The Prince Stoner


Sister of Groovedge Records, and highly celebrated off the back of its first two killer 7s, Mystery Booms brings together the Lyon electronic scene for new exercises in soundsystem-friendly, earth shattering dub!

First appearance is naturally delivered by previous contributor Irie Mona. Knowing perfectly how to inject new digi-attitude in an old school roots way of dubbing productions, "Po.Int" is pitch black dread. A sub-low bass rattling foundations as echo-drenched vox and sirens plague the mix. Comparisons could be drawn to Space Ape and Kode 9, or indeed the heavy digital steppers soundsystem scene that used to grace Manchester and Bradford; but this stands out all on its own as one monumental slab of new and powerful dub. 

Meanwhile, "UV Dub" also clatters around the echo chamber, an equally slaying exercise in bass pressure with beautifully executed spring reverberated vox carrying us through. 

Honestly, this is probably the best new digi-dub track we've heard for some time in here. Get those orders in quick! 


says: Mystery Booms continue to prove why they're my no. 1 go-to choice for new, soundsystem slaying digi-dub and elecro-roots. Major TIP!

After being summoned from Ohio to London by Adrian Sherwood, Nick Riggio and Rebecca Magnetic have brought their Midwest musical experience to the South London electronic music scene with a unique creative vision. Fusing elements of techno, post-punk and psychedelic rock they explore spiritual connections and transcendence while Rebecca Magnetic's introspective vocals set against a tough backdrop of Detroit influenced rhythms and vibrations leave you in awe.

Their superb single 'My Future' is a brilliantly cosmic exploration of spaced out and spacious grooves. Crashing hits bring an edgy mood, while lurching drums drag you forwards.
Molten acid synths and the strained and pained vocals from Rebecca add further layers of intrigue to this most adventurous electronic trip.

First to remix is Oosh! man Dan Wainwright, and his version is laced up with sci-fi chords and echoing vocal sounds. The downtempo drum rotations are superbly heavy and trap you in a trance.
Next up, Retroforward is Al Mackenzie's solo remix/music project named after his successful Birmingham night.
Al is one half of Field Of Dreams. His 'No Future' remix is an airy and atmospheric remix that takes the track to the farthest edges of space on smooth, hypnotic grooves and beautifully astral melodies.

Lastly, Richard Sen has already been getting support for his remix from ALFOS man Sean Johnston, and he goes for a superbly rugged yet slow motion chugger that is dubbed out and expansive thanks to the arching guitar riffs that ring out to the heavens above fat-bottomed drums.

Whether experienced on the dance floor or in metaphysical states, this music is medicine for the mind and body.


says: In a cracking week for 12"s, this cosmic stomper is as good as any. In its original form "My Future" sounds a bit like a sci-fi Siouxsie as a Pythian oracle, prophesying doom over a chugging, dub-tinged EBM growl AKA amazing! The Retroforward mix picks up the tempo in acid house stylee, while Richard Sen and Dan Wainwright embrace the slow slanking style in ultimate dub mode. 5 mushrooms out of 5.

Soul II Soul

Back To Life (Zepherin Saint Remixes)

    As the world slowly emerges from a pandemic of chaos into the forward facing challenge of Black Lives Matter, could there be a more reassuring soundtrack than Back To Life or Keep On Movin’? However, in keeping with these unique times those tunes will be as never heard before.

    Soul II Soul’s Funki Dred Records is back after nearly thirty years in hiatus, still bridging the gap between street and sophistication with a schedule of totally 21st Century takes on club classics, and passing the Dred Head banner on to a selection of new young stars.

    “This is something we’ve had under consideration for a while,” Soul II Soul front man Jazzie B explains. “But first we had to make sure the remixes of the Soul II Soul hits were not only musically perfect within the genres we had reimagined them, but that we were adding something to each original. Although we want to bring the Soul II Soul nation with us on this latest stage of our journey, we’re very conscious how much those tunes mean to so many people so we had to treat them with extra respect.

    “We’ve always looked at and looked at developing new artists – that’s why Funki Dred Records was first set up back in the 1990s, and we figured we’d hit a point at which we’d connected with enough fresh talent to go forward. As for the timing, if we can contribute to wave of feeling sweeping the globe with our positive message we are proud to do so: A happy face, a thumpin’ bass, for a loving race.”

    Funki Dred will be releasing music on 12” black vinyl, and collectible coloured vinyl. First on the reactivated catalogue will be an Afrobeat 'Zepherin Saint’ remix of Back To Life featuring the legendary Nigerian drummer Tony Allen. The 12” features the full ten minute plus Zepherin Saint Mix re-working, alongside a punchy ‘Zepherin Saint Radio Edit’ and a ‘Zepherin Saint Club Edit’, and to complete the package comes a different take on this classic track in the form of the 'Tribe Vocal Mix’.


    Ltd 12" Info: Limited green coloured vinyl.


    3 Days Man

      Turned on by a new dawn of chemical love, Sydney dance-funk combo Bellydance laid down their sampledelica blueprint in 1991, thinking in parallel with Weatherall’s revelatory work with Primal Scream. A candy flip of streetsoul, festival jam band and Chip Monck’s cautionary brown acid address, 3 Days Man! was primed for open fields and discotheques, in an age when the deejay was royalty. With an elastic lineup that boasted up to 9 members, Bellydance synchronised more with the club scene than the city’s straight-ahead pub rock racket, naturally recruiting hometown heroes Peewee and John Ferris to remix their multi-track concoction. A certified party closing anthem, the brother’s sun-smacked breakbeats elevate a collective consciousness beyond the clouds. Originally issued on Regular Records sub-label Boomshanka Music as a precursor to their album One Blood, the now sought-after 12″ sports characteristic artwork from Mambo visionary and Mental As Anything co-founder Reg Mombassa. Instigated by Sydney selector Ben Fester, this Efficient Space reboot arrives fashionably late to Woodstock’s 50th anniversary but just in time to help soothe universal division.


      says: If you unravel the strand of the Balearic poncho which twists through "Moments In Soul", "Higher Than The Sun" and D Twins "Falling", you might eventually encounter this Aussie obscurity from Bellydance. Spoken vocals in a "What Is It That You Want To Do?" style, some irresistibly baggy breaks and a happily stoned soul instrumental all sewed together with a dubby bassline. Ponytails out!

      I've been trying to describe this record for the past two hours, but my brain seems to have collapsed into a lysergic stew of tapiocan consistency. Now, you could attribute this to the extra large helping of THC I ingested before leaving the house this morning, but you'd be incorrect, and should you click on the clips you'll instantly know why...then forget, fall into your own tapiocan froth and remember once again. This record is magnificent.

      According to the press release (though my Google search matched no documents) Cutmaster Singh is one of Leicester's unsung DJ heroes from the brief and brillant time  in the late 80s and early 90s, when musicians were fusing Acid House with Bhangra. For this record, Cutmaster Singh has dug out a selection of his own edits from back in the day, along with the HUGE "Acid Agah" an unreleased 1994 dubplate that more recently you might have heard being championed by Mr Scruff. Supercharged tabla gallop underneath a relentless, tunneling acid line of corrosive quality while occasional blasts of Bhangra vocals and trilling strings land on top. Every part of me yearns for this to really be from '94, but surely it's a contemporary fix - it can't be this good,  but utterly unknown, right? "Rani" operates in the synth pop / EBM sphere, once again employing a powerhouse acid line along with hefy drum machines and soulful pop pads. On the B1, "Nachdi Drums" hammers you into a dancing trance with crashing percussion, before more traditional instrumentation takes the lead. Finally "Balle Shava" turns up the tape fx to blast through some bubbling acid-laced electrodisco on a slight freestyle tip. Mega!


      says: I cannot even begin to describe how good this 12" is! From the rabid acid of the A1, through the freestyle Asian fusion of Rani and Balle Shava and the clattering percussion tool Nachdi Drums, each of these cuts will cause utter mayhem on any dancefloor, any time. Amazing!

      Jorge Ben

      Curumin Chama Cuh T Que Eu Vou Contar (Todo Dia Era Dia De Ndio)

      Mr Bongo's much in-demand series of classic Brazilian 45’s are back! Featuring a vibrant new design, they’ve curated yet more wants-list regulars and unearthed fresh finds from Brazil that are destined to become collector’s items in their own right.

      Number 80 in the Brazil.45 series, aptly sees a double-sider focusing on the awesome 80’s recordings by one of the giants of Brazilian music, Jorge Ben. First up is the addictive, building groove of ‘Curumin Chama Cunh t Que Eu Vou Contar (Todo Dia Era Dia De ndio)’.

      Taken from the ‘D diva’ album from 1981, and originally released on Som Livre Records. A homage to the indigenous people and tribes of Brazil. The flip features one of Jorge’s most beloved Brazilian-Boogie joints, ‘Rio Babil nia’, which celebrates life in Rio, partying, the beach, and the city’s iconic monuments.

      The song was originally released on a compacto and taken from the ‘D diva’ album from 1983, it features arrangements by the late-great, Lincoln Olivetti.

      Number 81 in the Brazil.45 series sees further digging into the magical world of Jorge Ben’s lesser-explored 1980’s productions. ‘Ma Ma Ma Ma Ma (A Lingua Dos Anjos)’ is taken from his ‘Al Al , Como Vai?’ album from 1980, which is arranged, produced, and features keys by the don, Lincoln Olivetti. The song contains trippy lyrics singing about flying saucers and angels.

      ‘Dona Culpa’ finds Jorge featuring on a cool mid-tempo groove track taken from Cauby Peixoto’s ‘Cauby! Cauby!’ album (also from 1980). Singer Cauby Peixoto had a long and stellar career, recording and releasing music from the mid-1950’s all the way up until his passing in 2016.

      Disco Bits are back with another party time 45. Cannon & Mirrorball are in the edit suite once again re-touching and consensually grappling with funky old 70's grooves and late nite club accapellas to bring you the heat that your record box has been needing.

      On side A they they serve up some peaktime Studio 54 realness mixed with a bit of late 80's style hip house. This is Cerrone meeting Sergio Mendes uptown, Saturday Night, whilst Chali 2na and his posse bumrush the show and grab the mic.
      On the flipside the boys funk it up with some never fail drum breaks from the Disco Shack, vocal snatches of a houseparty classic and a swathe of brand new instrumentation. The result is a jam is so dope you'll get a contact high by un-sleeving the wax.

      Ain't no party like a Cannon & Mirrorball party, y'all !

      Get 'em while you can.

      Official Mr Bongo Hip Hop Reissue. Nas has had a career of generally consistent excellence, punctuated with a few lulls.

      He’s an incredibly skilled rapper sometimes accused of having a tin ear when it comes to choosing beats - especially on albums (and the entirety of ‘Illmatic’ aside, obviously). ‘Made You Look’ was a shot in the arm for Nas at a time when he’d shed some of his core, street fanbase. After the unfocussed ‘Nastradamus’ and ‘I Am...’ albums he’d had a return to some kind of form with ‘Stillmatic’, but many felt he came off second best in the ensuing battle with Jay-Z.

      This single, a club and street classic almost from the moment it dropped, is exactly what he needed to reconnect with his fans and to show he could still throw down. Lyrically, it’s hardcore bragging 101, delivered with panache and numerous quotables that themselves would go on to be sampled. Key to it all, however, is that beat. Salaam Remi was no stranger to resurrections, having almost single-handedly turned The Fugees from forgettable also-rans to major-players. The beat here is deceptively simple, one of hundreds of records to chop up Incredible Bongo Band’s ‘Apache’ but doing so in a way that felt instantly fresh. Nearly 20 years later it still has the power to get a stationary crowd moving, an empty dancefloor to fill, a still head to nod.

      This original version has never been on 7” before. It’s presented with full artwork

      Back again with a pair of edits in the lower BPM spectrum, Jim Sharp takes us on a regional tour of the South. Side A, breaks down then reassembles an early West Coast gangsta hit, Dopeman. Us-ing the OG drums and extending the breaks, this will rock dance floors and bass bins alike. The B side, takes us to the Dirty South with 808 kicks, sprinkler Hi-Hats and sweet Soul music. I Chose You Could be dropped at a bounce party or a wedding. Willie Hutch sounds like an International Player with the revamped construction and drums. 


      says: Jim Sharp does his thing for Soul By The Pound here, breaking down and building up NWA classic "Dopeman" as a bass heavy, break-led beast then recreating that killer beat from UGK's "Int'l Players Anthem" on the flip.

      David Webb’s hypnotic and raw Elevate 12” from 1994 reveals an overlooked region in Detroit’s seemingly-endless musical landscape, linking the narcotic minimalism of Theo Parrish’s Ugly Edits with the uninhibited, spontaneous, and jazzy jamming found on J Dilla beat-tapes.

      Raised in the musically fertile and adventurous atmosphere of Detroit, Webb got his start as a mobile DJ while in high school during the late 70’s. Captivated by the local boom of soul, funk and disco, he’d frequent the social clubs, soaking up sounds. His earliest experiments in mixing led him to form a DJ crew with his pal Paul Johnson. Paul enlisted a friend, Jeff Mills, pre-Underground Resistance, to join the trio and they called themselves Frequency Sounds. The three would play underground parties and college events for Michigan State students. Throughout the 80’s, Webb and his friends would play at the local clubs around town, like 431 East (now called Saint Andrews), where he played alongside Ken Collier and other Detroit legends. Each week he found new sounds at his local record shop Buy Rite Records on West 7 Mile, where he’d dig for Italo, New Wave, Disco and House, buying 12”s from labels like Prelude, Trax and Beggars’ Banquet on sight.

      Webb’s earliest experiments with producing his own sounds started when he bought an Echoplex and ASR-X Drum Machine. During his sets he’d add live effects & rhythm to his favourite songs. This led to building a mini home studio where initially he would record all his songs overdubbing on two tape decks. Two of his earliest experiments, Elevate and Who Am I? Were self-released as a small- run promo 12” that he would hand out to his friends and local DJs. Webb quickly sold out and gave away the pressing, and he would often hear it played by DJs around town, but over time it drifted in the margins, as an obscure footnote in the history of Detroit Techno. Mixed Signals is proud to bring this important record back into circulation, seducing a whole new generation of DJs and dancers with Webb’s dark and silky pleasures.


      says: Deep and groovy Detroit house here, dug up by the Mixed Signals family. While he's unknown to most, David Webb was in a DJ crew with Paul Johnson and Jeff Mills way back when - serious credentials - and this 12" bumps, grooves and glides in all the right places.

