrations. "On The Road" kicks off the record; a beautiful, lush and languid soundscape of sensuous female vocals (provided by Molly Knew), delicate synth parts and goosebump-inducing chord progressions. "Hopeness" deploys a similar sound palette - synthesized textures which glow with an earthly radiance. Over this however we get some retro-tinged breakbeats, making for a darn epic 90s-flavoured joint which should get the whole floor beaming brightly as they sway, united under the beat. "Little World" slowly brings us down from the elevated highs of the previous track, wrapping us up in its glorious frequencies and serenading us into dreamworld. "Wishes" concludes the set with a nice weighty kick drum and solid groove. More tantalizing synth and pad elements are layered up with precision while organic percussion lets loose in the background. Wonderful EP from the poster-boys of the (proper) UK deep house scene at the moment. Recommended.


    Ltd 12" Info: Transparent burnt orange vinyl, with hand stamped toadstool sleeves and 40mm micro dot labels.

    Luv*Jam back once again with the renegade masters- fully certified, international bobbers from Palmiarnia, Forli, Ness Ziona and of course the Knaresborough Dream House HQ. Featuring the nippiness of Møzaika, RNR, Deep88 with L*J on dream sequence and art house vibes. Illustrations from Sebedražie with Peter Mokry.

    Fans of the series know what to expect now - they've pretty much cemented their own style of electronically powered Balearic / deep house although genre categories detract from the sheer uniqueness of this camp. Highly textured, crisp and soundsystem ready, yet often with a tongue-in-cheek element and definitely NOT scratching their overgrown beards as they roll out the highest quality DANCE music. Keeping painfully contextual, this release sees the pairing of house sensibilities with rawkus breaks, side chained pads undulating whilst permeated by thick walls of bass and melody. Lush music for the dreamers and dancers and highly recommended here at Piccadilly HQ. TIP!


    Matt says: Luv*Jam's just dropped up a super secret stash of Dream House / Crow Castle cuts merch. LAST CHANCE SALOON on this cuts guys as the label closes the book on the past and looks to the next chapter. Do not miss this iconic UK dance music relics!

    With its lush live string and horn section, "Can’t Stop Loving You", when originally released in 1990, was an immediate favorite in the UK, and represented famed house producer Marshall Jefferson’s movement toward utilizing live instrumentation in his productions. The track was released right around the time the Kiss FM London launched as a legal radio station, and Richard was support talent at the radio station launch party in Hyde Park London that was headlined by fellow Chicagoans Ten City.

    The track also represented one of the last releases on the relaunched Sam Records imprint, before Michael Weiss ceased releasing new titles on Sam and started Nervous Records.

    Krystal Klear has shown a unique ability to recognize sonic elements trends from past eras, and re-shape them to work for today’s club crowds. With his two versions, he has done a masterful job remixing this early 90’s dance classic.


    Matt says: Krystal Klear continues to revamp the best bits of 90s house music for the club kids of today. Two versions here, both epic in their own way. Yes mate!

    Creeping, highly detailed and really quite melodic bass hybrids here from the prolific Smokin Sessions. Escapism Refuge's third EP for the label with two originals backed with a remix from Compa.

    "Misfit" is a beautifully poised, emotive bass anthem. Delicately plotted melodies riding a smooth sub bass glide and powerful chord progression. Wonderfully produced drum hits seal the deal on this bass baby as it flips the genre on its head and appears all tender and caring.

    "Stuck" sees skitty, rapid-fire drum and bass programming that characterizes UK bass music placed at the forefront of the mix; while those angelic pads and heavenly melodies wait patiently in the recesses of the mix. Anthemic rave piano stabs are chopped and piano-rolled into MIDI while a rumbling jungle sub bass ensures the soundsystem's kept awake and busy for the track's duration. Top stuff.

    Finally, Compa twists "Misfits" it summat a bit darker and more typical of the genre stylings - a fierce sawtooth bass sweeping thru those iconic claps while the original melody is somewhat opiated and shifted into darker musical regions. Killer stuff this - atmospheric and highly textured and a an EP that is undeniably NOW. You need. 


    Matt says: Emotive and stylish bass hybrid here that seems a bit more thought out and sincere that some of the speaker-swamping also-rans. With a poised, song-like structure and lovely melodies this could well be the bass crossover record that you're looking for. T I P!

    Remastered reissue of one of the rarest boogie-funk oriented Italian releases: Matakena, a one-off, Italo-boogie studio project from the same producers behind Kano. "Nuts On Me" should be familiar with MCR's Italo / boogie heads through extensive plays at Wet Play, Red Laser and Full Beam! club nights and radio shows respectively - a feel good slice of electronic funk that bobs and bounces in delight - galvanized by rock solid Strat chops and huge squelchy bass part.

    Best Record Italy do the do, backing the track with "Aphrodisiac" (which was on the original conception of the release) along with the instrumental version of said track that WASN'T included on the OG version. I have to say too, the vocal parts on both songs can be a little too sugary sweet for some people, so it's super useful to have the instrumentals just in case the mood demands summat a bit more low key.

    Imperative re-ish! 


    Matt says: Tasty moocher that previously graced "Full Beam! Vol. 1" sees an official remaster here from Best Records Italy. It's a doozy!

    NYC dance music demigod Francois K's 1995 EP for his own Wave Music imprint has stood out as one of the most seminal and concise EPs in deep house history. Four tracks that tweak melodic, rhythmic, cerebral and physical stimuli into a record purpose built for late night abandon.

    Freddie Turner's heavily styled NYC vox ride elegantly against FK's keyboards and immaculate drum programming on opener "Hypnodelic" while "Mindspeak" mixes jarring rhythms, ravey bleeps and funky grooves with a reckless confidence and unparalleled inventiveness. "Edge Of Darkness" should be regarded as the high watermark all house producers look to when composing up percussion-led slices of dancefloor voodoo - not many can touch this track for primal energy and the real roots of house. Finally, "Moov" allows a plethora of cosmically aligned synthesizers and keyboard to converge on a rock solid jack pattern for a historic piece of intergalactic dance music few will rarely come close to.

    A true musical god who's influences and legacy can be felt right now across all aspects of dance music; this is a brilliant opportunity to own one of his most pure and quite frankly inspired moments of genius. 


    Matt says: I once had a proper battered copy of this from Vox Pop (RIP). Even through the crackles it became one of my most treasured deep house records. Absolutely buzzed to be able to replace my copy with a much more playable fresh version! Up there with Instant House's un-beatable 1988 - 1993 output, it took the baton of deep house into the mid 90s with a flair and sophistication few have matched. Essential!

    More hot stuff from Joe Gibbs' archive. Follows the instant sell-outs from Silford Walker, Dennis Brown and Dhiama.

    "Babylon Too Rough" is 1975 recording on "Easy Take It Easy" rhythm. It screams pure roots and culture with both its instrumental, lyrical content AND dub inflections - it doesn't get much better than this!

    Flip, and "Heart and Soul" is a 1977 recording on the 'Mean Girl'. It's a much more lover's rock flavoured cut with optimistic, bright key changes and organ part. The vocal, by Junior Byles touches on the classic vintage style as he discusses offering up his heart and soul to Jah.

    Side A features vocal and dub cuts separately, while on the flip, "Heart and Soul" runs seamlessly into "Give It To Jah", the dub version.

    More essential stuff from the archive - limited copies as usual!


    Matt says: Another salvo of Joe Gibbs archive material lands. All of it killer, but we have to decide on one.... I love these 10"s - beautifully presented, pressed nice and loud and always including that all-important dub. So there winner, this week, is this!


    Ltd 10" Info: Limited 10" pressing in printed disco bag.

    Hot shit outta Milan! A group of Italian sound designers, DJs, promoters and general culture maveriks, Funclab started out in 2016 and their artistic pracice ranges from video art to documentary films to sound and environmental installations alongside photography, radio shows and fashion soundtracks.

    How then, you might ask, do these three late night club tracks fit into their itinery? A pumpin' house track that rivals last week's Adelphi Music Factory; a concentric and hyper funky MPC jam that gives Theo P a run for his paper; or finally, a lo-fi redolent canvas that lands firmly in the NOW?

    The answer is I've no idea but that shouldn't trouble you. I've a feeling this EPs gonna be feverishly collected in time. No hype, max content, mega vibe. Don't miss out!


    Matt says: Piccadilly customers will know by now that we have a soft spot for anything Italian. Whether its the slick disco and cosmic sounds from the past, or the gut bursting avant-noize of the future, this new collective treads a stylish and fashion concious route into 'lifestyle upgrades' (following of course the Wet Play blueprint), dropping this killer house 12" off in the process. One to watch for the cooool cats.


    California Love (feat. Cory Henry) - 7" Edit / Shiznit

    Tru Thoughts give us a special DJ friendly 7" single plucked from Sly5thAve's ace Dre-centric set from earlier in the year. In this instalment, a rework of Dre’s notorious “California Love” is paired with Snoop Dogg’s timeless “Shiznit”. “California Love” combines the character of the original with the G Funk sound that dominates the West Coast hip hop scene, Sly5thAve’s arrangement unites the realms of orchestral and hip hop music in this welcome outing. Under his direction, the undeniably smooth arrangements amplify the lessons in Dre’s music which are held at their core. “Shiznit” champions an iconic bassline and Sly5thAve’s arrangement illuminates a suspense-filled horn section, sidling up against a smooth flute and Moog counterpoint before a cosmic string-addled vibrato takes control. In this recording, Sly5thAve calls on highly respected synth player Jesse Fischer.