      Under the pseudonyms 4 A.M. and Beat Per Bar, Lupos Sobre-Vega released two eccentric 12”s, of what, in retrospect, can be called vernacular house music. Both records are individualistic collisions of New Wave, Bass, Freestyle, Hi-NRG, Acid, and Sample House recorded in Sobre-Vega’s home studio in Orange County, Los Angeles. Using a Yamaha QX-5, Roland S-50, his mom's Roland Juno 60, EMU drum machines, and Yamaha DX-7, he put his nascent jazz chops to use and laid down the idiosyncratic dance tracks that he would self-release on his own label, House Hold Records, in 1988 and 1989 respectively. Although both 12”s were credited to groups, Sobre-Vega confirms that “the so-called band members were club friends. A couple were models and actors, or just plain good ol’ dancers. They were strategically picked by me, of course. So yeah, 4 A.M. and BEAT PER BAR are 300% me. There is no other.”

      Despite working within the confines of dance music’s ready-made rhythms, Sobre-Vega’s sensitivity transcends the inarticulate 4/4 beat - vulnerable, idealistic and yearning. The timeless themes on the records reveal his youthful worries about money, intimacy, love and sex. Looking back at dance music history, it is luminaries such as Arthur Russell, Sylvester, Grace Jones, Theo Parrish, and Larry Heard, that stand out as enduring visionaries that transcended stylistic trends. Mixed Signals is proud to illuminate Sobre-Vega’s work in the constellation of dance music’s radical dreamers with this EP comprised of two songs from each his scarce and singular 12”s


      says: Nearly thirty quid?! I've literally just gafawd at that price tag! Elitism or the true value of art?? Risograph sleeve.. is it worth it? The music's really, really good; but I'll have to leave it to you to decide.


      12" Info: Limited 200 pressing - handmade covers with beautiful risograph printed artwork

      You can always trust Rush Hour's Japan series to deliver some incontinental magic, but this tasty 12" is exceptonal even by their gih standards. Firstly it gives the DJ a handy wax of the two finest tracks from Colored Music, but secondly they land enhanced and extended by famed Japanese digger and DJ Chee Shimizu (of Organic Music fame). 
      The two cuts originally featured on the band's seminal self titled album from 1981 and 'Heart Beat' remained a cult DJ secret weapon, for many years all over the world. This heavy EP includes an alternative version of 'Heart Beat' that featured on the Japan only "Individual Beauty" LP of 2018 (also compiled by Shimizu).


      says: If you know, you know. In case you don’t, these two unclassics from Japan’s Colored Music offer narcotic synth pop laced with industrial idents and proto Detroit thrust.

      Faithful music merchants Rush Hour present a lost Japanese house classsic for our delectation! This EP of tracks is taken from the rare Kino Moderno album originally released in 1990 (tracks from this were used for the video game Video Drug 2). It's a vibrat, rich collection of sounds utilizing both analogue and digital synthesis of the time and is reminiscent of Dan Curtin, Shinichiro Yokota & Soichi Terada (especially) or Harumi Hosono's "Super Xevious" proto techno bomb. Features remix work (recorded in 93) from British soulful house DJ Frankie Valentine who had a record on Chez Damier's Balance records. As a bonus this set includes an unreleased version of "Into The Future".


      says: Takes a lot for a 'vintage house reissue' to pique my beak these days; yet sometimes someone digs deep enough to unearth summat that's previously escaped my attention and genuinely excites. This is one such offering!

      This week's Ronseal award goes to Cole Odin for the lush and perfectly titled "Warmth" EP, a much needed dose of mid afternoon sun in the week my boiler broke down. On A-side cut "This Kitchen Is For Dancing", Cole is in full Claremont 56 mode, combining sunkissed arps and nuanced drum programming beneath a chiming, chorus soaked guitar, recalling the horiztonal magic of the finest moments from Messers Smith & Mudd. "The Warmth Of Your Sun" switches the style but retains the vibe, dropping the tempo for a dubby downbeat jam absolutely dripping with hallucinogenic agents. Remixes come from Jack Priest and Adam Warped who strip back and speed up the cuts respectively for some full blooded Balearic house heat. 


      says: Lovely stuff from Cole Odin on Eclectics here, ensuring we all stay toasty throughout the imminent winter. Dreamy guitars, bubbling electronics and unchecked optimism wait within.

      FAR are excited to bring Chris Coco and DJ Rocca to the label for this release. Both artists need no introduction to Balearic /House and Disco aficionados, the pair have both notched up stunning solo musical releases.

      Meeting at La Casella festival in Italy in the summer of 2019, the duo decided to team up in the studio resulting in the ''Discoteca'' EP, a shimmering slice of Balearic, Disco House containing all the right ingredients and forward motion required for maximum sunshine or nightime connection.

      On A1 Discoteca (The Heavy Fun Dub Mix), they manage to create a heady cocktail of synth riffs, ARhodes and Guitars all underpinned by a solid bass line, nodding to the Jazz funk of Atmosphere with the edge of Dinosaur L recording in Italy circa 1982. AAntonio prosper turns up on vocals, whispering, and chanting, evoking imagery of a night out in the mid-summer heat somewhere in southern Europe.


      says: More quality stuff from the Faze Action camp as Chris Coco and DJ Rocca team up for "Discoteca", a spacious and groovy Balearic dancer which sounds a bit like a mythical Lindbaek dub of Laid Back, or the record Bell Towers is reaching for with each release. Faze Action turn things up with a hypnotic space disco remix which tastes a little Turkish Delight, while additional OG "Brute" is a right little acid funk wriggler.

      Memoryman Aka Uovo

      Don't Mess With B / Pimpin' With Dolce Vita

      Stamp Records return with a little Italian flavour...Two edits from Memoryman aka Uovo who is the man behind the Paradise Pizza series.

      On the A side, the killer, building groove of "Don't Mess With B" combines a loopy bassline, catchy piano sample and tiiiight perc for a searing disco-house epic that'd make even DJ Sneak take notice.

      On the flip, "Pimpin' with Dolce Vita" reaches Fellini heights as it combines the synth line & melody of an obscure Euro-pop hit with an original rhythm track and a beefed-up bottom end for a most excellent retroist dancefloor jam.


      says: Stamp return! The solid but unimposing label has quietly released some really solid dance music over the years and this tasty double A-side is no exception.

      To close the 3 EP reissue series of Neville King and Lee Laing's King & City label, the all female group Charisma are presented with their summer infused Lovers cut, Everything Is Fine.

      Three Lewisham friends, Angela Richardson on lead vocals, with Geselle and Janie backing, were active from 1982 to 1990, but are really remembered for the early recordings made with Neville King. Their debut, Everything Is Fine rides the Lovers sound at its peak. Written with One Blood's Lloyd Robinson, with the rest of band of Robinson brothers providing the rhythm section, this is pure South London sound system music.

      Recorded again at TMC (Tooting Music Centre) Recording Studios - working alongside the likes of Dillinger, Tradition and New Musik - Everything Is Fine rides a beautiful soul reggae rhythm as Trevor (Drums) and Lloyd (Bass) Robinson set the foundations, while One Blood provide the Dub mix.

      A true love's lament, a song of hope, serenity and pure vibes. Label head Chuggy slides behind the mixing desk for an extended Discomix that stretches, loops and dubs the vocal and dub back forth, to close a glimpse at this uniquely British phenomenon, taking reggae closer to it's heart and soul.

      Absolutely ESSENTIAL, under-the-counter repress of this stone cold mid 70s disco bumper from The Fatback Band. Licensed by groovement & recently championed by Dave Lee on his "Remixed With Love" series (and possibly the reason Vol. 3 regularly fetches £100 2nd hand already..), this is primo, funky, bustling disco musica!

      Coming with Dave Lee's two iconic remixes as well as the original, and with "Backstrokin'" included too as a further Brucy bonus! You lucky mother fu____s!

      Limited copies, move quick!  


      says: Killer disco-funk that most people know but few own a decent copy of! Groovin please the masses by including JN's two best remixes alongside the original at a wallet-friendly cost. Winner!

      Due to popular demand, Sekito release a re-mastered version of Alfa Mist & Emmavie’s collaboration project from 2014, available for the first time on vinyl, plus new bonus song ‘Energy’. Combining soulful keys, jazzy modalities and a distinctly hip hop bump, Alfa Mist operates in the some sphere as Dilla, Robert Glasper and Raphael Sadeeq, while Emmavie's vocals are smooth and tender with an ever present power throughout. RIYL 22a, Rhythm Section, Black Focus or Brownswood.


      says: Alfa Mist has always been a firm favourite of mine, soothing jazz etched with hip hop beats then paired alongside Emmavie’s soulful vocals are a dream. Ooft!

      It's been six years since Starion's incredible "Mind Bender EP" (RL09) circulated our orbit - a masterpiece seemingly beamed from a utopic late nite discotheque on a far-away star cluster, and one that immediately promoted the then Manctalo rookie up the ranks of the Red Laser hierarchy.
      Subsequently dropping primo synth sizzlers with Tron-like precision via the label's V/A EPs, the producer returns with four more particle-splitting bangers for our nocturnal delectation.

      Quintessentially Manctalo, 'Altered States' captures the producer's Streford-based, garage-cum-studio humming with activity. Encircled with everlasting chord progressions, excitable drum patterns and a plethora of star-studded synthesizers, the tracks glide through Starion's humble quadrant with a deep, guided desire to touch our hearts and power positive interactions.

      'Mind Funk', with its spark plug percussion and intense squelch washes euphoric, gated vox through its shadowy, amorphous, electro-charged circuitry; leading us with trepidation into the vast unknown. Key title track 'Altered States' ionizes its surroundings with a charged and uplifting synth array containing a whole multitude of messages and motifs to decipher in the dance.

      In one inspired moment Starion explores the archetypal realms of electronic disco through a colossally robotic rendition of 'Spacer Woman' before 'Condo Cruise' finally, ensures that Red Laser devotees have a brand new, radium-studded dancefloor gem to digest when the discotheques are open once more, its heart-tickling sequences and end-of-era majesty showing us a positive path thru the New Normal...

      Housed in a limited risograph sleeve designed by Manchester artist, DJ and musician Glen Cutwerk it's another carefully mined nugget of Manctalo heritage humans and their AI-upgraded incarnations will enjoy for many millennia to come.


      says: Wildly regarded no. 1 firm for Manctalo goodness and sporting the most charismatic roster in the whole Greater Manchester Area, Red Laser Records return with the legend that is Starion providing the chug. Local stables don't come hotter than this!

      J-Walk / The Hi-Fires

      Bossa For Shorty D / Là Bas

      Wonderful Sound keep the Mancunian drizzle at bay this week with a gorgeous split 7" from favourites J-Walk (yes Brew!) and The Hi-Fires, who let us luxuriate in two particularly lush takes on the Balearic form. 

      The A-side belongs to our good buddy J-Walk, who follows his excellent "Mediterranean Winds" LP with the breezy "Bossa For Shorty D", a grooving journey through spaced out keys and unexpected organ licks driven by Brazil's favourite rhythm. Easy on the ears, the track swells at the midpoint via plush pads and tremolo guitar twang, then serves the same tasty ingredients in ever trippier forms for the rest of its run time. 

      Over on the B-side we get an absolute beauty from The Hi-Fires, taken from their long player "Return To Vega". Channeling Verocai, Astrud and Working Week, "Là Bas" slinks along with its own Brazilian flavour, Francophone lyrics and sublime sax from Gary Plummley (Collaborator with Terry Callier and his 21st century counterpart Michael Kiwanuka). 

      Effortlessly, blissfully Balearic folks! 

      Wilson Records is back in the game with a killer new comp celebrating eight years in the game!
      Welcoming three new artists to the Wilson Records roster: Pats Favorite, better known for his recent release on Lunar Orbiter Program under his Turk Turkelton moniker (also out this week!), Clafrica and the Colombian Tropico Frio.

      It's much more booty & electro inspired outing on this record, shunning the raw bumpety house music for something a bit more futuristic and tougher.

      As always, super limited, no repress and digi - so if you dig these cuts act now! 


      says: Fast n pacey electro-booty cuts from Wilson's allstars as the label pursues exciting new avenues. Proudly steadfast in their commitment to both the dancefloor, and vinyl - you won't find these cuts on any digital emporium! Vital!

      Arp Frique is back, delivering four dance floor ready cuts in his signature style. 'Minina Bem Li' is loosely inspired by Arp Frique’s Cape Verdean connection through Rotterdam and Americo Brito, echoing the spacey 70s sounds of some of his favorite music. "Minina Bem Li" erupts with infectious rhythm, whomping space bass and sparkling arps supporting the killer island vocals. Next up "Voyage" veers into Zouk territories, laying some sizzling Desvarieux guitars over a driving rhythm section, further developed on the swinging 6/8 of synth heavy heater "Mindelo Aejo", a big contender for my tune of the week. Last but not least the drum box thump and future primitive palette (mallets, synth flute) of "La Verite" slides alongside your "Digital Zandoli" comp. 

      Peter Tevis / Ennio Morricone

      Pastures Of Plenty

      Originally written and released by Woody Guthrie in 1947, this cover version of “Pastures Of Plenty” by Pete Tevis – a Californian folk singer living in Rome in 1962 – was arranged by Ennio Morricone. A few years later, Sergio Leone wanted Morricone to score his up and coming western called A Fistful Of Dollars. Legend has it Morricone wrote some music, Leone hated it. Morricone then played him this old single. Leone wanted this music but with a new melody over the top. The rest is film music history.

      This is the first ever repress of this hugely important single since 1962. Originals copies are mythical to say the least.

      More glorious heat from the vaults of NYC's Disco powerhouse - P&P Records!

      One of many labels operating under the equally legendary tutelage of Patrick Adams and Peter Brown, two truly colossal figures in NYC's music scene, the P&P records catalogue is still fascinating underground dance music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds its way into the playlists of respected DJ's and selectors across the globe. This latest repress from the vaults is a real biggie - a true NYC underground disco CLASSIC!

      Cloud One was one of Adams' numerous studio outfits, featuring a ridiculously healthy dose of the man's virtuoso keyboard and synth playing. This was a progressive Disco sound, the pairing of extremely danceable funk and R&B with some spaced out over-dubbed analogue synthesizers and keys made for a heady concoction indeed, especially in 1976 when this cut was released. This was one of many Cloud One trademarks and one of the things that make these records still sound so way out today! 'Atmosphere Strut' could not be a better title for this immense slice of true NYC space Disco - it's got it all - the driving rhythms of the Cloud One band, the killer vibes, celestial vocals and Adams' totally wigged out synthesizer workouts. On top of all this goodness, the main man Kon, Boston's editor supreme and self confessed Disco fiend and digger, has dropped a stellar and respectful edit of Atmosphere Strut' for all your disc jockeys out there, featured here across the length of the B-side thus making this an essential repress of this legendary 12". If you don't know this jam, and you're a Disco head - you're in for a treat! You're gonna fly......!

      Honourable Welsh nipper, Luv*Jam ushered in the The Legend Of Gelert's newest release during the midst of lock down, so we never got it! Now finally on our shelves after many requests, "Glyder Fach" shines bright with three OGs and a remix by Lootbeg.

      Glyder Fach is the 7th highest peak of the Welsh 3000’s of Snowdonia; the home of Gelert. With meticulous curation, the series has delivered crystalline, dreamy and high fidelity house music often with a melancholic and certain serenity to proceedings and this is no exception. The three original tracks are 100% typical of Luv*Jam's expert programming; sitting alongside other releases from Iona Capri, Dawn Again and Johan Hansson as if they were written to be sonic bedfellows. Super crisp drum patterns, angelic, heavenly pad presets, and a detailed lower end characterize the productions; the elevated feeling you can only really achive once you get high into the clouds.

      Lootbeg's remix doesn't stray off the mountain path too much; imparting "Owner Of A Lonely Heart" with even further degrees of emotion, sentiment and feeling. There's few electronic music label's that speak to the heart as much as Luv*Jam's various series (see also: Blind Jack's Journey, Dream House, Crow Castle Cuts); indeed often finding a home beneath the sheets rather than on the dancefloor. A brilliant UK electronic label with completely it's own style. Full marks! 


      says: Nippy's back! More dream house goodness from the Legend Of Gelert. Luv*Jam's most recently curated incarnation of Welsh folklore and hypnagogic dance music.

      Having self-released a number of EP’s in the past year iota has pricked up the ears of the Australian music community with his take on minimal tek, electro and acid. His debut release on Pure Space delivers three original tracks spanning the breadth of minimal club music. Accompanying the release are two remixes, one from Melbourne's  Reptant and another from IDM producer DBR.

      On the A-side iota kicks it off with "Terminus", here deep under a tight electro beat lurks a staunch bassline intertwined with playful pads and soft acid-like tones. It’s a textural and delicately refined track, with each sound finding its perfect place within the piece. Up next is "Cloudtek"; where gentle percussion dances softly on a bed of textured sampling that truly takes the edge off the stomping 4/4 beat..

      Flipping to the B-side you will find "Noxi", a lurking, half-time, hi-tek dub track destined to turn heads. Curious psy-inspired samples follow you through the piece and a continual shift in the percussion builds tension and a sense of tectonic movement beneith the skitting, echo-laden rhythms. Seriously, this is breathtaking stuff listeners! 

      Complementing the release, Reptant takes "Terminus" takes deep into the Drexciyan under realms. His Lizard-Tech mix plays up the acid elements of the original and sits on the darker end of the scale. The acid drones and lysergic swirls sounding like your gasping for air bubbles on one of the Sonic the Hedgehog underwater levels. 


      says: Major tip!! Specialist tackle for deep tech / and future dub heads that like it hyper modern and super advanced. The production is RIDICULOUS. Trust me, this is the dogs bollox!

      "Hearts Utd." is an addendum to RX-101’s recent 2LP “Serenity”, featuring 5 additional caustic braindance assaults from the archive, alongside a brand new remix of Serenity standout cut “Hearts Utd.” by the mysterious IDM producer Brainwaltzera.

      On “Hearts Utd.”, RX-101 delivers more scorched, crunchy jackhammer beats, combined with emotional, plaintive pads, delivering a classic set of vintage-Rephlex-style bliss, à la AFX, Caustic Window, and Cylob.

      Comes housed in a reverse-board jacket with full-colour-picture inner-sleeve.


      says: Friend's of mine know how much I dig RX-101 but it's actually the Brainwaltzera remix I'm feeling on this 12". The mysterious, already-cult electro outfit delivering a dark, industrious, dystopian ballad of the highest calibre. Don't sleep.

      Pina Edits

      Vol. 4

      A Berlin based collective of music aficionados launch a limited and lovely 7" platform for club-ready recuts. On the main mix, delivered here on the A-side we get a bass boosted disco classic, replete with muchos groovos, funk horns and the girthiest wah guitar you're gonna hear this year. On the B-side, "Disco Dub" adds a load more FX and additional percussion nuggets, taking the track in a trippier direction.

      Idrissa Soumaora Et L'Eclipse

      Nissodia (Mike D Edit)

      Legend’ is lofty praise that is often used lightly, however, Mike D from the Beastie Boys certainly is one in the truest of spirits. We are delighted after over 30 years of being involved in music to finally release a project involving such a hip-hop pioneer and icon as Mike.

      In keeping with the maverick attitude of the Beastie Boys, you don’t always get what you expect. For this release there isn’t a hip-hop beat, instrumental-funk or hardcore-punk joint in sight, rather an electronic-African club banger. Mike took it upon himself to rework Malian artists Idrissa Soumaoro and L’Eclipse De L’I.J.A. and their track ‘Nissodia’, which is taken from the ‘Le Tioko-Tioko’ album originally released in 1978 on the German Democratic Republic (GDR) label ETERNA. The song was also featured on ‘The Original Sound Of Mali’ compilation released on Mr Bongo back in 2017.

      It was November 2019 and the day before a Mr Bongo 30 years celebration event in Paris at the Pedro party in the ‘New Morning’ club, when out of the blue the remix landed in Dave Mr Bongo’s inbox. We loved it straight away and decided to road test it the next night in the club. Whether it be a remix/re-edit/ rework, it doesn’t matter, what does matter is that it works spectacularly in the club and had people jumping on the stage to dance at the party. A sensational track and one which leaves a beautiful memory of good-times from a night out in Paris (and one which is in retrospect is even more poignant as the late-great maestro Tony Allen was in the club that night), and we are sure it will light up many more dancefloors to come.


      says: Check-ch-check-check - check-ch-check it out! Beastie Boy Mike D takes his scalpel to this Malian jam-a-thon from Idrissa Soumaora and twists it into a stomping Afro-electronic banger which has me begging for the clubs to re-open. Chuck in the OG on the flip and you got some must have wax on yo hands.


      Ltd 12" Info: Indies exclusive yellow vinyl.

      Lunar Orbiter Program drop the first solo mission for the wonderfully named Turk Turkelton. The new electro-focussed label has previously given local artist Torai his first outing, alongside a veritble plethora of box-beats synth squelchers that generally regard Drexciya as their all conquering Lord.

      I'll be honest, I do swerve away from a lot of the 'nu electro also-rans'... The resurgence in the genre has yeilded mixed fruits: some of it inspired, high calibre machine funk while others create mediocre and unimaginative offerings, fuelled by the same bad Ableton presets that try to mimic that old skool cog grit and scorched circuitry with little impact.

      Thankfully Turk's managed to harness that vintage aggression and energy perfect on "Hive Mind" which cracks, snaps, rumbles and shakes in all the right places. "Safe" opens proceedings with precision; a robotic groove that's executed with such finesse it feels familiar upon first listen; and with a crazy uplifting switch around full of strings and booty vox samples. "Rock It" quickly returns fire with another masterclass in sequencing and programming. Subtle slides guiding the rattlesnake lead line while a flailing scatter-gun of acid peppers the backdrop. More tense Detroitian strings and unrelenting drum kinetics keep this one rollin' right thru. Heavy.

      "Acqualunge" switches the broken beat for the 4/4; injecting a noticible level of acceleration into proceedings as we ratchet up the gears to techno speeds. Further nods to the Detroit pioneers encapsulate this track which masters that 'drive-by shooting at night' vibe Juan, Derrick and Jeff famously tried so hard to aurally mimic. Finally, before we get any ideals on relaxing, ""X Statione" hits you in the bowels with plumes of deep Reesey bass, providing a hundred-hand-slap of stuttered electro rhythms and a ghostly synth motif that'll take you back to Big Boo's Haunted House... Wicked!

      A stunning record for the army of electro veterans and new club rookies alike. Imperitve!

      Mastered at Reel Mastering, London. Limited copies.


      says: The wonderfully named Turk Turkleton drops an imperative new EP of new electro and mechanised techno which is up there with some of the best this burgeoning little label has to offer.

      Vol.2 in OTIS's "Sweet Echoes" series. Don't sleep on this. With Vol.1 long sold-out and fetching a tidy sum on the online shark market "Sweet Echoes vol.2" quickly ushers in five tracks of brand new Australian jungle! The flora seems in fine form, with Rings Around Saturn (Melb), Splitch (Syd), Hugh B (Syd), Freda (Syd) & Roy Batty Jr (Syd) contributing a more-than-competant set of joints that jumnp straight into that original '94 liquid sound - think LTJ Buken, K & D Sessions, 4Hero etc.

      Stupendously limited copies! Order fast.


      says: The top Australian label turns its deft hand to mid 90s jungle after ably demonstrating a perfect grasp of digi-dub, deep house & Balearic styles... is there nothing they can't do?!

      Bonnie & Klein

      Roof Garden EP

      Straight from the Mediterranean Sea, the Greek Duo Bonnie and Klein have landed at MM Discos to present “ROOF GARDEN”, an EP where the balearic beats and downtempo takes over the control and where the “2 Balearica devotes” invite us to enjoy an amazing trip from the Ionian coast thru the Aegean beaches until Myrtle Sea. Bonnie & Klein are no longer unknown after being working the last 4 years for well renown labels as “Leng”, “Music for Dreams” and “Is It Balearic?” among others. Following their previous releases, B&K stay loyal to their own personal vision of “Chillout”. Highly influenced by the architecture and culture from Greece, George & Thanasis build beat after beat an amazing work where their “Laid Back Style” will be the main character on this story, a long with haunting keys, wicked percussions, and sounds and melodies that will remind to “Far East”.

      Los Angeles disco/funk lover LUXXURY’s latest EP "Set Me Free" - five slices of dreamy 80’s disco and funk influenced bedroom pop - got on the radar of in the know indie dance fans after repeated airplay on LA tastemaker station KCRW. But the grooves, rubbery bass lines and shimmering synths barely mask the anxiety in the vocals, as LUXXURY (Blake Robin) sings as if he were peering into the future from the world we’ve all just - and so, very recently - left behind.


      says: New one on me, but oh-so-pleasing: Luxxury provide some competition to Roisin Murphy, Galaxians and Crazy P as they spearhead a new optimistic direction in dreamy electronic disco-pop. You need.

      Continual contender for the much vaunted "Favourite Shop Customer" trophy, the inimitable Begin soothes our cares with a beatific and balmy three track 12" of breezy Balearic excellence.

      Keeping the lockdown blues at bay with an uncharacteristic abundance of Bandcamp beauties, Begin extends his optimistic sound from the digital to the physical, cherry picking a couple of his most recent and decent alongside the previously unheard "Alldaydream".

      Longtime fans will be well aware of Begin's South American predilections, and the brilliantly titled "Super Barrio" continues the Brazilian love affair, underpinning a swaying MPB-style groove with an irresistible bassline before layering warming keys, dexterous guitar and a babbling vocal as the cherries on top - jackpot! On the A2, "Above" opens with ringing guitars, rhythmic chords and a gentle polyrhythm, slowly but surely spreading joy like the rising sun.

      Turn the record over and prepare to drool as Begin charters a private jet from Stretford to Sao Paulo on the lush and lilting "Alldaydream", possibly his finest production to date. Snippets of spoken vocal, crashing cymbals and a cascading chorus are all washed in echo and delay, dubbing out into the ether over a sumptuous groove.

      Remember, the sun is always shining if you get high enough. 


      says: You all know how essential this music is already, but I guess I'll wax lyrical one more time. Stretford's finest serenades us with a trio of lilting Balearic beauties, each bearing that Latin tinge which has become his calling card. Exceptional again!

      Blink-and-you'll-miss it, OG shamanic electronix here - listen up and pay attention apprentice! 

      When we first coined the phrase here in Piccadilly it quickly got bastardized by the mainstream and now you've got fuckin' Ibiza TV streaming 'Shamanic House DJ Set' for all the masses to smoke a CBD spliff too. Complete with ethnic flute samples, some lame-ass conga presets and sluggishly sequenced drug-chug, it couldn't be further from the spontanous combustion of voodoo and circuitry that we had in mind when WE invented the phrase. 

      Thankfully Yre Den got the memo as he / she / they produce a double A-side of incendary hardware magic; uncatagorizable but highly infectious. Not gonna hang around long either, so ignore the price tag and grab some hi-tek ritual release. Crucial! 

      GoGo Penguin

      Last Words / Fanfares (Alternate Versions)

      Gondwana Records are delighted to announce the 6th release of our '7" Series', our first ever 7" vinyl collection series. Featuring bespoke artwork from Gondwana Records designer Daniel Halsall, cut at Calyx in Berlin, and manufactured at Optimal. This one is limited to strictly 500 copies and housed in a reverse board printed sleeve with classic 'dinked' centre holes.

      Last Words and Fanfares were GoGo Penguin's breakthrough tracks, taken from their first album, Fanfares, they first introduced the band's trademark mix of jazz, dance and classical music influences to the world outside of Manchester. For this this very special release we feature two breathtaking alternate versions. Recorded in 2013 they feature the now classic line-up of GoGo Penguin with pianist Chris Illingworth, drummer Rob Turner and bassist Nick Blacka (replacing Grant Russsell) together with producer Joe Reiser - they are released here for the first and only time.


      Ltd 7" Info: Limited to 500 copies, comes with a limited edition postcard

      Tempo Dischi is an italian label created on a mission to discover and repress classics and rare italian gems of the italo disco, afro and cosmic scene. With the support from all the main players who has made that era magic, we work to put back on records stores shelves a piece of art that may have been lost but it’s still timeless.

      The fourth release is a double A side release from the japanese electronic music pioneer Hideki Matsutake. Composer, arranger and programmer he is certainly known as member of the Yellow Magic Orchestra with Ryuichi Sakamoto from 1978 to 1982. In 1981 he launched his own project Logic System, producing essential songs like ‘Unit’ and ‘Clash’ that are included in the seminal album ‘Logic’.

      ‘The first half of the 70s was an era of practices and challenges for me’ comments Hideki ‘I started at the studio of the legendary electronic music pioneer Isao Tomita where i touched a synthesizer for the first time. I explored the Moog modular learning how to create sounds that nobody had heard. It was a stimulating period for music. Loads of the Japanese pop of this era was an active mix of different genres like jazz, fusion, electronic music, enka and more, and there were many experimental sounds. The experience with Yellow Magic Orchestra has been wonderful, but I've always had the desire to produce my music based on my own experiences.
      The first synthesizer I purchased was Moog IIIc and then an E-mu Modular System. The Roland MC-8 was also revolutionary in creating never-ending and precise rhythm patterns. I produced the first album ‘Logic’ together with my partner Ryo Kawakami. At the time I was working with him on different projects. Inspired by the principle of transformation, we were transported by thoughts, musical contexts and experimental elements that guided us to the production of this record’

      The B side is a special italo disco version of ‘Unit’ produced by the Italian studio team Mito, formed by Natale Bellotti, Italo Portesani and Stefano Secchi. The idea of ​​this remaking came from friend and colleague Stefano Secchi. I think it was 1982’ recalls Italo Portesani ‘I introduced the project to Natale Bellotti who agreed to participate as executive producer. The studio band of Mito was born. The sound of Unit was already electronic and minimal but we thought to make it more danceable and in the mood with the italo disco and electro pop sound’

      Yosa Peit / Nauker / Glenn Astro

      TERM 3

      Man, these Money $ex cats have gone all the way through the looking glass of late, leaving any traces of their beatdown house waaaay in the rearview. I'm all about artistic growth and this transition into strange, live jammed, dub-heavy weirdness is causing all sorts of raunchy brain vibrations in my skull. The third release on Termina comes from a Sunday session from Yosa Peit, Nauker and Glenn Astro and serves us a duo of deep and diverse workouts on a slow and slanky tip. On the A-side 'Policeman Theme' emerges from the crystalline brightness of new age chimes to adopt its final form, semi Balearic bedroom pop with a hint of Fairlight jazz about it. Think James Ferraro and Eleventeen Eston soundtracking a straight to VHS mystery in 1987. On the flip the trio change the flavour, packing "No Ligo Me" with low tempo ket-den soul, wigged out ring mod and a rattline dancehall rhythm. It's like Pecker / SKRS dubbing out a Jessie Ware track, eventually dropping the vocal completely to concentrate on pure sonic voodoo.