    Jerry Butler & Jerry Peters / Jimmy Smith

    Melindo Latino / I'm Gonna Love You Just A Little Bit More

    ‘Melinda Latino’ is taken from the awesome ‘Melinda’ OST written by Butler & Peters, released in 1972. This is a heavy track right from the first beat - harps and breakbeats, leading into a soul piano mood, huge strings and backing vox. Jimmy Smith’s version of Barry White’s ‘I’m Gonna Love You Just A Little Bit More Baby’. A very dope intro break leads into crazy vocal chops before heating the main melody, in true Jimmy Smith style. Taken from his ‘Black Smith’ LP for Pride, released in 1974.

    Adelphi Music Factory


    When a BRAND NEW house record by a BRAND NEW artist suddenly clocks up a load of pre-sales with very little hype you know summat special is in the air. Ok so it might have got a few plays on 6Music, but this is London-based Adelphi Music Factory's first ever record and on small-run, limited white label - what the fuck is going on?!

    What you do need to know is that "Javelin" is a full-throttle, max-NRG, hi-octane house thriller that takes no prisoners. Loopy and charging with a huge gospel cry, it's like Paperclip People and Floorplan making gospel house music on Karlovac or No Fit State and will surely ignite any floor under its incendiary power.

    There's a 'dub' version (cough), which relinquishes nothing in terms of energy but does away with that mind-mangling vox that sets the drops alight.

    All in all 110% power for your next mainlined DJ set - always wear head gear!

    Light blue touch paper and retire to the safety of the DJ booth! Parquet Courts meet Danny Krivit uptown for a punk funk / disco-not-disco / indie dance special which couldn't be more Piccadilly if it tried. Not only does the A-side of this limited disco platter combine the musical talents of two of our all time favourites (2012 Album of the Year winners Packet Quartz and ten time All Star Edit champion Danny Krivit) but it also sounds like it's beamed in store directly from the Hacienda circa 1987. Taking the loose funk of PC's album stand out "Wide Awake!" and running with it, Mr K lets those slacker guitar licks ride tumbling drums, teases the odd electronic beep and lets the shout-a-long vocal drop before finally letting us have the full force of the bassline. Groovy as it gets and boasting all the bells and whistles you could ever wish for, this is the greatest dancefloor jam Madchester never wrote for luck. Flip it for a heater from the other end of the Hacienda spectrum as Australian producer and engineer Mikey Young replaces the bassline with an electronic pulse, strips the percussion back to a roland jack and stretches the track out into the kind of club killer you'd expect to hear Park or Pickering hammering at the end of the warm up. The Aussie closes the set in slamming fashion with a fucking punishing acid techno rework of "Normalisation" which rattles through the wormhole at a dizzying 150 bpm - techno punk at its finest.


    Patrick says: Garnering maximum Piccadilly buzz right now, the combination of Danny Krivit's edit expertise and the slacker punk-funk of Parquet Courts has the old guard reminiscing about their halcyon days at the Hac or blah, and us young'uns reliving the DFA era with endorphin soaked enthusiasm. Chuck in a Mikey Young's Manc house mix and techno punk stormer and you've got yourself a killer kid!

    Tony Allen & Jeff Mills

    Tomorrow Comes The Harvest EP

    Lock yourself into the beat, but don’t become prisoner to it. The techno pioneer Jeff Mills understands that only too well. In his quest to liberate himself from the tyranny of the sequencer, Mills couldn’t wish for a better partner than the father of Afrobeat.

    Many consider Tony Allen to be one of the greatest drummers alive. In the last thirty years, his signature mix of Nigerian roots, polyglot jazz and no-fuss funkiness has spread like a virus, infecting the work of artists as diverse as Damon Albarn, Charlotte Gainsbourg and Moritz Oswald. Jeff Mills is a titan of the electronic dance scene and a tireless innovator, who helped to give birth to the 1980s Detroit techno scene before going on to compose electro symphonies, soundtracks and sonic odysseys inspired by futurism and space travel, working with visual artists, choreographers, classical orchestras, even astronauts.

    His collaboration with Tony Allen is another rhythmic conversation in a long and well-established discourse, but a special one too: “It really is a pure collaboration, not just through music, but in our minds and spirit as well.” The same goes for Tony Allen. He has already collaborated with quite a few electro artists during his long career but this is something else. “The difference is that Jeff can play with me, whereas the others cannot play with me. I can only play with them, but they cannot play with me…yunastan?”

    The pair first shared a stage in December 2016, at the New Morning in Paris. Their live shows have become a rhythm summit without equal, a chance to witness two of the world’s most innovative beat-makers, supplemented by the Moogs and synths of Jean-Philippe Dary, fusing past and future into an intense, seamless present where digital and analogue, jazz and electro, Africa and America, the source and the delta, become one.

    In some ways Allen and Mills have already fashioned their own sovereign self-designed state, one where improvisation, creativity and instinct reign. It’s rooted in Africa, yes, but like the music of Art Blakey, it goes beyond Africa, beyond America, beyond the force-fields of history and the structures of technology. That’s all the excitement - to get on board with two of the world greatest living masters of rhythm, set the controls for the heart of their spinning world, and boldly go into the unknown.

    Hot Chocolate / Gwen McRae

    Heavens In The Back Seat Of My Cadillac / Keep The Fire Burnin' (The Revenge Edits)

    Following the dancefloor footsteps of the record pools, For Discos Only thrive to give the front line DJ the finest underground edits and mixes for the discotheque. Carefully digging for obscure or forgotten versions of the finest tracks, the label invite the hottest editors and mixers to open up their archives and share their secret weapons with us all via the medium of the 12" record.

    Their second offering pulls together two of THE biggest edits from the last 20 or so years, so big in fact that they are regarded as classics of the genre, absolute monsters that now fetch tidy sums in their original forms. That's right folks, they've asked the mighty Revenge to give us his versions of BOTH Hot Chocolate's 'Heaven's In The Back-Seat Of My Cadillac' AND Gwen McCrae's 'Keep The Fire Burning' and he duly agreed! They then cleared both of these versions to be released on FDO with the license owners and catalogue controllers, had them remastered and pressed onto a high quality 12" for your maximum playback, dancefloor pleasure. This is one essential 12" for any serious lovers of the Boogie, Funk, Soul and Disco underground, boasting 2 of the largest reworkings to ever come out of bonnie Scotland. Do not sleep on this!

    These versions are designed to remind the dance-floor of where we came from musically in a respectful, modern fashion. Giving a nod to the pioneers who came before us in the DJ booth. Absolutely essential tracks for the late night dancers. All mixes are 100% legit, licensed and sanctioned. For Discos Only is a BOOTLEG FREE zone. Too legit to quit.


    Patrick says: Around ten or so years ago, when I first met my friend and colleague Silvestre, we were living through the glory days of editmania - and alongside Mark E and Todd Terje, The Revenge was frankly untouchable. Here we have two of his finest edits, fully licensed, remastered and slapped back to back on fresh wax. Approved by every DJ who's worked here over the last decade, these are must have tracks.

    Freddie Scott

    (You) Got What I Need

    Neck-snapping soul masterpiece from Freddie Scott, famously sampled by Biz Markie for his melancholic pop-rap hit "Just A Friend" and a surefire piano-driven basement party anthem in its own right.

    The work of the legendary producers Gamble & Huff, the track was also sampled by Ghostface Killah for the wonderful "Save Me Dear" with Jay Dilla also utilising the crunching drums to lace many memorable productions for A Tribe Called Quest and Slum Village.

    A peerless piece of deep soul and hip-hop history, here's your chance to own the first ever officially licensed reissue on 45.

    On the flip, "Powerful Love" is uptempo guitar-soul with finger-popping swing. Featuring delicate horns and gorgeous backing vocals, it's an unfairly slept-on gem but, given the weight of the A-Side, this is perfectly understandable.

    This special 7" single comes housed in a heavy duty custom printed full-colour company sleeve and is limited to just 500 copies.


    Millie says: This soul seven-inch could brighten up any dull day, Freddie's irresistibly vocals wash over you with happy warmth. When you get this you'll be thankful everyday!

    Helio Matheus / Doris Monteiro

    Mais Kriola / Maita

    Those digging experts at Mr Bongo do it again, raiding the crates to bring us a pair of super groovy Brazilian cuts, recorded 30 years apart. On the A-side we get the soulful Rhodes and synthy squelch of Helio Matheus' "Mais Kriola", a lovely laid back mid tempo boogie/soul/fusion jam, which first appeared on Brazilian Beats Brooklyn compilation put together by Greg Caz and Sean Marquand in 2006. Over on the other side we get the cocktail hour cool of "Maita" by Doris Monteiro. A wonderful piece of warm, upbeat MPB fusing carefree vocals with free flowing guitar and an infectious Brazilian rhythm, "Maita" originally appeared on her ‘Agora’ LP from 1976, released by Odeon.


    Patrick says: Fresher than a caipirinha on a hot summer's day, this Brazilian double header from Mr Bongo is simply gawjus. Boogie fusion from Helio on the A-side, breezy MPB from Doris on the flip - Beleza!

    Brand new Omar S, arriving as ever with little fanfare but instantly hitting the spot. A-side tracks "Less Pain" and "Untitled" are two familiar blueprints to the FXHE engine. The former is a early doors tickler with tasty vocal chops and church organs, the former is a dubbed out, techy number with that patented Omar S fizz.

    B-side track, "One Of A Kind" is a huge proto-boogie-house crossover with warm piano chords, even warmer B-line and a melody that'll conjure up memories of Italo through its sawtooth digital synthline.

    It find Omar as reliable as ever - multi-purpose music for multi-purpose individuals with absolutely no superfluous bullshit. Even the cover is well street!



    Ltd 12" Info: Hi-gloss hi-def picture sleeve!