      7" Info: Hand-stamped hand-numbered 7" limited to 100 copies

      2 Lanes

      Baby's Born To Fish / Impish Desires

      2lanes is part of the latest resurgence in Detroit's techno underground whose infamy is built via amorphous live appearances / DJ sets, collaborations with contemporaries like AceMo and John F.M., and a steady, hilarious and blunt presence on Twitter. 2lane’s 2nd piece of wax, the AA side "Baby's Born To Fish'' / "Impish Desires'' (following the "Giving & Receiving" EP on NYC's Ceramic Records, February 2020).

      2 Lanes first appeared in Detroit around six years ago and quickly made a name for himself in the local scene, promoting shows with international artists and friends from NYC, all while making an effort to respect the city's unique musical identity and history. He carries the tradition of Detroit's electronic pioneers who pursued new ideas in production and gear, bringing perfection to the craft, and developing unique twists in his process.

      Participating in the contemporary electronic music world required splitting your time between 2 places at once: Online, always-on, in constant engagement with friends + foe alike; In Real Life, physically traveling city to city, DJing and collaborating, all while maintaining a sense of self. And now, all that's different.

      Releasing a club-ready 12" in the midst of a global pandemic? That's the 2 Lanes. We heard an earlier version of "Baby's Born 2 Fish" what feels like 10 years ago, rinsing "Impish Desires" when there were still gigs. Do you remember the Apollo Masters plant fire in early February? How long were pressing plants closed, again? How long have we been living in this new reality? 2lanes hopes that the messages of this music; fear, isolation, friendship, love and how we exist at this intersection comes through for the listener.

      "Baby's Born To Fish" / "Impish Desires" is a heavy hitting AA side, rejuvenating, explosive, off your face. They're ready for the eventual return 2 the dance floor, and sooner for your streaming DJ set. We don't know when we can see you IRL, but we know it'll be in mixes for decades to come.

      'You’re gonna cast your reel out and you don’t know if you’re gonna get a fish that day, but you’re still gonna cast it out.' - 2 Lanes

      releases September 25, 2020

      PGS 013

      "Baby's Born To Fish..." featuring Kesswa, John F.M., Ian Fink & Shigeto
      "Impish Desires" featuring Ji Hoon

      Mixed by Jo Rad Silver
      Mastered by Josh Bonati at Bonati Mastering, NYC
      Pressed at Archer Record Pressing, Detroit

      Art Direction by Joey 2Lanes
      Design by Ben Saginaw


      says: Wow what's this?! BRAND NEW, hi-tek soul from Motor City! Excited? You should be. This is so fresh! Yet carries on where Recloose, Amp Fiddler and Carl Craig left off. Essential stuff then for Detroit music fans and deep house heads in general. Check!

      Immergant & imperitive MCR label Dansu Discs returns with its third V/A instalment. One of the most exciting prospects our city has in terms of new dance music at the moment, I've personally bagged every release so far with eager and warranted expectation.

      With tracks from Frankel & Harper, T. Jacques, Lavonz (with a classic reissue from 1998) and Main Phase it yet again skirts between 4/4, garage and bassline with an elbows-out, hyped-ta-fuck aesthetic that keeps it firmly at the cutting edge of clubland.

      Currently receiving repeated spins from our own Kickin' Pigeon, Interplanetary Criminal is a big proponent of this new home-grown stable as is Metrodome, Dub Phizix and any other local spinners with their finger on the pulse!! Crucial listening people! 


      says: Big things await this label when the dancefloors re-open again! Smashed to shit at last year's Pomona rave, I'll be hammering these out across the live streams until we get all get loose again. Big ups cru!

      Best before 2021 is a compilation of break tracks bringing together producers from different emerging electronic music scenes. Paris, Geneva, Tbilissi & Saint Petersbourg’s finest underground artists presenting what they do best : sexy disco samples, low, distorted 808 basses & kicks marked with rolling break beats.

      A tidy compilation from this courageous label, I'm really feeling the production on Greenwald's "Pppower" while Raw Takes' "Gate 313" is worth the entrance fee alone - a garage-house hybrid with anthemic pianos that's up there with the D Futers' "I Care" from a few years back. Serious!

      Some tasty electro-booty and ruffage nicely decorates the rest of the disc. It's a real shame late nite dance spots aren't open at the moment as this would be the perfect choice for those looking for some fresh shit to groove to! Hopefully the live streams will do it justice.... Highly recommended! Don't sleep...


      says: Big hyper spins for club kids and adults that should know better. RIYL: Natural Sciences, Dixon Avenue Basement Jams, 2 B Real etc etc.

      If I had a klaxon, I'd be twirling it vigoursly around my head in excitement, proclaiming - Don Carlos returns! Yes, the Italian deep house demi god recently re-fired his studio engine room, offering up some tracks to Alex Bradley following a intimate Utopia Records dance in a north London loft!

      Title track Tuono or "Thunder" sees Mr Carlos bringing the original Mediterranean and Latin dance sound onto a modern page. The inspiration is clear, the trademark percussion of Vincent Montana forged with the spaghetti basslines of legendary film-score writer Piero Umiliani together with Carlos's trademark paradise house sound that lets you imagine the 3 in harmony, in a studio together.

      Working from the OG house blueprint (multiple remixes of one, leading A-side), the A2 sees mythic underground London DJ and label boss Bradley team up with legendary UK house producer Neil Tolliday and guitarist Ollie Marks for a Utopia Sound Project mix entitled "Tears of Petrichore".
      More than just an edit, a whole new Balearic house take is formed using just the pads and chords from the original with new bass, percussions and Marks' Pink Floyd-esque guitar warbles on top for a blissed out journey into romance.

      The 12" is rounded off by a Tribal fix by Carlos himself, big room moves that draw you in and keeps you there...dreaming of better days...
      Finally, the re-rub strips it back and locks the groove.

      Salute Don Carlos.


      says: Don Carlos dusts off his keyboards and shows us why he is STILL the don of deep Italian house music - 30 years since he pretty much conquered it first time round!

      Parallel Minds continues its mission to bring compelling electronic music from Toronto to the world with its sophomore release, a 4-track split EP between label co-founders (and long time friends / roommates) Yohei S and Daniel 58. With this release, Yohei and Daniel sought to create club music that truly represents what they'd want to hear in the club, both as DJs and clubbers. On the A side, Daniel refines his penchant for wiggly breaks and syncopated rhythms with two uptempo moody slammers. On the flip, Yohei turns over two tracks combining the use of new production tools with old tech house and Miami bass influences. Deftly blending broken dub beats, grime textures, and hypnotic 4/4 grooves, this EP, much like its predecessor from the same label, has something for every DJ, regardless of what timeslot they're playing.


      says: Yes you know I love this shit! Under-the-radar, soundsystem-tickling artillery from Toronto that's certain to turn heads and elevate bodies. You need!


      Perfume / Blossom

      Logic1000 probably gifted us one of the surprise hits of 2019 via the double A-side, white label release: "Please Forgive Me / Derrière". Hammered to death throughout the year locally by Kickin' Pigeon & Migz, it reached zenith buzz factor at last year's Gottwood festival on the Ruffy's Lab stage. We now know that Logic1000 is the alias of Sydney-born producer and DJ Samantha Poulter and since that unrivaled debut, her music has made it into the sets of Four Tet, Caribou, Ben UFO, Floating Points, DJ Python and Anthony Naples amongst many others. Now based in London, Logic1000 has already performed in some of UK's best clubs including Printworks (w/ Carl Craig, Larry Heard & Moodyman), Phonox (w/ Mount Kimbie), Bristol’s Motion (w/ Four Tet) and Corsica Studios (w/ DJ Python).

      Another super limited white label release containing two tracks and again, with one sampling some commercial RnB / pop while the other is a fully certified soundsystem blaster! So while "Please Forgive Me" sampled Burns' "Lies", "Perfume" samples Avant's "Seperated"; dragging it by the ankles from its 2006 RnB habitat and into a smoke filled, red-hued mainroom populated by Sydney club kids! Utilizing the vocal to devastating effect and adding a very Australian drum palette of tight kicks and percolated perx, it has that hi-gloss aesthetic you'll recognize from the many of her other productions. Flip over and "Blossom" hovers in on pulsating pads, a skitty, Hebdenesque beat and squealing synth refrain. Displaying a highly profecient level of detail throughout, yet with a suspended, non-linear course, the track glides into the collective conciousness of the dancefloor and signifies that bewilderingly transitional moment when you move into the deeper and more serious end of the session, certain to lock the crowd into its dazzling grip. Hi-tech, hi-end stuff by a producer who really knows her craft. Big things destined for this girl mark my words. Much like the first one, this under-the-radar offering is set to become one of the finest secret weapons of the year! Recommended.


      says: Less drama more tension but still mindbogglingly accurate in the studio, the Berlin-via-Sydney star follows up "Please Forgive Me / Derrière" in succinctly superb style.

      Having recently emerged from his Forest Hill bunker with "Monsterpiece", a joyful, larger than life, Chaz Jankel-featuring good-time party anthem and first single for new label Heavenly, here come the remixes…

      Harvey Sutherland is very much the filling in this 2 Bears sandwich, thanks to Raf Rundell’s tune and fellow Bear Joe Goddard’s remix. Although not exactly a household name (just yet), Harvey Sutherland has been making waves since the release of "Bermuda" on Danilo Plessow’s MCDE label in 2015 (check 2020’s "Superego" for further proof of his talent). Here he delivers a mix that lathers melody and jazz-funkiness on the top of Rundell’s already sweet (cheeks) vocal.

      Joe Goddard keeps the tempo at Sutherland’s similarly chugging pace, while adding some suitably disorientating Larry Levan-style delays without forfeiting the winsome Rundell falsetto. Nice! 


      says: Most likely doing the rounds at the hottest seated outdoor spots in town; the perfect soundtrack to tanning a load of cocktails down Social Avenue or Platform 13. Table service please!


      Ltd 12" Info: Limited edition (300 copies) 12” pressed on eco-wax vinyl, stamped white label in Heavenly house bag
      Eco-wax is made from 100% random leftover vinyl pellets, giving each copy a unique colour and pattern.

      New Order

      Blue Monday - Remastered Edition

        The biggest selling 12” single of all time in the UK, reissued and remastered from the original master tapes at Abbey Road Studios. Originally released on Factory Records in March 1983, the single has become the band’s most recognisable track

        Hello Sailor Recordings is back with its first (and last) release of 2020, this time with another excellent addition to the beloved 7" series.
        The chaotic sounds and lyrics of 'Sera que eu to Pirada' originally released in 1995 by short lived band Silvanna & A Maquina do Tempo, feels current amidst the challenging times we face and it's accompanied by 'Vem Viver Pra Mim' on the flip side. 


        says: Both songs are elegantly edited by mystery Sao Paulo producer Hotaru, who maximises the swaying bassline and freestyle rhythm of the A-side, before locking us into the unstoppable groove of the flip - a Balearic disco winner if you ask me.

        Dwight Trible

        What The World Needs Now Is Love / Tryin' Times (feat. Matthew Halsall)

        Gondwana Records are delighted to announce the 6th release of our '7" Series', our first ever 7" vinyl collection series. Featuring bespoke artwork from Gondwana Records designer Daniel Halsall, cut at Calyx in Berlin, and manufactured at Optimal. This one is limited to strictly 300 copies and housed in a reverse board printed sleeve with classic 'dinked' centre holes.

        The release also comes with a limited edition postcard

        Dwight Trible and Matthew Halsall first met by chance at a festival in South Africa. Dwight sat in with Matt's band for an impromtu jam and a friendship was born. The result was Dwight's 2017 recording for Gondwana Records, Inspirations, produced by and featuring Matthew Halsall and members of the Gondwana Orchestra. With the LP long sold -out we've decided to shine a light on the first two tracks from the album. Together they make a glorious, deep, soulful 7" with a timeless message. On Side A we have, Dwight's impassioned take on Bacharach and David's classic What The World Needs Now is Love and on the flip we have a low-slung take on Donny Hathaway and Leroy Hutson's Tryin' Times. Both feel even more relevant now than they did when written. Just 300 copies and no re-press on this one - so don't msis out.


        Ltd 7" Info: Limited to 300 copies, comes with a limited edition postcard

        Erik Sumo is one of the most established Hungarian music producers of the last 20 years. His various acts gained national and international, underground and mainstream success, he scored movies - think of the now cult "Liza, The Fox Fairy" soundtrack. His latest album "Mount Fuji" came out in November 2019, it contains "Run Into The Wild", an odd yet catchy leftfield floor-filler with an unmistakable mood built of glamorous disco vibes and sinister imaginings from the woods around Fujisan.

        On this EP you can hear the previously unreleased disco dub version of the song and 3 remixes taking the original into completely different directions.
        Mytron & Ofofo of Multiculti fame chose to go the tribal way by adding some extra percussion and reconstructing the chorus making the track even more dance floor friendly than it was originally.
        Oakland based producer E. Live turned the tune into a contemporary boogie burner, while Budabeats staple M.W.D.'s version has an atmosphere that is impossible to describe but straightforward to enjoy.

        Limited to 400 copies worldwide.


        says: Pop-flecked disco taken thru a variety of moods via a veritable selection of modern day music maestros. This is really good!

        Mermaids return to the sacred black wax after a five year break. It appears to have been time well spent, as their sound has matured into a rhythmic, expansive feast.

        Coming on like a psychotropic, hallucinatory distillation of their anything-goes More Ritual show on Netil Radio, this action-packed EP is an evocative, cosmic journey that defies classification. There are sprinkles of deep house, disco and bass, with a tropical, outward looking feel.

        Opening track "Crystal Eyes" patiently broods it’s way up the energy ladder, winding around birdsong, field recordings, flamenco guitars and ear-worm grade drum patterns that grow into a propulsive, bass-driven finale.

        "Find The Light" merges a driving a low-end with plaintive keys and sparkling percussion; high-energy dreamer music for weary-legged dancers.

        The B-side kicks the mission off into a voodoo state with "Raising The Altar"; a mysterious and intrepid slo-mo juggernaut that carries the listener through a shamanic odyssey with enough sway to topple a pyramid.

        "Gilded Key" closes the set with an uplifting, strings and percussion drenched groover that will leave you grinning widely, still drenched in the steam-heat of the ritual.

        With early support from The Revenge, Rune Lindbaek, Andrew Thomson, Esa, Auntie Flo, Jaye Ward & more.


        says: Elusive this guy, but always worth checking out. A smattering of under-the-radar releases populate his catalogue but each one of them unique and wonderful. This one should appeal to fans of Cottam, Eddie C and Mark E.

        Triangulating a slinky signal to a square mile off the Swan River, Glowing Pin bring us ‘Pentagon Palette’, a master blast of frequency adjusted house, swamp stomp and chakra charmers from Australian newcomer Jonus Eric.

        Though opening brace ‘The Cult’ and ‘Collect’ made first contact back in 2014, a loose connection between Perth and Hamburg hindered progress before ‘Mirrors’, ‘Emulator’ and ‘Waterfall’ walked across the web in 2019 to round out a dope debut release from this house auteur. Specialising in mind altering sound design and melodic flair, Jonus generates a neon swamp on ‘The Cult’, serving up a psychoactive roller caked in radioactive fuzz and insectile fizz. Thick bass swells and circular marimba make for a hypnotic rhythm, while a shapeshifting vocal and moody keyboard riff drag us back towards terra firma. The paradisiac refrain of ‘Collect’ soon sounds out through the jungle with a euphoric haze,

        its sub-tickling bass and acid gurgle riding hyperactive drum programming as the track warps in the humidity. Soaked in serotonin and brisk at 137 BPM, ‘Mirrors’ burns off the mist to offer an airy update on the French Touch template. Though frazzled circuitry and dislocated vox serve this one with a twist, the chiming pianos and bouncy beat are still best enjoyed in a Golf GTI in the summertime. Jonus reaches for the lasers via the restless rhythm and rave sirens of ‘Emulator’, a fresh take on the funky house of the late nineties updated with unexpected breaks, squealing feedback and treated vocals usually found on a Four Set banger.

        Finally, it’s off to the chillout room for ‘Waterfalls’, a fourth-world tone poem describing crystal caves, undiscovered wildlife and a holographic waterfall. Ditching the doof, and letting those colours tesselate, Jonus offers a +2 bump to your mana, closing the set out in style.

        Baba Stiltz

        Running To Chad - Inc. DJ Python & Jesse Remixes

        Baba Stiltz returns with this new release on his own imprint; CYCLE. "Running To Chad" hints at a new direction from Baba, with his distinct, laid back vocals finding a home amid some seriously melodic grooves. Strung out and psychedelic, the track rides an exotic rock n roll rhythm (think a very stoned Bo Diddley) sun dappled synths and surf-ish guitars waving like heat haze under Baba's stoner croon. It's like the Beck we wish we had...
        On the flip there are two remixes. The first comes courtesy of Jesse, and is Balearic as fuck. Somewhere in furlough land, Andy McQueen is losing his mind to its baggy beat, acid-tinged bassline and endless groove, telling passers by how much it reminds him of the Roses or Beta Band. Closing the 12" out is DJ Python, who deftly blends the melodies of the original around a stuttering beat, reshaping "Running To Chad" in his own Deep Reggaeton style. If you hoovered up those Unkle remixes of Ian Brown way back when, this is gonna do it for you.

        New one from Mark Seven's Parkway Records camp and it's a dazzler from The Whole Truth who are a truly great addition to the modern funk and boogie scene!

        Coming in three subtly varying flavours, "Lord, Quench My Soul" is based around a catchy gospel-tinged vocal hook: 'fill my cup!'. The original mix is possibly the most stripped back affair, allowing cascading synth lines to drip through squelchy boogie beats and that rubbery yet rugged bass. While the club mix decorates the mix with bolshy piano chords, the OG utilizes phazed guitar chops to equally great effect. On the garage mix, we see the bassline replaced by a more soundsystem-hefty option, as lead lines hover overhead suspended on dub delays. The production and instrumentation is superb throughout, with Mark's flair on the mixing desk sure to impress more intrepid listeners on repeat plays. Top draw Parkway Records tackle, delivered direct your lugholes! Most recommended.

        Remastered & Re-Edited & Remixed versions of the ‘Quare Groove’ classic first released on the group's own Feral Records imprint in Ireland in 1985. Originally inspired by Con O Laoghaire,s trip to Carnival in Trinidad ‘where a woman told me she would see me later at a fete when she was looking ‘Hot and Sexable’’. This is the full vocal version sung by Denise Keogh. As well as an extended club mix of the original, the set feature three other versions, all are reimagined by Morgan Buckley (Wah Wah Wino / No 'Label') using source stems from the original 1985 master lacquer and multitrack tapes courtesy of Windmill Lane Studios.


        says: In its original form, 'Hot & Sexable" sounds a bit like Freddie fronting a discoid Duran Duran (thumbs up from me), while Wino-weirdo Morgan Buckley manages to cover tropical pop, dub, psychedelia and noise in his trio of remixes. I'm massively into this one!

        Prince Fatty & Shniece McMenamin

        Black Rabbit

        Prince Fatty and Shniece McMenamin have been relentlessly flexing their studio muscles lately, dropping a whole host of projects consistently for your listening pleasure. Next up is a psych-reggae anthem that goes by the name of “Black Rabbit”, a cover of Jefferson Airplane’s 1967 classic “White Rabbit”. Available on a 7” housed in a picture sleeve, with a killer dub version on the flip. After featuring on Prince Fatty’s ‘In The Viper’s Shadow’ album last year, Shniece has played a key role in Fatty’s productions ever since. They have covered Kraftwerk’s ‘The Model,’ Tom Browne’s ‘Funkin’ For Jamaica’ and also worked together on Shniece’s highly acclaimed debut EP ‘Disco Deception.’

        A real journey of a record, “Black Rabbit” features 60s mind bending guitar, trippy samples from a public service broadcast on drugs, plenty of delay and reverb with a heavy pounding hypnotic backbeat. With Shniece’s vocals taking on the melody, this is euphoric dub at its finest. On creating the record, Prince Fatty added: “A tough arrangement is always good in the studio and risks tend to bring dub rewards. Reborn as Black Rabbit in a down tempo twist featuring the immaculate Shniece McMenamin on vocals.”

        It’s a family affair on the second Growing Bin 7”, as Peter & Patrick Jahn enjoy some father and son boogie with a smooth split release. A sunblushed moocher served two ways, this disc is designed for horizontal dancing…

        Rooting around the cupboards in his family home outside Nuremberg, Patrick Jahn unearthed a dusty box of cassettes, saved for posterity but eventually forgotten. Somewhere between ‘True Blue’ and ‘Brothers In Arms’ was a faded C60 full of unreleased demos by his father Peter, recorded in the mid to late 80s. Back then Jahn Sr owned a pub club called Schrank (Cupboard to the Anglophones), with an upstairs office he used as a music studio. In amongst naïve synthesiser experiments and carefree noodling was a Balearic boogie bomb, all strolling synth bass, clipped funk guitar and seaside melancholy – like Brenda Ray on a Wim Wenders soundtrack.

        Too impressed to keep it a secret, Patrick played the cut to Carsten “Erobique” Meyer, when he was over there jamming, and Hamburg’s premier funk freak suggested this might be of interest to his likeminded hometown freak Basso. Instantly in love, the Growing Bin boss suggested Patrick provide his own version for the flipside, and so it was, reborn with percussive sway, moonlit keys and beefy bass tones for the next generation. Here’s to the Jahn family, father and son but brothers in calms…

        Manoel Germano Filho (better known as Germannu) was born into a family of cocoa farm owners on January 11th, 1955 in Linhares, Espirito Santo, Brazil. He was the second born of three children, but refusing to buy into the stereotype of the forgotten middle child, it took just a few guitar chords, learnt at the age of 15, to start him on his musical path. (The chords were taught to Manoel by his much-revered older sister, Germana, which she, in turn, had learned playing religious songs at Catholic school).

        Manoel started his foray into education by following in his family’s footsteps, earning his agronomy degree at the Federal University of Viçosa in the state of Minas Gerais. Yet it was music rather than soil that held his heart, and after a chance meeting with Milton Nascimento, one of Brazil’s biggest musical icons — both back then and today — he threw himself into the Minas music scene, burgeoned as it was by student movements and local music festivals.

        Manoel’s attempts to bring his music to the general public were abruptly derailed by the death of his father. Shortly after graduating, his dreams were put on hold and he found himself back in his hometown of Espirito Santo taking care of the family’s business affairs. It didn’t take long for though for the music to win over, and soon after he invested a considerable sum of his earnings in musical instruments and sound equipment, as well as a mobile trailer which he used as a tour bus, setting out to perform in towns in the region.

        In 1984, Manoel, now Germannu, met the composer, arranger, vocalist, and guitarist Jorge “Jóia” Olímpio at a show in Linhares, and a month later threw caution to the wind, moved to Rio and found himself crashing at Jorge’s house while putting down his roots. Over the following days and weeks, the recording of Germannu’s debut LP began in earnest, starting with his songs Lavoura, Fale De Mim, and Hei De Amar.

        Jorge’s help was crucial. Although Germannu had certain melodies in mind and chord structures around which he wanted to build the songs, he hadn’t yet developed how the melodies would play out, nor decided how exactly the chord sequences would go.

        The pre-production was done at Jorge’s home, before they moved over to the now-defunct Estúdio Rio near the Laranjeiras viaduct to flesh things out. Jorge Jóia called on his contacts and brought in musicians he was sure would work, including a bassist and former bandmate named Borjalo, with whom he had previously played with in a band that was put together by the legendary organ player, Lafayette. Drummer, Paulinho Black (ex-Banda Black Rio), and pianist, Moisés Pedrosa, were also part of the team, as was the fabulous Jorge Cardozo — who transcribed Jorge Jóia’s arrangements.

        Lavoura: Musician or not, cocoa farming was in Germannu’s blood, his family’s business was passed down through generations, and even today is in the hands of his youngest sister, Vera Lúcia. The song Lavoura is a tribute to an unforgettable figure in Germannu’s life — a farmhand and driver named Zé Côco. He was a great friend and companion to young Germannu, and male influence outside his home, the majority of which were women. Zé and Germannu spent a lot of time together during the annual harvest season and Zé taught Germannu to drive, while also regaling him with story after story of many thing best left to the imagination.

        Falem De Mim: Brazil is a classist society and the financial comfort which the family’s cocoa farms afforded Germannu (foreign cars, expensive clothes, and land), also generated jealousy and gossip in his hometown. His response was Falem De Mim (Say good things, say bad things, as long as you’re talking about me — a personal kind of all publicity is good publicity). It’s important to note that Germannu’s self-awareness leads to this song being an ironic and humorous reply to the comments and rumours he was hearing about himself.

        Hei De Amar: In early 1983, Germannu met the popular singer Luiz Caldas as well as the illustrious Bahian duo Dodô and Osmar, creators of the fabulous Trio Elétrico tradition of the 50s. As a response, Germannu released an independent 12” produced in Bahia. It included the songs Ladeira Da Barra, Baiana De Acarajé, and a cover of Oxumalá by Luiz Caldas, who was featured on guitar.

        Sadly, Germannu is no longer with us, but the lasting groove of his music remains eternal and continues to bring a special kind of joy to those that hear it.

        So, where does Notes On A Journey fit into all of this? Jürgen von Knoblauch — a longtime member of Jazzanova and Sonar Kollektiv, amongst others, is introduced on our site simply as Record Collector — met Junior Santos, a musician, drummer, and Brazilian music aficionado extraordinaire, when buying records from him. Junior convinced Jürgen to buy a record by one Celso Rubinstein — which led to a NOAJ reissue (which if you haven’t discovered already, you should). The collaboration between knowledge fount and collector was fruitful enough that Junior and Jürgen decided to work on more reissues. This Germannu record is their first complete collaboration, with more on the way.

        "I first stumbled across this record on a Tony Humphries Kiss FM Mastermix from 1990. While my obsession with vintage Humphries radio shows is no mystery, "Das Rote Haar“ stayed one for a while. With all the ingredients of a novelty record (German lyrics about someone falling in love with a red haired person), but graced with a backing track that sounded somehow like a Ben Cenac or Larry Heard production and not German at all, it was almost impossible to be placed in any corner. A few years down the line, I finally found out that it was by a - surpassingly enough - short-lived German studio project called Love Club. Behind it was one of Germany’s longest-serving DJs: Jens Lissat. Together with Peter Harder they recited a poem by Francois Villon that was made popular by the late German actor Klaus Kinski and built a deep house instrumental around it. According to the creator the idea was indeed to find a groove that was similar to those of the "cool records going out of Chicago and New York at the time“. So there you go. Re-issued, re-mastered and with a re-designed picture cover, it’s your chance to share my joy with a record that is as balearic as it is basement ready. Including a dub and in case the vocal creeps you out, an instrumental version par excellence. But maybe you will fall in love with the red hair, too."
        Gerd Janson


        says: Once again Gerd Janson works his reissue magic, bringing us a wonderful German House obscurity he first heard in a Tony Humphries mix. Think Sceneries Not Songs era Larry Heard or Frankie at his most melodious, but with a breathy German vocal on top.

        Pub returns with renewed interest off the back of his incredible "Do You Ever Regret Pantomime?" reissue. The cult Scottish producer now offers up a fresh remaster of the dub-techno gem "Summer" plus a brand new track titled "The Fragile Root".

        "Summer" was originally released 20 years ago on the Vertical Form label - a result of a multitude of completely live and improvised studio sessions, that gently swell and evolve over the tracks 16 minutes. Meditative, hovering, but with a gentle propulsion it's the very essence of cosmic dub drift and works best in the very embryonic stages of the day.

        "Fragile Root" is a brand new track with retrotastic inflections. Think vintage IDM - intricate rhythms, cinematic, expansive string presets and futuristic melodies crossed with massive dub chords. Wonderful!

        Mastered by Dubplates & Mastering and this first run is on summer friendly yellow vinyl to boot. 

        So much legendary hip-hop begins with a misunderstanding. You might not realise it on first or even hundredth listen, but 'Insane in the Brain' is a diss track. What has become one of the hip-hop's most iconic party anthems, and one of Cypress Hill's biggest hits, started out with them taking offence at Chubb Rock.

        He'd flipped some of their lyrics on his own 'Yabba Dabba Doo' song in 1992 and the group didn't like it. While B-Real's lyrical attack on Chubb is subtle and almost subliminal, Sen Dog spends most of his verse making fat jokes at Chubb's expense.