    De Ambassade

    Wat Voel Je Nou (2018 Blue Press)

    Knekelhuis offer a welcome reprise to those of us too slow to grab a copy of this modern wave classic with a 2018 reissue in icebox blue.
    Hunkered down in the concrete grayscale of the Amsterdam suburbs, we find  Pascal Pinkert (Dollkraut) working on his darker wave salvation under the De Ambassade alias. This debut EP forms an alliance between the past and the present, housing a pair of one take recordings, drowned in reverb and captured on vintage technology. The result are poppy wave tracks that shiver your spine and let you chant along to lyrics from the Dutch lowlands. 


    Patrick says: A perfect companion to Knekelhuis' recent compilations of Dutch Cassette rarities, this repress of De Ambassade's 2016 retro-ist hit "Wat Voel Je Nou" arrives right on time, dressed to impress on blue vinyl.

    Junktion Presents New Franklin Theory

    Chemical Boogie

    Hans Peeman's side projects, Junktion and New Franklin Theory; ahem, 'collaborate' here (if that's physical possible, quantum physisits?) demonstrating five tracks of fresh and funky music indebted to house music but possessing more than its fair share of funk, rhythm and soul.

    "Andromeda Beach" eases you into the spacey atmosphere of the record with dreamy Rhodes supported by his distinctive percussion and bass work. "Homeward" introduces gilded, wobbly synth lines and analogue bass - the perfect blend of Balearic-boogie that'll soundtrack a hundred joyous moments without ever getting boring. "Afterburner" ups the tempo with warm Juno sounds and loose perc, an organic house hybrid with buckets of emotion. "In Orbit" continues in earnest, Peeman's solid drum palette and synth collection registering itself in our conciousness again with another well constructed amalgamation of house, boogie and world rhythms. Finally, "The Holtzman Effect" smoulders on into the night with a deeeep jazz mentality; still supported by those fluttery conga patterns and sloppy hi-hat patterns. This is a truly amazing EP folks - sonically concise and succinct throughout and deliverying at every opportunity. Strong!


    Matt says: Hans Peeman comes into his own here, practically owning the organic house / synth-funk genre. RIYL: Yadava, Hidden Spheres, The Rotating Assembly, Rhythm Section etc.

    Beaumonde cement their status as a label to watch with a mega reissue of this overlooked Cameroonian boogie bomb by Dick Dickson. He was clearly aiming for the US funk sound in fashion at the time when he recorded "In The Pocket" in 1986.The session took place in Togo and had band members come from Congo, Cameroon and the French West Indies making the music of "In The Pocket" an outstanding rendezvous between electrified-boogie and African influenced groove. With the help of Régine Féline’s sensual voice, melodic synth pads and distinctive slap bass, "In The Pocket" grabs you instantly. Totally overlooked upon its release, BeauMonde felt that Dick Dickson’s unique offering deserved a second chance, so make sure you take full advantage. 


    Patrick says: Thoroughly groovy Afro-funk fire here from Cameroon-born Dick Dickson and his overlooked 1986 boogie bomb "In The Pocket". Aside from a superlative example of slap bass excellence, the track tugs at the heartstrings with spiralling synths and smooth vocals - Mega!

    French disco hero Marc Cerrone celebrated 40 years of mirror ball majesty in 2016 with the release of the "Afro" EP on Because. Now the legendary producer, arranger and musician returns with the second chapter in his "Afro" series, serving up two more brand new compositions full of grooves and good times. 
    “African Voodoo” and “Papa Oye” are his two new songs paying a passionate homage to Africa and its syncopated, spontaneous and genuine rhythms. The shuffling rhythms of "Papa Oye" propel the full bodied bassline, wah guitar and female vocals straight into the peak time, while the poly rhythmic pulse of "African Voodoo" sends those space aged synths, funk organs and slick bass into outer space - properly cosmic!


    Patrick says: Though he's now in the 42nd year of his recording career, Cerrone's appetite for dancefloor destruction remains utterly insatiable, and this brand new 10" cuts many a rug in classic Afro-disco style. This is ace!

    You may know of “Rude Movements”, an early dance music classic produced by SunPalace (Mike Collins and Keith O’Connell) back in 1983 that brought together proto-house, Balearic beats and funky vibes. In 1984, the tune quickly became an anthem that could regularly be heard at David Mancuso’s 'The Loft' or at Larry Levan’s 'Paradise Garage' for example.

    Thanks to Mike Collins, the studio veteran still in the business after more than 35 years and currently busy perpetuating the legacy of SunPalace, more material from the archives has been ‘surfacing’ over the past few years on UK-based record labels. After a very productive meeting earlier this year, Parisian label Chuwanaga present four unreleased songs produced between 1982 and 1984!

    Co-written by Mike Collins from SunPalace and Breeze McKrieth, a founder member of Britfunk bands Light Of The World and Beggar & Co, these "Lost Songs" are the almost forgotten result of this seminal collaboration, an exclusive musical rendez-vous between experienced studio music makers and funksters at the top of their game, including some of the finest Britfunk musicians. Bringing together eighties influences and futuristic sounds, the result covers a wide range of genres, from jazz-funk to new wave: it captured a unique moment in British musical history, a smooth transition to a more electronic sound. Definitely not one to be missed!


    Matt says: SunPalace are demigods amongst me and my crew - but we thought we'd exhausted all the good shit! Not so it seems as Mike presents four more crucial tracks from the UK Britfunk underground.

    Massive all star cast here for another Royal Oak release. Brooklyn / NY titan Jovonn gets remixed by long running German talent Ian Pooley, Detroit stalwart Mike Huckaby and French DJ / producer / record label head - DJ Deep.

    Radiant, and typifying the NJ / NY swing, "Pianos Of Gold" gets bolstered by Pooley who adds some intricate analogue effects and highly enjoyable delay sweeps making it a much more intoxicating and enveloping listen for deep into the sesh.

    "Be Free" is equally deep, a shuffled house beat keeping us completely locked in while fluttering Rhodes and a full vocal give the track its song like structure.

    "Show U Love" is my personal favourite, DJ Deep taking plenty of elements from the OG but makin' em squeal and bounce a bit more manically, transforming it from a smooth gliding deep house into a more elbow-out, chunky number that'll stimulate 2k18's fervent yoot much more than the original. 

    Those shadowy folks behind Ombra International make their first foray into the edit scene this week, inviting some of their nearest and dearest to drop a pair of dark wired reworks. On the A-side Tel Aviv's Hectik and Asaf Samuel come with a vicious edit of a drunk and rowdy wedding classic. Taking full advantage of Billy Idols muscular new wave chug, the duo layer fx and delay over a teasing extension of white wedding, keeping us locked in a wormhole of screaming guitar and cavernous reverb until finally letting a little of that vocal slip. Over on the flip Mexico's Mufti takes the maserati into overdrive with his rework of an unapologetic 80's heater. International waters wont be muddied by this unity of lust and fury.

    Almost three decades after he put out his first record as one half of Tummy Touch twosome TuttoMatto, Paulo Guigliemino continues to produce effortlessly brilliant music that joins the dots between vintage disco, boogie, proto-house and sun-kissed Balearica. For proof, just check the heavyweight dancefloor sunshine that is “Bella Topa”, his first release on Leng Records.

    Slow, sensual and blessed with all manner of delay-laden drum machine percussion hits, the track fixes the producer’s usual colourful, boogie-era synth flourishes and ear-pleasing instrumentation (think fluid electric pianos, fluttering flutes, eyes-closed jazz guitar solos, lilting saxophones and spacey electronic chords) to a chugging, head-in-the-clouds groove reminiscent of Lindstrom and Prins Thomas’s early collaborative work. “Bella Topa” cleverly shifts shape several times throughout, utilising jazzier rhythms and bolder melodies to light up key moments.

    Remixes come from Guigliemino’s old pal Federico Marton, a producer best known for being one half of sometime Get Physical, Superfiction and Snatch Recordings artists Italoboyz. He lays down two distinctive revisions, starting with a “Slow” club reconstruction that adds additional percussive heaviness and sparkling electronics to Super Paolo’s twinkling, sun-baked original.

    His other version, a “Fast” club reconstruction, drags Guigliemino’s track towards peak-time dancefloors kicking and screaming. Making the most of his friend’s killer groove and finding sufficient time and space for each life-affirming musical element to sparkle, his mix bobs, weaves and eventually soars for 12 mesmerizing minutes. The mix, like his slow version, makes use of additional percussion and wisely gives more prominence to the A-side’s spacey electronics and boogie-influenced synthesizer flourishes. The results are little less than breathtaking.



    Incognito Amsterdam house music that swings and spits; be it in a very dusty and lo-fi affair.

    Side A couples a highly swung MPC beat with a hazy sax line and soulful vox, transforming turn-of-the-millennium jazz house into summat that the kids of 2018 will lap up faster than xanax and trap music.

    Side B deploys meandering jazz horns and keys to some reversed atmospheres and romantic piano passages making for an interesting interlude piece that's full of character.

    Julie McDermott

    Don't Go - Gerd Janson / Ejeca Mixes

    2018 continues to the be the year of the rave renaissance (is it ALL down to Il Bosco's infamous Boiler Room appearance though?! - Matt) as one of the all-time classics, "Don't Go" by Julie McDermott gets a reworking by modern day superstar Gerd.

    Produced by Awesome 3 (who seem to remain unaccredited here) and made in 1992 (for some the golden year of 'break hardcore'), "Don't Go" epitomizes the genre - big breaks, dark sections then breaking out into the spine-tingling euphoric light that is THAT piano line / chorus. Gerd, thankfully, leaves said piano line untouched, but refines the arrangement slightly for today's slightly slower and less sprawling DJ sets (remember in 1992 ecstasy was much cleaner and raves went on for 24 hours - meaning that the one-hour-DJ set was pretty much unheard of). He adds a bit of extra weight too, for the heavier soundsystems of today.