        It's a little known beef, hidden beneath the vast success of this single in 1993, with it reaching number one in the US rap charts and proving a pop hit worldwide too. At this stage, the group's producer DJ Muggs had perfected an idiosyncratic sound all of his own, lending it to tracks for the likes of House of Pain and Funkdoobiest.

        Here he melds samples from Sly and the Family Stone and The Youngbloods with a beat lifted from George Semper's instrumental cover of 'Get out my life, woman'. Those subtle songs are alchemised into a boot-stomping head-nodder that transcended hip-hop to become a festival favourite, a rise that ended in Ned Flanders delivering the line, "this may sound just a teensy bit insane in the old membrane, Homer," in The Simpsons.

        The only official 7" of this was released in the Philippines, and fetches prices in the hundreds of pounds – this reissue puts a hip-hop classic in crate-friendly form.

        Easy Life

        Who Gives A F**k?

          Around a decade ago, the confident youth of this patriotic nation, burgeoning scenesters, fashion victims and indie kids tasted the euphoria of ecstasy and clubland - the result was New Rave, and it was weird. Kinda cynical and strangely naive all at the same time. 

          Well, the year is 2020, everything's fucking crazy and the latest iteration of young people have spent their teen years listening to Soundcloud rappers chat about Xanax and communicating via memes. This time round, New Rave is replaced by a quirky and accessible kind of UK pop-rap. You get little bits of trap production, the requisite Jamie T accent and a smattering of UK vs American slang and some wokals about mental health and that. If you liked James T, Lily Allen or even Bran Van, you're probably gonna love this. I imagine it's all over Radio 1.

          Johannes Volk (Exploration, Axis) delivers a debut EP for Running Back that is like a Swiss knife. Five tracks moving within the boundaries of techno music and many times well beyond those. The title track yields the way in an electric drill manner, before new wave techno, piano house and Italo tropes meets beaming electro and even a slick homage to the man referred to as the purple one. It’s hard to imagine all of that without Volk’s upbringing in the tropic of Frankfurt’s techno legacy. Owing as much to Detroit as to Depeche Mode, it is what it is and you hopefully still just can’t get enough of it.

          Liam Doc AKA Liam Docherty is next up on Denis Sulta’s Sulta Selects Silver Service label.

          Liam grew up in London before moving back to the family hometown of Glasgow at 14. Growing up, his schooling in house and techno was on the floor of the Sub Club’s legendary Saturday night session with residents Harri & Domenic.

          Liam Doc AKA Liam Docherty is next up on Denis Sulta’s Sulta Selects Silver Service label.

          Liam grew up in London before moving back to the family hometown of Glasgow at 14. Growing up, his schooling in house and techno was on the floor of the Sub Club’s legendary Saturday night session with residents Harri & Domenic.

          After he started producing house and techno, his edit “Voices of East Harlem” caught Sulta’s attention, who championed it in his sets to awesome effect. Liam is the resident at Wednesday house and techno night RARE at Sub Club. He also started his own quarterly warehouse parties in Glasgow, called Cyberfreq. After hours illegal raves at first, after a run in with a Scottish tabloid they went legit and started programming them at Glasgow’s The Berkeley Suite club. In addition to releasing on SSSS, he’s founded his own label Eyeangle Records (releases from Kamus and Lobec) as well as sub-label Roux Records and released on Huntley & Palmers.

          Fans of the Sulta Selects Series should know what to expect by now: fist pumpin', side-chained disco-filter-house in that classic French style, jazzed up to buggery with a plethora of modern day DSP and outboard. House tracks with nothing but fun on the brain. Think Krystal Klear, Finn, Shir-Khan etc. Mega! 

          Asyncro presents the second release of the series, a collection of tracks produced by OL between 2017 & 2020. In addition to solo works the record includes collaborations with Sensational, Flaty and Micxail. These interactions emphasize the author's interest in communicating with other artists through the music recording process. "Wildlife Processing" is an archive of compositions reflecting OL's trajectory and personal vision of electronic music over the past years. It’s experimental, occupying a gloopy, bass-weighted habitat populated by strange electo-organic artefacts and monstrous low frequencies. A beguiling and thoroughly engrossing listen teetering on the edge of sci-fi dub and recommended if you’ve a penchant for Oil Gang, Space Ape, SKRS:INTL, Burnt Friedman etc etc.

          Master Plan was the Chicago based dance music project of Pepper Gomez and Tom O’Callahan. Spanning from 1984 to 1986, the groups development is in sync with the dance music scene of Chicago during that era. While their first record „Pushin’ Too Hard“ is a Windy City version of the NYC club music of the time and its European cross-pollination, „Electric Baile“ from two years later down the line is almost a quantum jump into house music. With the engineering help of Matt Warren, it bears the marks of Ron Hardy, Chip E, Farley Jackmaster Funk or the WBMX dance party craze, if you will. Here you have remastered and updated versions by Enzo Elia and Gerd Janson. The first ones’ edit attempt of „Electric Baile“ ignited this edition. A custom-tailored main mix is completed by a dub and useful bonus beat version to do, what DJs used to do. Concluded by two edits of „Pushin’ Too Hard“ by GJ, you get two great slices of yesterday that are still major dance music blue prints today.

          Nerve Deposit is the new EP from Identified Patient on Dekmantel’s sub-label UFO. The record is a lysergic stew of industrial, electro, breakbeat hardcore and synth-rock, with the purpose to get under your skin and set your nerves tingling. While extending his signature sound, the Dutch producer upgrades his process and marshals a new complexity from his machines. The result is five tracks which stalk shadowy hallways but never lean too far into the darkness, at once menacing and lively. With a laboratory’s worth of sleazy synths, bubbling effects, raking textures, plunging bass and rhythmic left-turns, Nerve Deposit suggests we are in the court of a Professor, not a Patient. Tantalisingly, the best feels yet to come.

          I Cube

          Cubo Live Sessions: Volume One

          A special collection of unreleased music by I:Cube, recorded live in Paris.

          During recent years, and after spending some time in the studio rehearsing for his live shows, I:Cube has been recording numerous improvised live sessions on his live rig. Arranged and mixed on the fly, as Nicolas says, it's all about capturing THAT moment, playing with your instinct, and letting yourself go. It's all what making techno is about really. Interacting live with the sound, feeling and responding to what the machines offer you, and having a good time.

          Musically, "Session 1" is a serious bit of peak time excavation, boring a techno tunnel deep into the molten core of planet Earth, "Session 2" borrows a siren from Screamadelica and dives into the prog-house revival quicker than you can spell Sasha. Predictably, it's "Session 3" which does it for me, dropping anchor to a hypnotic 102 BPM, then embracing ring mod breakdowns, tribal perx and a generally shamanic vibe. Frog lickers rejoice!

          A key proponent of the Korean music scene, Marcus L runs the infamous club Faust in Seoul, pushing forward the local sound and embodying the culture that comes along with it. Evidence of this can be found on the tongue-in-cheek title track "Kimchi Slap" where Marcus works with Korean rapper Kill.gone for a verse about the local food staple. The EP encapsulates Marcus’ love for techno, industrial & hardcore, with "P For Physcho" drifting recklessly into gabba territory! All meticulously mixed with maximum sound pressure in mind. Hadone gets in on the remix tip, providing a rather epic rendition of "Kimchi Slap" which conjures up by-gone memories of sweaty late night rave, moments of unfathomable exuberance under a thick cloud of smoke and lasers. Intrepid Skin continue to be at the forefront of Hard, Fast n Fierce Techno - check! 

          In eleven years of deep digging, Dark Entries has uncovered many curiosities, lone exemplars of the scarsest breeds. They are lurking in Croatia, on the streets of New York, maybe in the back of your own dusty closet - these odd-ball Italo and synth-wave monsters are too rare to live, too divine to die. Once-lost creatures now have a home with Dark Entries’ new Endangered Species series. The inaugural edition features five specimens previously deemed extinct, only mentioned passingly in lore and speculation, but now safely preserved on vinyl.

          The first cut on Endangered Species Vol. 1 is the previously unreleased electro-New Wave gem “Munich” by John King, an artist best known for his work as one half of the Dust Brothers, lauded producers of the Beastie Boys’ legendary Paul’s Boutique. “Munich”, a Danceteria-ready cut produced in 1983, sheds some light on King’s earlier interests, bridging between freestyle and emotive synthpop. Next up is a rare demo version of The Actor’s “Picture 210”. The Dutch duo here channel both the minimalism of Kraftwerk and the Surrealism of Throbbing Gristle to create one of the finest teary-eyed Goth club anthems. Brazil is a synthpop band from Croatia, and they feature with their 1990 cover of Tears for Fears’ “Mad World”, which is sure to turn some heads on the dancefloor. The eerily faithful production belies Brazil’s re-working of the song’s lyrics. “L'Étranger (Ana Gharib)” by Jamal Khe follows, a pearl originally only available on an impossibly rare French 7” from 1983. Khe is from the Ain Beida region of Algeria, and his Arabic vocal melodies perfectly complement the propulsive percussion and airy arpeggios from producer Jacky Bourgogne. Closing the record is the previously unreleased “Abemus Mind” from Marzio Benellil’s project Nightless. Recorded in 1983, this moody, low-tempo Italo groover features Gregorian chant-inspired vocoders and jazzy piano courtesy of Benelli’s collaborator Marco Falagiani.

          All songs were mastered for vinyl by George Horn. The sleeve is the first in a series of endangered animal designs by Eloise Leigh, featuring the glam tiger in its natural, 1980’s habitat. Also included is an insert with lyrics, photos, and notes. Please assist us in our efforts to preserve this planet’s weirdest beasts.


          Cheer Up My Brother / There Is No One Else

            Omena celebrate their first birthday with this 7" party favour provided by Swedish producer HNNY. Since he was at the controls for the first release on the label, it seems fitting that he returns to usher in their second year. "Cheer Up My Brother" finds HNNY in laid back form, adding some subtle downbeat funk touches to the lazy afternoon groove of "Farther Along", transforming the gospel staple into an essential summer sizzler. On the flip, the producer turns up the heat a little with the filter twisting euphoria of "There Is No One Else", a sultry french touch soother for your next warm up set. With a debut full length of blissful beats and sultry grooves on the way for Omena, HNNY remains one to watch.

            Holy smokes! It's almost ten years since Zambon began to flip our lids with TVPC and what better way to celebrate than with a 7th instalment. Get ready for another quartet of forgotten Polish jams, polished up for the modern dancefloor. 
            Cast your ears within and you'll find freaky and frisky Moroder-esque acid via Dyyune's deep and cosmic edit of Izabela Trojnowska's 'Jestem Twoim Grzechem' ('I Am Your Sin'), the hip-hoppin Balearica of Dyyune and Bisti's take on 'W Moim Niebie Nie Ma Gwiazd' ('There Are No Stars In My Heaven') which was recorded by lesser known 80's Polish girl band Fiesta. If you try to imagine the Venn diagram overlap between a Red Motorbike and Eric Duncan's "Dolly Parton" edit, then you're bang on the money, honey. 
            Take a sidestep to the B1, neck a gary and  prepare to hold a toal stranger to your rushing bussom as FOPA & Tamten re-interpretate Polish pop classic 'Jezioro Szczescia' ('The Lake of Happiness'). Hefty breakbeats, sustained bass and nostalgic AF keys abound here, all leading to a chorus which hits the same melody as Rozalla's "Everybody's Free".  The whole package is rounded up by Stachy DJ (a Polish veteran who recorded with DJ Koze) who offers up the hypnotic stomp of 'Obiecany Raj' ('Promised Paradise') from one of the top Polish synth bands of all time. Reinforced percussion, neat loops and a consciousness shifting arrangement score 10/10 for this reviewer.
            As always all killers no fillers and a very limited pressing !!

            STAFF COMMENTS

            says: TVPC are back (for at least the next 13 mins before this belter sells out)! This time round we get an acid infused Italo peach, a little Balearic beat down, pilled up pop euphoria and some slick synth pop - all on one unmissable disc.

            Beesmunt Soundsystem / Cooper Saver

            Bredius 1998 / Walk On Water

            The Hivern split series was born as a platform for club-ready tracks that don't require a broader sonic context to express themselves. It's also as a way of generating an unplanned dialogue between artists in the label's orbit, connecting the dots amid them in spontaneous and almost unconscious ways. The third installment of the series brings together Beesmunt Soundsystem and Cooper Saver. Their two tracks share a similar approach, deconstructing ethereal sounds over dark rhythmic foundations to reach the same kind of narcotic transcendence. The visual concept of the series has been developed by Manchester's own DR.ME. Vinyl-only.

            STAFF COMMENTS

            says: Beesmunt bring the post-apocolyptic attitude in spades on the A-side, turning out another techno-pagan growler at a gremlin friendly 110ish. For the flip, Cooper Saver lock into the prog revival with an amphibian trance dancer.

            Three extra special tracks from Zmatsutsi, Tross & Houschyar on the Leeds-based imprint: Space Ritual.

            "Psychedelic Frogs Are Ok" takes cues from the current resurgence in 5-MEO-DMT and the Colorado River Toad; conjuring up a psychedelic sonic tapestry that transcends the planes of conciousness with extra-dimensional SFX and a richly transportative palette.

            Trosss' "Gallium" is the kinda wacked-out, smoked-out, loose groove that might grace a Light Sounds Dark compilation. Flanging bass, sloppy breaks and sweeping FX insistant on keeping us upright but by no means stable.

            Houschyar completes the collection with a gentle, electro-Balearic lullaby via the delicate plucked tones of "Einsteig". A dreamy fairytale that dissipates into the ether after nursing us into a relaxed slumber. Beautiful stuff.

            STAFF COMMENTS

            says: Tasty new Leeds imprint, Space Ritual return with more digital psychedelic ceremonial music for the toad lickers and mushroom hunters!

            A Vision Of Panorama

            Follow The Melody EP

            Hailed as the king of the modern Balearic sound Mikhail Khvasko aka A Vision of Panorama makes his debut on Omena with another must have EP.

            Imagine if Nu Guinea would organize a jam session with Metro Area and set up the following rules - combine doses of slow paced disco, hints of boogie, a dash of jazz and deep layers of house.
            Mikhail's music has always been warm and dreamy combined with impeccably tight drum programming. It is no wonder why his music is played & charted by Lexx, Detroit Swindle, Kenneth Bager, Session Victim and many more...

            Whities changes its name to AD93 amid the current social wave of consciousness. This cutting edge, tastemaking label seems to go from strength to strength as it ushers in the new and unfounded. A various artists EP this one, kicking off with the sublime electronic glide of Bas Dobbelaer and their track "Diversion", which sounds perfect for the cold dark nights that lie ahead of us. Mucho Sueno proffer us a meditative, rhythmic hybrid that sounds like it’s suspended atop a great icy mountain while Martinou's "Let's Get Out Of Here" could well soundtrack the slow, steady journey down, encased in thick fog and snow blizzards. The amazing Sapphire Slows conclude proceedings with "Swirl", a dazzling and crystalline electro-pop ballad which fits perfectly with the slow, glacial aesthetic which seems to permeate through the whole EP. With records like this you don't need to fear the Winter....