    On the B side, Belfast's Ejeca flips "Don't Go" into a heavy-hitting, rave tinged, techno bomb. His inventive sampling turns the synth stabs and vocals on their heads, making them almost indistinguishable, but no less impactful, from the original. It's over four and a half minutes till the iconic chord progression is heard in its initial form, before Ejeca throws it back into a rapid fire, industrial thumper. Secret weapon tackle for sure right here!

    Lastly, Gerd serves up a "VIP Dub" mix echoing claps and synth lines into the stratosphere whilst leaving the vocals at bay, save a short cry of 'Don't go' from Julie towards the end of the track, allowing those anthemic elements to do the talking.

    A modern touch on an all-time classic from Gerd with a complete reinterpretation from Ejeca, this is a heavyweight release and one that's already being played by the biggest and the best out there. **SMILEY FACE EMOJI**

    "Oi! Mutter!" is Michael King featuring UK Apachi's classic jungle vocal. Initially released as a white label in 1997 at the height of the first wave of UK Garage. This EP was only pressed in limited amounts and now commands over £80 second hand. Combining THAT vocal part with a typical Reese-jungle B-line this is one of the finest hybrids of jungle and garage that has ever existed! The result of a chance find of the DAT tape. Remastered and re-cut by Music Preservation Society. An essential for any UK garage fan or people with an inkling towards sound system culture. TIP!

    Mental rekkid this. Gonna have to pass you over to the sales notes to get much of the story across....

    'I first came across this 6 track EP in Selecta-Disc, Northampton, it has been a treasured record in my collection ever since. On the original issue the most popular track, "Take No Chance", was located last on the A side, the lowest sound quality part of any vinyl disc. Later, presumably for DJs, a louder cut remix of "Take No Chance" was issued. The track featured again on the compilation "Classic To The Core" but sourced from vinyl as Aphrodite, who compiled the collection, did not know who made the music so they could not be found. After a long search, over several years I did find the original Aatists and the DAT Tapes too. Carefully remastered by Bob Macc at Subvert Central Mastering the music sounds significantly better than ever before while retaining all the qualities that make this EP so essential. The tracks are all excellent...'

    "Intensity" uses that familiar nagging spoken word sample "It's The Point Of Greatest Intensity" used by Speedy J with sparse Detroit soaked rhythms. "Kick The Bass" sees maddeningly good use of a simple vocal sample with a huge wobble-your-guts B-line and a catchy Belgian style hoover riff. "Take No Chance" was the floor filler on this EP. Big breaks, hoover synths, a huge sped up piano riff (lifted from an Italian house classic) and catchy female vocal cut up, (taken from a New York house record) - all combining to full effect on any dancefloor. I have to say, I've never heard this before and it's easily worth the entrance fee alone! Three more tracks to go - "Take Me Higher" is a loud and wobbly rave banger straight from the HS2-CRU's archives while "Loony Toon II (Z-Car Acid)" is the kinda wigged-out madness that could only come out of free party / M1 culture - a smiley, drug-addled and tongue-in-cheek drum machine / 303 workout that's like some line dance from the planet Mars. One more (phew!) - "O.V.L.D" is classic wobbly British techno that would sit well with anything Peacefrog did in the 80 s or 90s: bleepy northwest techno that'd go on to inspire a whole generation of disenfranchised young adults, students and dancers to create their own sound, movement and culture. The renaissance starts here!

    Craig Bratley opts for some Italo-coloured canvasses on the newest Futureboogie release - the label's smashed 2018 with a plethora of top drawer releases right across the style spectrum.

    "99.9%" is the kinda showpiece track you reach for when you've got the crowd eating off your turntables, when you're locked into that purple patch and you need to elevate the mix / session to a higher point. A thrusting, push-pull arpeggio section combine with tuff gated drums and a taut lead creating untold pressure that's just waiting for a tiny crack to appear before bursting out of the cauldron with a buzzing hook and swirling fx.

    "Italo Love" will be making Red Laser boss Il Bosco sweat, pondering just how he slept upon one of this year's top Italo signings. Never mind mate, just let team Futureboogie stick this one right between your speaker stacks.

    Anarco-dance-dandy Andrew Weatherall adds the extra 0.1% to the stems, building the title track into one of his now infamous robo-chug classics straight from the ALFOS dancefloors.

    "Take Me To Bedford Or Lose Me Forever" finishes the EP on a slow and sombre note. The kind of slow moving electronic exotica that brings to mind vintage Art Of Noise, the cinematic side of Vangelis or more recent excursions of label Invisible Inc.


    Sil says: What a blast this one is. Bratley goes italo and he nails it. Full of energy, radiant and totally dancefloor friendly whilst Weatherall goes darker with serious acid hints. 'Take Me to Bedford or Lose Me Forever' is the closing tune with beautiful oriental samples and a more mellow beat... ready for bed. Essential!

    Trio Ternura

    A Gira / Last Tango In Paris

    Melodies International move from North America into Brazilian territory for this latest release, reissuing a remarkable piece of 1970s MPB (Música popular brasileira) written and mostly recorded by a single family.

    Trio Ternura (or Tenderness Trio) consisted of two sisters, Jussara, Jurema and their brother Robson. Their father, Umberto Silva was a revered Brazilian songwriter and recording artist who introduced his children to the music world at a very young age.

    After performing some songs on broadcast television and at festivals early on, their father Umberto and brother, Beto Scala wrote A Gira for the Trio to record. The song is a tribute to nature, spirituality and mindfulness. The hommage is made through a form of “cantico” (chant) or “saudação” (salutation), aimed at invoking an Orisha named “Oxossi”. Otherwise known as “Saints”, Orishas are the deities worshiped in the Afro-Brazilian religion of “Candomblé”.

    African religion and culture have had an undeniable impact in Brazil, especially in music and on artists with African roots as its rituals were often accompanied by music comprising highly percussive drumming. As a result, "A Gira", an homage to a Candomblé deity recorded in 1973 involves mesmerizing polyrhythms from the very first few bars and throughout, followed by the sisters’ soaring vocals and impeccable instrumentation. It’s a song that they can really identify with, in their own words “it has the dancing, the expression, the lyrics and musical relaxation - something very Brazilian”.

    Originally released on Polydor in Brazil, fully licensed and remastered from the tapes – MEL012 comes forth in its 7-inch original vinyl format, b/w Trio Ternura's stunning version of Gato Barbieri's Last Tango in Paris and is accompanied by the first bilingual Melozine.


    Patrick says: I was cruising through South Central MCR a couple of months ago and a Legacy DJ dropped this MEGA Brazilian language version of Astrud Gilberto's "Black Magic" (or so I thought!). Turns out this exotic and evocative cut is the original - now available to all thanks to the Melodies International crew.


    Ltd 7" Info: Originally released on Polydor in Brazil, fully licensed and remastered from the tapes, MEL12 comes forth in its 7-inch original vinyl format and is accompanied by the first bilingual Melozine.

    Roisin Murphy

    Jacuzzi Rollercoaster Ft. Ali Love / Can't Hang On (Produced By Maurice Fulton)

    Following a summer which has encapsulated tour dates across Europe and a headline closing set at the iconic Somerset House as part of their Summer Series, alongside the scintillating release of a pair of 12” singles “All My Dreams / Innocence” and “Plaything / Like” which have sound-tracked the heat wave, Róisín Murphy today releases ‘Jacuzzi Rollercoaster ft. Ali Love / Can’t Hang On’. The warped and funky, groove-baiting tracks are the third pair of songs in a series of four 12”singles produced by Baltimore maverick musician/producer/DJ Maurice Fulton and released through The Vinyl Factory.

    ‘Jacuzzi Rollercoaster’ sees Murphy collaborate with Ali Love, one of London's most inventive and unpredictable voices in dance music over the last decade. Love's trademark smooth and infectious tones marry perfectly with Murphy’s. In her own words; ‘’I love Ali Love's voice, he's got the boogie in him, he's an exceptional hook writer also. I've been hoping to work with him for a long time and this Maurice Fulton music just seemed the perfect match. The baseline in this track is highly evocative and Ali already had the title when he came to the studio, he had just been reading about a 'Jacuzzi Rollercoaster' being built in Japan and it was a notion that fit the funk of the track perfectly, we wrote the song and put the vocals down in a few hours, we're a match made in heaven!’’


    Sil says: This is poppy and this is bizarro! It is great indeed. I see this as a return to form for Fulton. The bass is there, the intricate funky beats are there but he leaves the pop elements in place courtesy of Roisin Murphy and Ali Love, making this 12" one to keep. It comes with beautiful psychedelic cover too!

    Andy Hart

    Voyager 1

    Andy Hart launches a new series for Voyage with two dubbed out club tools. 'Neutron Capture' is a chuggy acid number with crisp drum programming, glitched out synths and a weighty 303 line.

    On the flip 'LFTR' offers up a hypnotic roller complete with reverberating stabs, crunchy hits and expansive textures.

    If this is a sign of things to come for Hart's new outlet expect a string of club ready, dancefloor orientated cuts from Australia's golden boy.


    Sil says: Andy Hart being playing dangerously with acid and achieving excellent results on 'Neutron Capture'. Whilst on LFTR he goes Detroit. And folks, it sounds bloody good. This is rock n roll techno! Buy on sight. Very very good.

    Into The Light take another trip into the annals of Greek electronica, stopping by Akis' Athenian home for a special 12" treat. Though last year's "Space, Time And Beyond" anthology was a fairly exhaustive (and frankly brilliant set), it all but ignored the composer's contributions to the Greek house scene, most notably Aegean anthem "Giant Step", released under the D.E. moniker. This slice of early nineties action sweeps through baroque string arrangements, slow rolling breakbeats and acid-tinged undulations, coming on like an extra ethnic relation of Tranquility Bass. Beaty yet breezy, this coastal killer is a classic in Greece, and more than deserves wider attention. If that wasn't enough to have you snatching a copy, the flip hits us with an earlier 80's demo version, recorded round Vangelis Katsoulis' gaff. To be honest, though they share the same name, the two tracks couldn't be further apart, the "Demo" mix ditching the breakbeat and colling flute trills in favour of Laswell style bass, unconventional percussion and outrageous sampler abuse. Explosions, machine gun fire, concerned chickens and arcade game idents all rebound around the soundstage, decorating the consistently off-kilter rhythm section until the woodwinds, mallets and arps take us skywards.


    Patrick says: Yet another killer on the Into The Light imprint, as they follow their Akis anthology with a 12" of his club leaning compositions. The A-side plays host to the Balearic breakbeat of Aegean classic "Giant Step", while the B-side brings us the sampler-driven proto house strangeness of an 80's demo version - leftfield gold if ever I heard it.

    Swiss trio Alma Negra have been on an unstoppable march in recent years, bringing their extensive knowledge of African and Latin music to contemporary productions. They have carved a successful niche as makers of heavily percussive 12" singles that look to the rhythms of Africa for inspiration. This outing for Heist Recordings draws on many similar influences. You get a heavily percussive, voodoo-like beast on 'Conversation' which is basically a drum dialogue, and a good one it is. 'This Is The Place' slows down the pace and the vocal sample takes the centre stage. 

    Flip this monster, and you are greeted by a heavy bass driven deep house (tribal almost) beauty with a looped vocal sample exploding at the climax. Beast. To close matters, Awanto closes the circle of life revisiting 'Converstation', our opener. The drums are still there, the bass is riding it still but the looped vocals is the core of this monster. It is not as weapon ready as the original but still has it. 

    As always, Alma Negra, remind us of how good their sound is, making the body their main target. Organic, fun, liberating. Keep it coming!


    Sil says: Another Alma Negra, no surprise regarding the style. Their philosophy remains solid; percussive, organic and forward looking. This ep is just that. Four hypnotic, tribal tracks with strong emphasis on African drums. Essential Alma Negra stuff.

    Three long awaited dark jungle tracks from London-based producer Mark Donington. "Conscious" is a fast paced, frenetic roller with well placed spoken word samples about stream of consciousness. It uses a traditional break but humanizes it with strings, delays and a nice, (almost)'song'-like structure.

    "Tuning" and "Identify" both take up side B, showing impressive programming flair and a poised ear for mixing - these cuts rumble and shake in the right places and demonstrate inventive sample sources and highly skilled dynamics.

    Excellent stuff - file alongside Myor Massive, Aaron Spectre, Ghetto Dubs and Dead Man's Chest. 


    Martin says: It's been a good week for bass and jungle int shop (must coincide with those pesky students returning...! - ed) but Dug perhaps inches ahead of the pack with this trio of belters. Watch yer bassbins!

    The same week that brings you a new Balkan Vinyl, a new Tone Dropout arrives - such is life! - you wait for an 85 bus then two 86's come at once etc etc.

    Anyway, much like fellow modern day acid merchants Balkan Vinyl and I Love Acid, the Tone Dropout series has been buy-on-sight for Roland fetishists across the globe as they update the original blueprint with hefty vinyl pressings, new arrangements and fresh new style.

    Packing in the value, but compromising none of the quality, volume six contains six individual track set for destruction across the global dancefloors and features label regulars Dawl and Hee-man alongside some new additions.

    DJPC represents Leeds. His contribution here is big room and ravey, like a lost CJ Bolland number almost but with big dark strings and proper bleep melodies.

    The wonderfully named "Bufotenin" by Bufo Bufu highlights this generations obessions with modern shamanism and psychedelic spirituality and is an excellent recreation of the auditory hallucinations once might encounter whilst interfacing with the Colorado River Toad.

    Piccadilly fave Craig Bratley makes his Tone Dropout debut and contributes a superb breaks-informed track, again garnished beautifully with bleep melodies as the whole EP shows its love for the Sheffield sound. Craig Bratley.

    Tone Dropout continue to be an imperative force on the global acid stage. You need to be quick on this one!


    Matt says: Best one to date in my honest opinion (yes, even better than Volume 1!). Bufo Bufo's ingenius contribution tickles the fancy of the psychedelic warehouse crusadors whilst The He-Men blow away the competition with acid track of the year - "Rolla".

    Eric Maltz kicks off his Flower Myth label earlier in the year with "Pathway". Warmly received by me and WHP / Love International star DJ, Krysko, it showed a unique flair and sonic prowess from this producer who owes much of his break to New Jersey's Levon Vincent who mentored him during his early years.

    “Estuaries” sees the producer drop his second personalized twelve-inch, and features four electronically produced tracks that, though skirting freely through house music's loose framework, instantly purvey a character and individuality that belies his relatively short time spent making tunes.

    Definitely inspired by techno's cutting edge production, the easiest comparisons I can make are with DJ Qu and friend / luminary, Levon Vincent. These are tracks for late into the session, blackened with thick textures and unrelenting rhythms yet dynamic and undulating like all good house music structures. 


    Matt says: I've got a feeling me and the aforementioned Krysko will be bagging this pronto and moving it swiftly to the front of our bag yet again. We suggest you do the same!

    Skinny Pelembe has corralled together a cast of talented friends for his new EP. It’s the second release from the Doncaster-raised, multi-talented producer-cum-bandleader since signing to Gilles Peterson’s Brownswood label in February. This one’s a group effort, with each of its tracks featuring a different artist, each of them an act he’s met through music or through linking with Brownswood’s talent development programme Future Bubblers two years ago.

    The EP touches on hip-hop, psych-rock and jazz-influenced sounds, continuing in the gloriously magpie-like approach of his earlier releases. Each of its songs started as a rough idea which was then fleshed out and re-imagined with his collaborators. He says that the title of the EP comes from some advice which he left for himself on an old notebook. 


    Millie says: Skinny Pelembe's new EP on the Brownswood label hits all the right spots, the perfect balance of jazz and hip hop. The EP collaborates on each track with female vocalists whose lyrics will take you to cloud nine. Beautiful!

    ‘Garage bands suddenly obtain cult status and become the antithesis of their initial appeal’

    Garage Class were a group of reluctant outliers who produced one of the finest contributions to the wave of UK DIY music that emerged during the late 70s and early to mid-80s.

    Hailing from Alsager in North West England and comprised of Tim Shutt (vocals) Phil Murphy (lead guitar) Clive Williams (guitar) Lynne Sanders (bass) and Phil Bourne (drums / bass on studio recordings) Garage Class originally went by the name of The Pits before their then manager Steve Hurt imposed an alias which, though unpopular within their ranks, would nevertheless reflect the shambolic art they would eventually capture on their first and only single.

    As The Pits the group offered a loutish inflection on glam-punk flamboyance, evoking Johnny Thunder hitting the north and remaining disowned yet undeterred in a dreary old boozer. But as Garage Class the group distilled a roughcast and homespun primitivism that felt quintessentially their own. In this they proved too unruly to be assimilated into any wider scene. Early gigs descended into acrimony and recognition proved elusive. Yet what they managed to make back then now sounds like an extraordinary article of underdog ambition.

    Released in 1984, four years after it was originally recorded, the Terminal Tokyo single is an unlikely triumph of exceptional messthetic punk. Though raw and unpolished the songs here are precariously pop-minded and indisputably anthemic. The titular A-side reveals the dry and detached drawl of Shutt aka The Subliminal Kid, a sharp, jaded and poetic voice that has some of the most iconic lines never heard in punk. Accompanied by second-hand guitars, on-the-fly handclaps and a chorus like a terrace chant this is the cult hit that never was, a heroically artless masterpiece that has all the ragged character and misfit euphoria of Swell Maps and The Buzzcocks if they were more impulsive and boisterous, and left to their own devices in the remote margins of a Cheshire town. The original B-side is here substituted for I Got Standards, a track that, until now, has somehow remained unreleased. An ideal twin to Terminal Tokyo there’s the same brusque and dog-eared quality to the band’s delivery, as well as the same upfront emphasis on strong hooks and insistent momentum. Yet again, Shutt is on impeccable form, perfecting an inflated, adolescent antagonism that has all the sardonic, malcontented charm of similarly ‘shirty’ buggers like Dan Treacy (Television Personalities), Patrik Fitzgerald and Mark Perry (Alternative TV).

    Although never accepted in their own time both tracks represent a brief but inspired moment of fervent imperfection, one that epitomized the best of a diffuse and autonomous underground movement spearheaded by The Desperate Bicycles and built upon by the likes of Amos & Sara, The Homosexuals, The Cleaners From Venus and Family Fodder. Like them Garage Class were situated at a point where punk, art, humour and a sense of stubborn independence all intersected.

    In the years since Terminal Tokyo has accumulated a retrospective appeal among certain trusted circles, with Jon Dale celebrating the single in his exhaustive and essential Story of UK DIY for Fact Magazine, and original copies regularly changing hands for a foolish forty quid or so. With this inaugural release on the Outer Reaches label Terminal Tokyo is not only restored for the very first time but given a worthy expansion courtesy of JD Twitch (Optimo).

    Continuing his own fascination with the fringe history of UK DIY – documented on his own outstanding compilation Cease & Desist: DIY! (Cult Classics From The Post Punk Era 1978-1982) and in his re-edits of Crass Records classics for an early release on RVNG INTL – Twitch reinterprets I Got Standards as an incisive, dubwise outing that pictures Jaki Liebezeit and Muslimgauze on a bender in England’s provinces, tasked with remixing the raw product of local punks. A new slant on Garage Class’ crude magnificence, built to play loud on contemporary soundsystems.

    Although the latter part of 1980 spelled the end for Garage Class with members moving on to other projects (Bourne fell in with The Colours Out of Time, Murphy went on to front The Regular Guys and Shutt eventually left to form Happy Refugees) this reissue attempts to give their fleeting time together and the unique single statement they made the treatment it deserves. If this means Garage Class have obtained cult status, their initial appeal remains. Just listen for yourself.