            Szymek Lawik and Maritn Lefteri’s regular party and NTS show, Feel the Drive, turns record label with a debut release that takes you through the gears.

            Spending their lives digging up the very best Italo, New Beat and EBM delights, a record label was the next logical move for Szymek Lawik and Martin Lefteri. The perfect distillation of their combined tastes and determination to search the globe for new music, the four-track debut EP features big hitters from Franz Scala (Bahnsteig 23, Tusk Wax, Cocktail d'Amore), Anatolian Weapons (Beats in Space, Dark Entries), Furor Exotica (Bordello a Parigi, Sprechen) and the label bosses themselves under their Ondata guise (Red Laser, Night Noise Music).

            First up is Franz Scala, with “Sabrina”. A pulsing, new beat thrum bolts out of the gate, setting the pace with heads-down conviction. This straight-ahead velocity soon leans into guitar licks and Italo horn stabs and, before you know it, you’re transported - hugging the curves and corners along with the motorik rhythm.

            Next, we shift down a gear and head east for “Ela” as Anatolian Weapons lights up the skies with a slow-burning intensity delivered with complete conviction. Exotic synth melodies, impossibly dextrous string playing and rolling acid lines carve out a unique path through the terrain, leaving no choice but to follow in its slipstream.

            Argentinian duo Furor Exotica pick up the pace with “Fat Training”, an arpeggio-supercharged dancer guaranteed to lift the spirits and recharge the batteries come 3am. This is a track that carries its momentum up front and its boogie in the back. There’s a nod to the old new beats, but with wide eyes facing resolutely forward.

            And then it’s time for the last lap. “Kolossos” is an apt moniker for this no-nonsense, heads-down, full-force monster. It’s a neon-lit tunnel late at night – unfamiliar, alien light throwing repetitive, yet slowly shifting shapes against sheer walls as you move through. “It’s not as bad for humankind to be dominated by me than to be dominated by others of your species” a voice intones as we reach our destination.

            It’s metal machine music to save us from ourselves.

            Since releasing his Shaka EP Vol.1 back in 1995, Swiss House veteran Kurt Spichiger aka Shaka has become a reliable sources of skilfully constructed house music.

            Opening track 'Theme From Riverwalk' is a luscious exercise in melodic and soulful deepness. It oozes deep house authenticity and you know you are holding quality just a few bars in, a track that would sound at home on Strictly Jaz Unit Muzic.

            On the flip you'll find Shaka confidently skipping between deep melodic house with jazzy melodies, heavily influenced by soulful and spiritual house vibes. 'New Relationship' aims straight to the heart and is the perfect blend of something played by both Joe Clausell and Ron Trent.

            STAFF COMMENTS

            says: Bit of classic sounding deep house a la Ron Trent, Joe Claussell, Karizma etc. Plenty of bump in the second track, "New Relationship" while "Theme..." gifts us rich musicality around that typical 4/4 framework. Ace!

            ‘Put Your Head Above The Parakeets’ is a brand new EP from HAAi, her second for Mute.  The EP features four brand new tracks including the pseudo title track ‘Head Above The Parakeets’, which exudes a woozy summery heat while ‘Rotating in Unison’ embraces positivity, written in response to this year’s enforced slowdown. The final two tracks take us back to the club, where HAAi is known for spinning genre-bending and spellbinding DJ sets.

            STAFF COMMENTS

            says: Twisting breakbeat, braindance, brutalist techno and IDM into an utterly postmodern sonic collage, HAAi brings the past into the future wonderfully on this fierce four tracker for Mute.


            Ltd 12" Info: Green vinyl 12"

            Ltd 12" includes MP3 Download Code.

            Cool Tiger

            Junction White 003 - Inc. AQXDM Remix

            Junction returns with 3 tracks by label owner Cool Tiger blending techno, breakbeat and bass music together, plus one mind-boggling remix by AQXDM (Aquarian & Deapmash).

            "Hide & Seek" opens the EP with a combination of hypnotic vocals, unstable rhythms leading to a blast of breakbeats. Aquarian and Deapmash join their forces again as AQXDM for delivering a high-intensity ravey and atmospheric remix that defies catagorization with its break-neck acceleration and half-time swagger. On the flip-side, "I Feel You" provides the most club-focused track of the EP before the grand finale "Slave" which will plunge you into a dystopian world.

            Artwork by Lucie Corbasson. 

            STAFF COMMENTS

            says: Marmite record and dare I say it, a little bit tooo wild for some of our listeners. However that AQXDM remix of "Hide & Seek" is defiantly lovable - a pneumatic drill of rhythms crushing thru impenetrable light fractals. Would absolutely demolish any main arena.

            For their second release, Open Space present an emotional 5-track EP by Alexander Folonari aka Gateway Shuffle stuffed with lush mid-tempo Balearic pop and slow bubbling acid club music. If you dig artists like Andras Fox, Benedek, Moon B, Pender Street Steppers & Caravan; plus labels like Ken Oath, Light Of Other Days, Mood Hut & Claremont 56, you're bound to enjoy the sounds contained on this lavish piece of wax.

            Written and recorded in the Italian countryside of Chianti in late 2019.


            STAFF COMMENTS

            says: Anything produced in Chianti is gonna have an air of sophistication and class about it! Stick this next to a top shelf wine pairing for maximum buzz.

            Based in Berlin via rural Israel, RAS are comprised of multi-instrumentalists and producers Dekel Adin, Eden Leshem and Guy Gefen. They came together as RAS in 2018; a deep appreciation of international sounds that cross common ley lines has resulted in a melting pot of influences, armed with vintage drum machines, guitars, synths, bongos and a Tascam Portastudio 424 tape machine.

            RAS’ creative palette is relatively minimal, opting to work with a toolkit of analogue instruments and improvisational recording styles. Mixing surrealism, injokes and nonsensical word patterns, their lyrics are sung in Hebrew. The vocals are there to support the music, acting as another instrument in the overall sound. 

            Dekel, Eden and Guy managed to create an intricate balance between lo-fi soul and brighter Mediterranean-leaning club jams, ending up with a record we might mistake as a lost treasure of the early 90s.A record that perhaps has an unconscious connection to the past but more importantly to an onward looking story of friendship and a musical journey which has spanned many continents throughout the last ten years.

            STAFF COMMENTS

            says: Undercover Balearic heat here I reckon - don't let the kooky cover fool you. Operating in the same dusty, groove-based vein as those Bonjo Joe cats (Altin Gun, Mauskovic, Yin Yin) but with the smooth and soulful leanings of a Stones Throw classic, this should keep summer going well into the darker months.

            Part three in a series of 12” vinyl EP’s celebrating 30 years of Z Records and the legendary Dave Lee. Featuring sought-after tracks and remixes by Joey Negro, The Sunburst Band, Opolopo and TW Funkmasters.

            On the A side, an all-time classic JN remix of ‘Love Hangover’, tweaked for the modern dancefloor but retaining all of it's authentic mid 70's flavour.

            A stratospheric, ‘80s influenced, house cut by Opolopo is a welcome curveball from all the disco and boogie Dave's been peddling. With all-mighty pianos and sizzling signature bass plus all the high Q's and analogue sfx, it's still gonna keep the disco ball massive tweaking right through till sunrise.

            Flip it over for a jazz-funk gem in the form of TW Funkmasters 'Love Money', beefed up and dubbed out to the high heavens. While we part ways with the soulful sunset rhythms of The Sunburst Band "Far Beyond". Unstoppable! 

            Tracks for the rave, direct from Japan.

            Stones Taro joins the BAM roster with four heaters designed to demolish the dancefloor. Taking inspiration from UKG, jungle, breaks and house, this release brings the quintessential sounds of rave culture into 2020, showcasing the Kyoto-based producer’s ability to regenerate the genres that define UK clubland.

            Lovingly delivered by the crew at YAM Records, this is the second installment of Body Action Music - check! 

            Over the past few years The Magic Movement have coolly secured a place at the top table of consciousness shifting club tackle, and their latest release continues to fuel the shamanic dance. Fresh from a debut LP on Random Collective, Anatta arrives with tribal throwdown "Fields Of Play", along with a trio of mesmeric remixes from Noema, Tolouse Low Trax and Carrot Green.

            In the original mix, Anatta invites us to discover a sonic world between pitched down UK House and future-primitive downbeat.
            Rough Drumbeats, quirky synths, and catchy vocal chops guide us through a sophisticated arrangement with unforeseen twists and turns.

            Salon des Amateurs resident Tolouse Low Trax delivers the 'Knights & Wheels Remix' in his signature style: While a hypnotic vocal loop hooks you up from the very beginning, minimalistic and dreamy synths slowly submerge the listener into a jam of stripped-down Lo-Fi funk.

            The 'Beat Mix' by Rio de Janeiro's sound wizard Carrot Green and long time family member of the label, speeds up the tempo, and puts together a groove of classic electro boogie vibes with a P-Funky bassline that sounds like a futuristic liaison between Afrika Bambaataa and George Clinton.

            Increasing the UK house vibe with strong drums and a wobbly bassline, Noema's 'Acid Ghetto Style Remix' works the mysterious vocals of Anatta into a delicious hook and creates a highly animating and fun dancefloor monster.

            And now, let's get weird!!!

            STAFF COMMENTS

            says: Fifteen releases in and The Magic Movement continue to deliver the high grade dancefloor psychedelia. Now Empire Market's down, I'd suggest you light a candle and embrace the shamanic shakedown of the Tolouse Low Trax remix here.

            Hot new edit drop here from Israeli duo Rabo & Snob, who explore the forgotten jams from the outer limits of Tel Aviv's 80's scene on this super fine EP. While the sounds of new wave and synth wave mainly dominated in the clubs of the city at that time, some artists also experimented with Italo music. On this EP Rabo & Snob pay tribute to those early pioneers of a new and different Disco-inspired electronic sound, and sprinkle some of their own magic dust upon it to make it both interesting and fresh.
            "Inn Yan" embraces the weird dance by fusing a smooth and buoyant boogie groove with some serious atonal brass and unexpected looping. If you dug on the spiritual synthesis of Alice Coltrane's 'Ecstatic Music', that gives absolutely no indication of whether you're ready for the Italo pump and vocoded Krishna consciousness of "Hare Rama", but if you have ears and a pulse, you’ll probably love it. B1 bomb “Ego Incognito” comes correct with a little synth pop meets Euro disco camp, frothing away with cooing female vocals and cold wave style brass before percussive closer “Tik Wah Hood” stomps through a little ethno-core tribalism perfect for Multi Culti fans.

            Enjoy the trip. 

            Liam Bailey

            White Light / Cold & Clear

            "White Light," an instant-classic, dancefloor filler. The rough and tough drum break intro catches you from the first beat before the track gives way to an infectious and uplifting reggae-dis- co number. Liam's instantly recognizable voice showers his muse with praise over deep round bass lines and a four on the floor beat. The combination of Leon Michels' crushing production and Bailey's lyrics like "You love yourself, you're so exciting, like no one else"... is sure to make this a staple in dj sets around the globe. The B side "Cold & Clear" is a proper lighters in the air, slap the wall, top ranking tune. The track struts in the door with a natural and undeniable confidence. Liam weaves a heavy metacognitive story over the one drop drums, perfect basslines, and organ stabs that will have people stepping in rhythm. The lo-fi production weaves elements from the finest early rocksteady era with touches from the late 70s / early 80s digital era and takes the entire vibe into the present with unorthodox arrangements and vocal treatments. Bailey has a tune here that will hold up next to the classics in the dancehalls from the yards of Jamaica to the discotheques in his homeland of England. 

            OXP - a duo combined of Parisian beatsmith Onra, and Pomrad, a composer and multi- instrumentalist from Belgium, give you a class of ’93, West Coast nugget of hip-hop gold – ‘California’ ft Mr Getto Jam himself for this vinyl only, Ramrock Red Records 7 inch release.

            Four fingers up, two twisted in the middle, in your low rider with the top down. Head nodding to the track on Trend City Radio with the homies, cruising along a palm lined boulevard in the eternal, shimmering sunshine of the West Coast. It’s Hip Hop Summer for life, conceptualized around the vintage synths and drum machines that marked the Golden Era.

            Deep and rolling dubwise reinterpretation of the Isaac Hayes' classic B/W "Electric Boogie" a toe tappin' nod to 80's dancehall destined to brighten the smokiest of rooms. Originally released back in 2010 and unavailable since 2011. Funky reggae from Canada's Balanced records. Fresh repress! Headz dub

            Smalts / Human Flesh

            Periodiciteit / En De Stad

            "And the city opens up its streets to me again.Gloomy and damp, walled by wet surfaces, Which the pale glow Bouncing off a languishing moon. She shows me her reddish bars without any embarrassment, Where the sex yawns against the black decor."

            Kelly Lee Owens

            Melt! (Coby Sey Remix) (Love Record Stores Edition)

            Not content with somehow topping her debut LP with last week's superb "Inner Song", K-Lo keeps us cooking with a limited 'Love Record Stores' white label of disorienting club cut "Melt!" with a completely ketty mix from Coby Sey. 

            On the A-side, Kelly's OG comes on strong at a rushy 130BPM, twisting our melons with the crystalling cascade of its leadline and sumptuous sub pressure of an interlocking bassline. When taken with the fact that the hard hitting drum programming sounds like it's thumping out of an unlikely "fortress of solitude" rave, this has entirely hallucinatory effects. 

            Meanwhile on the flipside Whities affiliate and NTS standout Coby Sey puts on the brakes / downs the benzoes to slow the track to a shuffling 104BPM before slicing and dicing that signature synthline into an intoxicated stutter. Essential listening for fans of Madteo me thinks.


            Double Cover

              Mattiel, the Atlanta-based rock band fronted by vocalist Mattiel Brown, release their new limited-edition Double Cover EP. The 12" features dynamic covers of the Beastie Boys’ “Looking Down The Barrel Of A Gun,” off their iconic 1989 LP Paul’s Boutique, and The Clash’s “Guns Of Brixton,” from their classic 1979 album London Calling. Sharp and forceful, both tracks are perfect matches for Mattiel’s explosive energy.


              Ltd 12" Info: Eco-wax 12" vinyl with hand stamped label + print insert. Limited to 250.
              Eco-wax is made from 100% random leftover vinyl pellets, giving each copy a unique colour and pattern.

              The Go! Team

              Cookie Scene

                The Go! Team return with new single “Cookie Scene’” - a warped Daisy Age jam to melt pavements. A bouncing flute pattern, finger clicks and firing ray guns make the ground for guest rapper IndigoYaj to skip on. Team main man Ian Parton met Indigo in Detroit recording the last Go! Team record “Semicircle” and she brings the Shante tone on “Cookie Scene”.