    Matt says: MEGA release here from new Ransom Note sublabel and brought to attention via Scottish demigod JD Twitch who's remix / extention will find its way onto many a floor - oh my!

    Autarkic operates as part of an unspoken alliance from Tel Aviv, which is currently altering the state of contemporary house and techno music. "Heavy Dreamer", the artist’s first, four track outing on Life and Death, showcases much of what this bold movement is about, all while pushing it forward into progress.
    Ever present tones of kraut and punk rock flow throughout the EP, beginning with "Some Things To Keep", a pumping, warehouse floor filler. Autarkic steps up to the mic, often re-amping and distorting his vocal delivery, placing it alongside finely programmed keyboard riffs, tough drums and further psychedelia. "Realistic Guru", the trippiest of the lot, is tailor made for an early morning DJ Tennis afterparty excursion.
    Slowing down the pace on "Powerhouse", Autarkic hints at moments of Bauhaus’ and Tones on Tail’s doom and dance pop, while offering up a digital only, stripped down, bonus version. The title track stands as a testament to this new wave of artists, coming from the shores of Israel’s Mediterranean coastline. Bass, drums and guitar are recorded through bespoke boxes and presented through the lens of modernist club culture.


    Patrick says: Blurring punk funk, minimal wave, techno, industrial and goth, Autarkic brings his own vision of the dark wired sound to a record deck near you. LCD Soundsystem fans should check 'Powerhouse' for a DFA style winner.


    Ltd 12" Info: 12” white vinyl.

    It was 2010 when Massimiliano Pagliara and Discodromo got together and started working on "Costellazione K78" - Now, a full 8 years later it's finally time to reveal this piece of italo-cosmic beauty landing on Cocktail d'Amore Music. The spaceship starts off and a vocoder announces the destination. In the middle of the track there is an interference...Is that a hole? Oh right they are out of it! Going higher, higher...higher through space-time. The B-side houses a dub version in which drums play the main role. Everything is condensing together, it feels like connection is lost, but the bass line comes in and takes control. Destination reached, time to celebrate. Thank you guys for the efxapella, we'll all do good use of it. Greetings from planet Earth!


    Patrick says: Berlin's best party continue to offer only the hottest sounds on their label as founders Discodromo join forces with Massimiliano Pagliara for the other wordly Italo excellence of "Costellazione K78". Chugging synth bass, smacky Robotnik-style vocoder and exactly the right amount of melon-twisting strangeness make this a must have I reckon.

    " there I was. Stood at the singles bar, drinking in the neon and checking the time on my Rolex. We were due to meet at midnight under the mirror ball. I held my nerves in check, wiped the condensation off the Tom Collins and turned into the crowd. Her fragrance met me before I saw her, that heady blend of YSL's Opium and youthful anticipation, a scent she knew I couldn't resist. Hands touching, lips in sync and bodies in motion - this was Midnight Passion.." 


    Patrick says: Switzerland's Hot Jam hit us with the finest nuovo Italo ballad I've heard since the halcyon days of Heartbreak, combining all those irresistible retro features without slipping into pastiche. The classier cats will probably plump for the robotic emotion of the Instrumental mix, but I'm going full parmesan here with the wonderful vocal version.

    Chapter 15 on this disco journey guided by the maestros behind Unlimited Love. Their love keeps giving and here we are treated with another four disco soul funk diamonds. Poncho Saint Fingers 'When I Come Knocking' is a soul funk beast that many will be pleased to see it on this 12". Long out of press, here it is in its full glory. Sandi Havens is another feel good soul funk underground hit long sought after from 1980. Beautiful positive yrics and great instrumentation. Lypso Disco by Smile Street People is a slow funk, rare beauty with a great bass and wind arrangements. Again, a highly sought after record that is just here for you. Best for the end (according to me) is 'When Your Jones Come Down' by Sugar Bear Johnson. A funky soul beauty from 1980 full of rainbow vibes. Again, a superb selection of hard to find disco soul funky tracks for the sophisticated fella out there. 


    Sil says: As good and solid as always. Instalment 15 is all about funky soul with a heavy dose of disco. Absolute rarities now at the right price. Get it quick! No represses.

    James Welsh

    Zurich / A65

    Having recently been remixed by Radio Slave, Ozel AB and FC Kahuna on Phantasy, James Welsh returns to the label with ‘Zurich/A65’. Anoth-er expertly executed two-track primed for the club but infused with detail and sheer personality, it further cements his idiosyncratic and forward-thinking interpretation of techno, industrial and experimental electronic styles.

    Opening the EP, ‘Zurich’ takes an infectious, urgent bassline and gradu-ally expands into a weightless landscape. Slowly revealing it’s rhythmic intent, it seamlessly blends a distinct melancholy with intensity, which, like the best of Welsh’s work so far, is both wistful and physical.

    Appropriate to its namesake, ‘A65’ sets the scene by sampling the un-mistakable sound of speeding Yorkshire traffic, opening up a breathless musical autobahn, driven by luminescent synths that pulse with euphoria and energy.


    Sil says: Here is proof that Phantasy Sound is not just Daniel Avery. Fantastic double sandwich of big room tech house with glimpses of trance here and there. There is a healthy dose of friendly acid on 'A65' too. Always a good thing on my books. Not a trance boy myself but a little sweet spot for those keys and those climaxes. Mr Welsh nails it and if you are searching for couple of stormers and solid builders, look no further.

    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.


    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.

    ‘Vex’ is the debut 12” from Nazamba, a fire and brimstone dub poet from Kingston, Jamaica who will drop a full album with France’s O.B.F. sound system soon. The riddim is produced by G36, an anarcho-dub collective from Nagasaki, Japan who also have their own EP incoming on Pressure.  
    The spirit of Prince Far I reincarnated, riding a scifi steppa that relentlessly aims to flatten all floors. Nazamba’s angry rant against the global epidemic of morally bankrupt, indelibly corrupt politicians, is a straight shot to Babylon’s head.
    ‘Vex’ is released on neon yellow vinyl 12” in full colour printed sleeve.


    Patrick says: Tough as you like sci-fi dub here from Kingston newcomer Nazamba. Sticking with Pressure's brooding industrial dub sound signature Nagasaki's G36 supply a brooding, churning riddem - dread for the dreads!

    NYC singer Amy Douglas makes her official DFA debut with "Never Saw It Coming", co-written and produced by Tim Wagner of 33Hz, and with two remixes by Sheffield artist and firm Piccadilly favourite - Crooked Man.

    With a five-octave range and a diverse background in performance, ranging from rock to soul to jazz, Douglas’ voice is the heart of the song, lending heightened drama to the steady mechanical funk of Wagner’s production.

    The two remixes by Crooked Man let the track grow and build slowly with longer, lush arrangements, while his hypnotic dub doubles down on the woozy bassline and has Amy’s vocals echoing out into the ether.

    Though this is Douglas’ first release on the label, she is no stranger to the DFA roster. She is the voice behind "Happiness", the epic closing track on Crooked Man’s self-titled 2016 album and she also appears on the forthcoming Crooked Man album on DFA. Amy also works with Juan Maclean as one half of Peach Melba, who have released singles on both DFA and Defected / Classic. Crooked Man’s signature maximalist house sound has always been complemented by the support of strong female vocalists and together the pair take each other’s work to a new level for an impressive collaboration. Rumour has it they’re currently working on more tracks together.

    Lots of artists these days aim to ‘reimagine’ the sounds of disco, house and soul but Amy Douglas and Crooked Man are creating something all their own that pulls from the best of times past, while also looking decidedly forward.

    For fans of Yaz, Inner City, Horse Meat Disco, Hercules & Love Affair.


    Matt says: Second winner in as many weeks from New York taste makers DFA joined with that man Parrot. What is it about the Sheffield connection? Top stuff here by all involved.

    New from the ever discerning Nous camp comes AYLN's RehtomEP, a 25 minute exploration of the kind of unrelenting machine music for which both artist and label have come to prominence.

    Side A is a journey through sparse syncopated rhythms, industrial noise motifs and the kind of buzz and hum that the heroes of the second wave of techno music championed, culminating in the EP's title track 'Rehtom' which is an exercise in analogue techno mastery.

    Side B's delivery is subtly more dulcet, kicking off with Digital Memories, which has a more classical techno structure than anything that came before, building intricate melodies into an otherwise taut and tightly woven electronic landscape while the closing Impulsive Sheit is a gentle downbeat number, exploring the space within the music and creating an atmospheric ambient discourse to outro the heady charge of the EP as a whole.


    Sil says: Techno, industrial a-la-L.I.E.S. and loads of urban decay. Machines ruling the world and chips controlling our brains. If you dig that approach to life on planet Earth, this is for you. If you dig good industrial techno, you totally need this.

    Rich Oddie (Orphx) and Dave Foster (Huren/Teste) return under their punk/industrial/scum electronics moniker O/H. These 5 tracks are an amalgamtion of dense, yet somehow stripped down heavy industrial punk electronic madness.
    Open filter feedback drenched MS-20 and punishing 909 beats crash head-on throughout with Foster's Jello Biafra-esce vocals through a meat-grinder stylings fight with a ranting homeless man as he raids your uncles's 80s porn vhs collection. Controlled chaos written recorded and put to tape as modern society falls apart in front of our eyes. Absolutely what the world needs right now (according to us).


    Sil says: Lies, lies and more lies! The factory never shuts. Savage uncompromising techno straight to the jugular. You will not hear this on BBC Radio 4 anytime soon. But if the world comes to an end - and it will come - this is your soundtrack. I dig 'Poverty Line' very much. A bit shouty but great lyrics nonetheless.


    Sunset Sparks / Boma

    Claremont 56’s latest beguiling two-tracker is as picturesque, sun-kissed and humid as they come. It may surprise some, though, to find that the artist behind these intoxicating tracks is not an experienced creator of wide-eyed Balearic fare, but rather a little-known but fast-rising producer from Moscow. Alterleo is the production alias of Denis Leonovich, a television sound producer who has spent his spare time making music for the best part of ten years.

    He released a handful of dancefloor-focused EPs (mostly on local label National Techno) at the dawn of the decade, before retreating to the shadows to experiment further in order to develop his own trademark sound. Last year he resurfaced via a track on a two-part vinyl compilation It’s this exotic new direction – inspired, Denis says, by his desire to join the dots between psychedelic disco, Balearica and tribal rhythms – that’s showcased on the producer’s Claremont 56 debut, which also marks his first solo vinyl excursion. Both tracks are underpinned by gentle, undulating tribal rhythms, and include sounds and melodies crafted by the producer on kalimba, vargan and some of the small native instruments that form part of his growing collection of such items.

    A-side “Sunset Sparks” is a thing of rare beauty: a dreamy, humid and tropical excursion in which fluttering flute melodies and delay-laden African vocals gently rise above slowly-shifting chords, psychedelic electronics and a synth bassline so squeezable that you could use it as a stress ball. Denis’s love of bold synth basslines is also evident on flipside cut “Boma”, a slightly bolder and more polyrhythmic excursion whose sparkling melodies, fuzzy guitar motifs, Jew’s Harp lines and foreboding aural textures create a quietly trippy mood. Some may note the influence of Jan Schulte’s Wolf Muller project, but Denis has crafted a mesmerizing signature sound all of his own.


    Sil says: Slo-mo beats, gentle atmospheres, nature samples everywhere, chuggy reverb. It is all very clean, very neat. It is also incredibly relaxing and hypnotic. And yes, it is Claremont 56 doing what they do best. In one word, essential. You need this future classic.

    As summer sets into fall, we deliver an EP that functions like one of those lights-on hand-clappers you get when the DJ's been asked to kill the music at the end of a long, sweaty night—but for the season. It's a last-ditch effort to keep the sun shining and the temperature high, a final bid to keep the days starting early and ending late. We know the inevitable is around the corner, but for a moment more we can pretend it's not.

    Mystical Choices, the LPH debut for Dutch producer Perdu, starts with “Saromosa,” a swirling witch's brew of percussion and chants. From there, we go to “Tanora,” which is equally hypnotic, but a little more pensive and wound up, like it's a pot of water just on the cusp of hitting its boiling point. The B-side is a further exploration of the terrain laid out with the first two tunes, “Savana” taking us in a more acoustic direction, “Textures” adding a little more synth to the spicing.

    Keep dancing.


    Sil says: No beating around the bush here, straight four by four biz for the party focused folk in need of groovy, bass-rich house music. Highlight goes for 'Tanora', a tribal number with amazing sampled chants. As soulful as they come.


    Dream Resonator / Ice

    Robotron is the machine formerly known as Xinner and this is its first offering for the ESP Institute. Side A’s "Dream Resonator" is an idiosyncratic network - dexterous machine drum/percussion programming, an ebb and flow of floating arpeggios, syncopated counter-melodies and a hail of stabbing strings continually diffusing into ethereal vapor - all stacked into an (aptly-named) orchestral anthem. Side B’s Ice takes a similar approach with arrangement, each instrument carving out its place in the track’s mechanics for a glorious convergence of patterns, but, where side A proves optimistic, here we sense a more menacing undercurrent, an austerity powerfully articulated through towering kicks and claps so compressed they fill up every dark corner of negative space. Indeed, Robotron has an innate command for building and calibrating robust systems, but beneath this calculated veil we find the remnant human behavior of Xinner. These two songs will whisper loudly but scream quietly.


    Patrick says: Class 4 Holodeck heaters here from Robotron, who offers ESP a futuristic yin and yang via the utopic A-side and dystopian flip.

    Over the years Moton has become synonymous with releasing great quality edits from a range of amazing producers. Their 43rd to date and the firm - made up of Dave Jarvis and Diesel and featuring many of their friends and acquaintances - continue to be a one stop shop for party starting fun, obscure but enjoyable edits / excavations and general left-of-centre weirdness for dancefloors and living room discos alike. I reckon they've occupied at least 33.3% of Manchester (more specially the Northern Quarter's) evening-to-late bar soundtrack between the years of 2004-2011 (when good music got replaced with 'party hip-hop' - urg, auto-tuned urban shite and Kings of Leon requests...).

    “Cuffari (Make The World Larger Than Me)" on the A side is four and a half minutes of luscious, soulful, string laden goodness, entrancing you with those dreamy vocals. Trust us, she's right when she says '…the melody echoes in my mind' - this one will be stuck in your head for days!

    Flip it over and Marcel Vogel, under his Em Vee alias channels the happy-go-lucky NYC discotheque days through "Dancing (Jumbo)". With an all too infectious guitar and bass riff, coupled with cosmic synth pops and perfectly layered vocal chants - it's sure fire, peak time disco gold.

    Before Christ is a new project from Craig Christon and Bonar Bradberry. Remix maestros Mushrooms Project take on both tracks. First up Barry's K is a moody brooding chuggy basement Jam with ethnic melody and dubby effects. The mighty Italians mellow out the groove and extend adding all there trademarks touches.Uh!. The second track is Tuesday Club is a techy machine funk bomb with shades of New Beat and a nod to Forgemasters. The Mushrooms boys bring the acid and soft melodic pads turning this into a dreamy heads down groover.


    Sil says: Four cuts of heavy bassline, oriental melodies and chilled grooves for the Balearic heads gone electronic.

    Cosmic Croat, Ilija Rudman has been a prolific face on the global Balearic / Adriatic scene for about the last 15 years. Appearing on labels like Is It Balearic? and running his own Imogen label as well as extensive DJ appearances and remixes.

    "Paradigma" is his third studio album, and finds the esteemed producer exploring daytime and nighttime moods across its seven well formed tracks. At one moment you might be wistfully cruising down the sultry boulevards of "Temptations Trial", only to cosy up with the comely tones of "Creamfields" or the vibrant chords of "Elastica". By and large it's a downtempo affair for private reflection, steeped in 80s glamour and produced with a crystalline perfection to add that all-important glint to your life.

    Form an orderly queue please... The sell-out-on-arrival Balkan Vinyl release another salvo of throttle rockets at us unsuspecting souls....

    A coming together of some serious house music legends on this one. Boy's Own don Terry Farley teams up with Kevin Swain of D.O.P. for a peak-time acid anthem "Memory Child". Label boss Posthuman strips it back for a Sheffield bleep techno vibe remix, while Kirk Degiorgio rebuilds the track with modular acid and epic piano chords into a blissful, sunshine anthem. Terry and Kevin bring it all back with the more chilled "Acid Tool" mix to complete the EP.

    What's left to be said about Richard James? One of the most spectacular and critically lauded producers in the world, a divisive musician and Delphic artist, nearing his thirtieth year in 'the biz' and his sound continues to innovate, experiment and enthrall. The David Bowie of electronic music - for some there is simply no parallel and every last artifact is to be feverishly collected and treasured.

    A new EP that somehow extended and builds on his idiosyncratic and highly flamboyant style, the first duo of tracks, "T69 Collapse" and "1st 44" are at once playful and majestic. The first exploring the typically smiley-Cornish-acid-tekno genre with aplomb while the second implores deep subs and his galloping drum sequences to create a wobbly and cerebral track that plunges effortlessly into modern 'half-time' business, merging the best bits of techno, glitch, footwork and IDM in a truly Aphex flavoured broth.

    Flip the disc and "MT1 T29r2" explores the darker and deranged sides of his persona - utilizing the Kork's MS-20 filter to maximum devastation while more peppery, skitting drum flurries explode out of the recesses of the mix. Finally, "Abundance10edit[2 R8's, FZ20m & A 909]" (phew!) sees James showing off with his world beating drum programming. Can anyone sequence beats better than AFX? No way hosay - as this final tracks sends us tumbling, flailing and spiraling into the speaker stacks like no-one else can. Still the king of electronic music? Youbetcha! Another essential addition from this acid overlord. 


    Matt says: Every time there's a new Aphex release I'm convinced I've grown out of him and won't like it. Time and time again I've proved wrong as this producer par excellence continues to be ten steps ahead of the pack.


    Ltd 12" Info: 12” in paper inner in Procédé Heliophore silver foil sleeve. First pressing only. DL card insert (includes bonus track pthex)

    12" Info: 12” in printed inner in printed outer sleeve. DL card insert (includes bonus track pthex).

    CD Info: CD in 4 panel wallet.

    A year after his debut outing on the label, Max Essa makes a welcome return to Hell Yeah with the "Han zon Roc EP", a horizontal triptych boasting more of his impossibly laidback offerings.
    Essa is of course the long time UK talent whose releases on labels like Aficionado, Music for Dreams, and his own Jansen Jardin have cemented his place in the Balearic mafia. 
    Opener 'Han zon Roc (Midori Coup)' is an epic 12 minute adventure that slowly awakens your spirit with new age guitar plucks and heavenly ambience before organic drums slowly being to drift into earshot. They grow ever larger as synths start to spray about the mix, hand drums pitter patter and big chords bring the soul-shine. It's like the soundtrack to an afternoon boat party all condensed into one brilliant cut.
    ‘How You Showed Me Everything' then gets super chill with lazy drum tumbles, bendy guitar lines and scattered hits. Withering cosmic chords colour the airwaves and its a track that will slow your heartbeat to nothing.
    Last of all, 'Rain Bird's Alfalfa Jam' is a analogue drum work out with early 90s hip hop influences and diving basslines. It's light and airy, nimble and playful and of course filled with the sort of tropical rays that make all of Essa works so brilliantly escapist.


    Patrick says: Extending the usual Hell Yeah hospitality and warmth, label boss Peedoo once again coaxes the very best out of man in Japan Max Essa, who raises the bar with his second release on the label. Simple and subtle rhythms play freely beneath the endless string of irresistible melodies, while the expansive arrangements conjure stunning visions of coastal vistas. Max Essa, at his best on one of the best labels around - class!

    Uber-cool Dutch venue BAR Rotterdam make their transition from club to label this week, opening their account with help of two of their favourite guests Sacha Mambo and Fader. Given the same musical freedom on the record as they enjoy in the colourful club space, Sacha and Fader cook up trippy acid jams and futuristic trance dance respectively, setting the label up with the perfect debut.
    French label boss Sacha Mambo takes the reins on the A-side working his wonked out magic with a pair of perfect metal dancers. "Black Summer" starts the party with loose percussion, limber synth bass and lysergic acid, all laying the foundations for echo drenched sax skronks, detuned guitar licks and tribal whoops. It's a little like stumbling into a James Chance gig on a heroic dose and losing yourself in the oil projections. Next up "Beaubar" (in its Acid Psychedelic form) stomps and snarls through tough new beat drums, buzzing synths and crunchy industrial idents, applying maximum pressure to your brainstem. Flip it and we're locked in the groove with Borneo producer Fader, who flips our lids with the ecstatic vamps and gurgling bassline of "Mode 500", a gently jacking dose of dream house with just a touch of Kwaito roll in the percussion. After that we wooze out with the morphine mist of "Denox", a particularly hazy piece of club science with delicate chime melodies, full bodied bass and intricate drum programming. I've never been to BAR, but it seems I need to book my flight!


    Patrick says: Mega leftfield dancers here from Sacha Mambo and Fader on the newly minted BAR imprint. On the B-side Borneo's Fader brings it with two unorthodox house cuts, perfectly balancing light and dark, while Sacha steals the show on the A-side with the metal dance masterpiece "Black Summer", a tripped out fusion of cosmic, post punk and acid - buy on sight!


    The Willo / Energy

      Since 2010, Toy have earned a reputation as a band of integrity, virtuosity and taste, with Tom, Maxim, Dominic, Charlie and (joining in 2015) Max creating a sound that is embedded in the underground tradition, yet distinctly their own. Now here comes a two-track twelve-inch on Tough Love, a foretaste of a forthcoming album in January 2019, which marks a new dawn for this most singular of bands.

      ‘The Willo’ is a dreamlike, seven-minute glide, redolent of a forest at sunset and just as pretty, but not without hints of malevolence. Maxim's fingerpicking acoustic melds with electric twang from Dominic, and a whirling organ from Max Oscarnold gives this elegant creation an extra layer of disorientation and depth. “People appear to have seen Will-o’-the-wisp, a mysterious green-blue light, over the centuries. It generally means something ominous is about to happen", says Tom.

      Then there is ‘Energy’, which lives up to its name with thunderously metronomic drums from Charlie Salvidge and a ferocious guitar from Dominic O’Dair. The lyrics, culled from a story written by Max about a nighttime ritual, are obscured by the barrage-like forward momentum of the music.

      The twelve-inch, recorded and mixed by the band between Oscarnold’s Stoke Newington flat and a south London studio, is the first release for Toy on their new label Tough Love, representing the latest stage in the evolution of the band. Since their inception, they have released the acclaimed albums Toy (2012), Join The Dots (2013) and Clear Shot (2016), and toured everywhere from Serbia to China, while holding onto that youthful, magical moment of discovering strange new worlds of innocence and experience.


      Mine says: Welcome to the weird and wonderful world of TOY. The band return with "The Willo", a dreamy, innocent sounding song that quickly develops into the soundtrack to a ride through a magical forest, and "Energy", which with its pounding drums, driving bass and post punk-y, occasionally chaotic guitars could hardly sound more different. Two interesting songs that leave us excited for the new album!


      Ltd 12" Info: Indies store exclusive - limited to 300 copies on black vinyl.

      Swedish synth botherer and established purveyor of the 'smooth-groove' revival returns with another brilliantly realised and effortlessly enticing EP for the ever-essential Fasaan. The evident fascination with the early 80's audio palette is present and correct, but this is homage done with a knowing 20th century something, which means this extended player distills things into a perfectly chilled glass of cocktail and beach bar delights as pastel slacked Donald Fagen hangs with Jan Hammer, who both buy a round for Loose Ends, while house-band Level 42 tune up across the bay. A little late for Summer maybe, but no doubt these will still be at the front of the Balearic record bag next year too !


      Patrick says: Since its original (criminally limited) release in 2016, Sasaac's Balearic boogie masterpiece has shot to the top of everyone's wantlist. Thankfully Fasaan have taken pity and provided a fresh pressing for 2016. Cocktail coolers and coastal groovers of the finest AOR disco vintage.

      Sin Falta

      Diamonds EP

      Andy Lister's Youth imprint continues in earnest following a sell-out smash from MCR's own Fumu.

      Sin Falta fills in the blanks between Kassem Mosse, Ossia and the whole fervent UK electronix scene. "Diamonds" is a squelchy and discordant, slo-mo robotic dance featuring malfunctioning analogue elements and a primordial beat. "Noh Mas" is smudged and dubby, surely paying tribute to the moody and captivating meandyou nights the label head once founded.

      "I,I" concludes with a tumbling slow breakbeat garnished with soulful vocal chops and more blurred aesthetics. More in tune with the wind-down and after session than the dancefloor energy required for the middle of the night but equally arresting when placed in its correct context.


      Matt says: Follow up to the incredible Fumu Cd from t'other week and it's onwards and upwards for Lister's Youth label. TIP!

      "Anform" is propably the highlight for me on this killer EP.  With old school hi-hats, spacey synths and a thumpy cushy beat. The bassline is magic too. 

      Project Pablo goes dubby with his take on 'Anform'. Sorry folks, but the Rhythm & Sound spirit is well alive and kickin here. Not a bad thing when done right and Pablo nails it. Respect.
      'Flow Systems' is a bit darker with its owerpowering synths and noisy dub emerging when least expected. It is what I call 'gentle techno', appropriate for both club and home. 
      'Leveler' is definetely the most dancefloor oriented track in this great 12''. Flirtatious tonalities with acid are always a good thing in my book. The beat is relentless and old school. This is dance stuff at its best. Again, respect. 

      This is definetely the techno 12" of the week. Get it, you will not regret it


      Sil says: This is a 12" I will play over and over. Quality all around. Super good techno vibes for home and the outside world. Great package with Pablo delivering a dubby techno diamond. Truly good, only for you.

      Appian Sounds return to the Piccadilly shelves with this brand new EP by up and coming Spanish talent Estrato Aurora. Hailing from Valencia, and with a phenomenal array of hardware at his disposal, Estrato Aurora has dreamt up a beautiful deep Techno EP titled "Excavation And Survey". 4 tracks that can be played during sub-heavy warm-up duties, deep into the night for a heads-down foggy vibe or early in the morning for something a bit warmer, tripping and uplifting. Timeless cuts to suit all intimate dance floors.


      Sil says: Minimal techno and a bit of electro at its best. On the dubby, hypnotic, atmospheric side of things. This is not a cheap copy of the Basic Channel productions. This is rather futuristic and intense. Yet warm and groovy Loving it, in particular the electro acid number on 'Valencia Affair'. Hypnotic and relaxing.

      One of Firecracker’s founding fathers returns once more, this time shoving two fingers up to current DJ conventions smashing out a 150 BPM electrofunk hybrid. On the flip, two deeper cuts traversing ambient wormholes and reflecting that classic Linkwood sound.

      Linkwood's productions have always permeated class and sophistication whether he's turning his house to downbeat, house, techno or weirdo instrumental hip-hop. This excursion into faster tempo is as impressive as it is seductive, and has us all here at the shop itchy to here it played out loud and direct.

      Meanwhile, the trippy wash of "Solar Panel" reflects time spent with label mate and luminary, Vakula as it flutters delicate synthesizes textures, pads and atmospherics over an evocative soundscape of bird song and wavering chords. "Another Late Night" concludes in vintage Linkwood form - a bouncy, squelchy, deeeep house affair with pricks, pokes and teases and the mind and body through Linkwood's advanced and highly proficient sound design.

      Another tour de force from this UK legend. Most recommended. 


      Matt says: Firecracker co-founder and darling of UK dance music shows us a less displayed side to his persona - a 150bpm electro-funk banger that'll wriggle its way into most of Mancunia's record boxes...

      Bristol-based pair Giant Swan have built a much-deserved fanbase seemingly overnight thanks to their hybrid sound (drawing on noise, dub, pop etc etc), DIY approach and emotionally-charged live shows. Tasker: “I came across their music after receiving their 2016 EP ‘Earn’ on FuckPunk by mistake. RWDFWD clearly decided it was better than whatever thing I’d tried to order – and I’m glad they did."

      The sleeve incorporates 1:1 scale floral embroidery design with a hi-vis metallic silver back. 

      But, excuse me sir, what the heck am I getting If I take the plunge and I purchase this 12''?  You will get some serious hard hitting techno joints and chaotic mayhem but in a good way! And as described above, you get a beautiful sleeve too. 
      Will tots get a response from zombies in clubs / terraces / basements and disconfort among your family and neighbours. Control the bass knob please!
      Great as a soundtrack for when escaping killers and looters when the end of the world strikes. Make sure you have a decent car sound system to handle the bass! You have been warned.


      Sil says: Chillingly good no nonsense techno killers on this one. Not for everyone but the vocals make it slightly more poppy and acceptable, I guess. You will not hear this on mainstream radio or in dross-ridden bars and clubs. And that is a good thing!