                With the flute in a locked groove it makes way for junkshop percussion to go front and centre - built from a marching drum, a 50p against a glass bottle, rimshots and the maple on maple of drumsticks hit together. Says Ian: “The stripped back swinging percussion of ‘Iko Iko’ by the Dixie Cups and the loud crunchy shaker in Salt-n-Pepa’s ‘Push It’ were both inspirations and I’ve always loved the way Bollywood or William Onyeabor songs would have random laser beams and electro toms popping up. I wanted to mix the street corner with the intergalactic, to take Detroit to outer space.”

                FORMAT INFORMATION

                Ltd 7" Info: Limited edition yellow vinyl - 500 copies only.

                Yard Act

                Fixer Upper / Trappers Pelts

                  Leeds outfit Yard Act release their debut single, a double A side featuring two prime cuts of coruscating protopunk, fierce and fun in equal measures. Formed in 2019, Yard Act began life when friends Ryan Needham (bass) and James Smith (vocals) started creating minimalist rock tracks using a primitive drum machine and borrowed bass guitar. Later drafting in George Townend on drums and Sammy Robinson on guitars, whom they met at their spiritual home The Brudenell Social Club, they played a handful of shows to a rapt reception before you-know-what intervened. No matter: ingenuity and artistry enabled them to great their debut release. 

                  Overflowing with satirical one-liners, A side ‘Fixer Upper’ follows a cocksure fictional character, Graeme, planning some home renovations. Yard Act coinstigator Smith explains: “Graeme was inspired by an amalgamation of people who lived on my street growing up. I think everyone knows a Graeme, maybe a neighbour or an uncle… sorry if he’s your dad. Not a bad man at heart, he just sincerely believes he’s from a country and generation that achieved the apex of everything so therefore can’t ever be wrong about anything.” Drafting in Ross Orton (whose credits include Arctic Monkeys, Working Men’s Club, MIA, Amyl & The Sniffers) on mixing duties, it is equal parts fearsome and funny and never less than breathtaking. 

                  On the flip side, ‘The Trapper’s Pelts’ is a satirical take on neoliberalism. James Smith explains, “It skewers elements of the American frontier into a Scarface-type narrative set against the backdrop of a mundane West Yorkshire suburb.” Produced by Bill Ryder Jones (The Coral) prior to lockdown the recording process of the track “felt like a Happy Mondays thing, keeping the drums tight and high up in the mix like a dance mix.”

                  Taken from Bryony Jarman-Pinto’s critically acclaimed debut LP ‘Cage and Aviary’, “Sour Face” focusses on the wider frustrations of everyday life; “of break ups, environmental issues, the album and myself” she confesses.
                  Here the track gets rehauled by Dego in three ways. First up is his main remix, a shuffling, syncopated disco funk version turned to the neon with optimistic synth vamps and nudged into the club via a wriggling, acid tinged sequencer. On the 2000Black remix, the tempo drops to a soulful bump, the gorgeous vocal reinforced and future proofed with gliding electronics for the early doors DJ. An instrumental mix of Dego's main mix closes out the A-side, taking me right into the middle of Keep It Unreal's polite mosh pit!

                  The flip offers a selection of beautifully recorded as-live sessions of album tracks from the songwriter and vocalist, performed with a full band at London’s legendary Fish Factory Studios. “The sessions were meant to feel live, like a performance.” Bryony explains, “All the musicians have put their ideas into the songs, transporting them to somewhere beyond the album versions and allowing them to take on a new life”.

                  Duke about this EP:

                  'Ironically one of my very first records was a disco sample in 1990 taken from Queen Samantha. I don’t know exactly what inspired me, but likely coming from the Hip Hop world where everything was looped and sampled brought me to doing the same for house and therefore the disco, funk etc samples for the house stuff. The first techdisco EP was done in 1995. I think there may have been a handful of other house records out that sampled disco tracks at the time. Harvey Mason’s Groovin you comes to mind. Sneak also had done a few, but maybe Pal Joey was one of the originals too that used loops, particularly Dance by Earth People. Joey also came from the Hip Hop world so we likely were inspired by the same style of loops...The main concept was the idea of fusion. I was heavily into fusion jazz in the early 90s and that is really what spawned the techdisco and techfunk series. A mix between genres that hadn’t really been done before. Not saying I was the first, but I did my best to create a new and distich style. ... I did everything myself when it comes to the techdisco series. In 1996 I traveled a lot DJing, in the states but mostly in Europe. I didn’t have time for a resicency at that time like I had prior to me being full time DJ/producer/label owner. I did do some remixes back then, but maybe not as many as I would have thought. Perhaps because people looked at me as having my own label and doing my own thing.'

                  STAFF COMMENTS

                  says: Taken from a incredibly revolutionary and creative spell for house music, this oft over-looked DJ Duke masterpiece stands up well as a brilliant, early example of the disco-house blueprint executed with aplomb. Flawless!

                  On the 12th of April 1961, Yuri Gagarin was launched into orbit for the first and - so they tell us - the last time. Upon returning to Earth, Yuri became a global hero, travelling the world to tell of his adventure.

                  Secretly, he was plagued by strange hallucinations and a persistent glow around his vision; a cornucopia of colour in a constant corona. In 1964 - following a silent coup by Leonid Brezhnev - Yuri was banned from embarking on further manned missions into space. At first fearing madness, the cosmonaut came to see these apparitions as a signal, an invitation, a welcoming beacon from a distant lighthouse blinking across the cosmic void.

                  On the 27th of March 1968, aided by trusted friends within the space program, Yuri Gagarin swapped places with another cosmonaut on a secret test flight and was once more blasted into outer space. Knocked unconscious by the extreme velocity of his experimental craft, Yuri awoke a mere 15 minutes later in view not of the rapidly shrinking Earth, but an entirely alien vista; he was elsewhere...

                  Tony Neptune is a multi-media persona created by the Leeds-based artist and producer Sam Jefferies who, inspired by the narrative and musical legacies of early Detroit techno culture, aims to tell a complete story for the senses through a combination of image, sound and text. Asa member of the DimensionsDJ Directory three years running, some know Jefferies for his notorious DJ sets—whether he’s playing new wave or booty bass; as Tony Neptune or Yuri; solo or alongside Mark ‘Turbo’ Turner in another peak time marathon b2b, it doesn’t take long for crowds to catch on to his deep knowledge of all things riddled with Hi-Tech Funk and Soul. But this isn’t the only storm he’s cooking up: in his visual work, Jefferies uses oil paint to unveil the surreal and celestial adventures of the original cosmonaut and space pioneer, Yuri Gagarin, capturing every aspect of their dream-like surroundings with an eye devoted to detail and depth. This painting lies at the heart of his debut EP, Reflections on a Daring

                  STAFF COMMENTS

                  says: Huuuuuge release for fans of that OG Detroit techno & electro sound. Championed by Mark Turner and for good reason, this young upstart proudly carries the batton of dancefloor techno into 2020 and in fine style. Big ups Sam!

                  On Animals Dancing’s eighth disc, Dazion aka Cris Kuhlen lets rip with three psychoactive, percussion-laden mind benders for all good dance floors. A tweaked vocoder mantra speaks in tongues across interlaced layers of live percussion on ‘Yu Go Bah’ before sirens ring in the distant chants. Blood Moon takes the marching band down to the basement, fusing more twisted percussion with electro squelch to soundtrack the sweat rain down from the heavens. ‘The Chant Of Celebrational Beings’ beckons in a sunrise as the last inklings of serotonin jerk a tear to your eye.

                  Life is full of wonder and excitement. Now it is also filled with the 14th release on Fasaan Recordings, produced by one of its founding fathers: part-time fruit picker Prins Emanuel. Gli Ornamenti comes in three different versions, which is nice. The U20 Mix is all about that sweet Roland U20 and offers us many of its decorative sounds. The Maximal Minimal Mix is the one to go to when you don’t want a lot of different stuff, but what you want you really want a lot of. The Ambient Mix is perfect to play while inspecting the grass growing under your apple tree. This is a good 12-inch single for the industrial Balearic summers ahead.

                  Unknown Artist

                  Artists Series (5)

                  Fifth chapter in this absolute killer serie - Spaced out house and dub techno belters by a so far unknown crew. Anyone remember those Analogue Solutions records from nearly 10 years ago? Huge resemblences between those and these but I can't confirm nor deny any affiliation!

                  Anyway, by now we know to expect a serious degree of studio trickery combined with precision mixing and masterING to create what so far has been a perfect set of late nite club tools. Veering between dub techno, mechanized hum and futuristic sound design with delicate flurries, this is primo, head scratchingly good electronic dance music and thoroughly deserved of your attention! 

                  After making an instant impression with that wicked Caravan 12" last summer, Planet Trip have made a major argument for 2020's label of the year via a quick one-two from Symptoms Of Love and Borrowed CS, each offering their own take on the retro-futurist sound of the contemporary dancefloor. Not one to leave it in the hands of the judges, label boss Mike Who enlists the powers of Mameen 3 for the knockout blow. 

                  Repping Belgium via Morocco, Mameen 3 comprises of DJ, digger and curator of the always on point Elsewhere comps soFa and innovative producer Reda Senhaji aka Cheb Runner, whose refreshing approach tips the 'no boundaries no borders' sound only few can uniquely pull off. With approximately cock-all to do during lockdown, the collaborators have been hammering the hardware, and these four club cuts are the cream of their recent crop.

                  We take a magic carpet ride on "Ohwurm Boogie", as hard hitting snares and Egyptian Lover style bass blasts power through fx soaked perx and cosmic doodles, filling an Arabian night with a pitch bent lead line. Next up "Salsa Del Jeque" rocks the casbah with snaker charming lead lines, potion shop gurgle and a percolating acid bass fat enough to make your spoon stand up in your cup. Head to the B-side for the big and beefy EBM informed "Against The Wall", which chucks vocodered vocals, Middle Eastern synths and a body shaking bassline around a solid 4/4 finding a sweetspot between EBM and intergalactic electro. That ain't all folks though, and the weirder, wonkier and more rhythmic DJs should flock to the B2 for the break-y cartoon wobble of "Afrocordean", a strange and psychedelic little fella that's certain to wrongfoot your floor in the right way.

                  1988: Six years after entering the music scene, and just a few months after the release of the teen, 80s earworm, “Bonne bonne humeur ce matin” by Tristan, the producer and arranger, Michel Bassignani, recorded “Tu me tues” in Belgium. Dissatisfied with the result, Michel went back to the drawing board at Waldbery Studios in Paris recording all instrumentals (except sax). After hearing his new work, Dominique, a high school pal, proposed to sing for Bassignani. Dominique's stage name became Maureen, and in addition to the single and extended versions, the duo recorded a “Dance mix”. 

                  Comet presents the third release of its new Disco Highlife series, featuring remastered originals by Ghanaian legends Ebo Taylor & Pat Thomas and disco re-edits by Trus’me and Tiger Tigre.
                  On Side A, “Yes Indeed” is a heavy afrobeat piece out of the legendary LP Super Sounds Namba recorded in Togo and released in 1981 on Abotar Records. This awesome synthetic afrobeat is featuring the two biggest stars of Ghana Ebo Taylor and Pat Thomas.Trus’me's version is cross Atlantic production between Trus’me (now in Lisbon) and Benjamin Tierney from LA. An effortless collaboration of musicianship and production, using the seductive Simmons drums, Ensoniq ESQ-1 on percussion, Casio CZ-5000 on the lead & a solid Moog rogue on the bass. the additional production complimenting the original direction, whilst introducing it to a modern day eclectic dancefllor, courtesy of Prime Numbers Records. On Side B, “Yesu San Bra” is a strong funky disco highlife anthem by Ghanaian legend Pat Thomas. This disco highlife classic has originally been released in 1980 on the Ivory Coast label Pan African Records. Tiger Tigre’s rework is a mysterious secret weapon deployed to decimate dance floors. Adding with his characteristic bleepy twist, a punchy kick, a heavy liquid bass line and transforming this disco highlife classic into a euphoric and hypnotic piece of progressive house. 

                  Gooch returns to Specials Worldwide with his sophomore EP “Caught Up In You”. A loveable melange of naive pop drenched with Italo influence and an earnest but refined approach to easy going and light hearted summertime music.

                  The EP consists of sketches formed on an extended vacation to Los Angeles in the spring of 2019 that were later brought to life and polished in Vancouver, British Columbia alongside DJ D.DEE (Pacific Rhythm), and Ryan Eno of the legendary The Warehouse Studios.

                  All additional production on the EP was provided by a group of Gooch’s nearest and dearest who conveniently all happen to be world class session musicians laying their heads across Vancouver, Montreal, Copenhagen, and the Ukraine. Two remixes from Local Artist of the cult label Mood Hut and the Kaifeng born, Vancouver based artist Yu Su round out the EP. 

                  Get a load of this one! Super fresh drop from Turbo Guidance Entertainment, who hit us with 4 versatile dubs cooked by their favourite wizards!
                  Pablo Bozzi (half of Imperial Black Unit and half of Infravision) starts the dance with "Sangria Sound System N°1", a slow burning italo number perfect for closing a mid afternoon cosmic set while drinking pepper-mint lemonades! On second base we have a reggae-disco remix from the man Androo; part of NS Kroo and also well known on the label Music From Memory. He totally switched the original dub techno track of Babe Roots into something sweet and bouncy for the dub lovers out there. 
                  Coming at the third place are Komodo from Indonesia with "Funky Buzz. A
                  perfect blend of tribal and dub rhythms with a repetitive bassline, big delays and the right effects to rock the iguanas. 
                  And last but not least, check a sweet downtempo riddim from Mali-I aka Z
                  Lovecraft (Rhythm Section). He built a hip-hop influenced track with aerial chords. Perfect music if you want to take the mic and try to toast like a real badboy. Only 400 copies for the world. Sleeve visual is gently printed in risography 3 colors at Shift Studio (Tunisia) - DIY each and everytime.

                  FORMAT INFORMATION

                  12" Info: Inc. Riso Insert!

                  Already building a reputation as an invaluable vinyl only series for lovers of electro-disco and Italo nuggets, LoveHrtz return with "Vol. 3", offering up another brace of indispensable party starters.

                  "Gotta Dance" serves up a blinding Italo disco joint that’s brimming with all those classic tropes of the genre. Pumping, side-chained synths, bleepy keyboard melodies and a powerful thrust. Add a manic vocal part and your spiralling in popper-soaked, discoball heaven!

                  On the flipside, "I Need Your Love" is a rugged and heavy electro-disco slammer, revived and injected with new life courtesy of LoveHrtz and sounding rock solid in its construction. Forward gazing, it wouldn't sound inappropriate mixing this over the latest house and techno cuts either, making it a useful and functional addition to your late nite box of tricks. Highly recommended! 

                  STAFF COMMENTS

                  says: High energy Italo thrust on this latest LoveHrtz with just the right amount of vocal pleasure. I've grabbed a copy, I suggest you do to!

                  Flumo and ANMA Records join forces once again - this time for a collaborative project between UK based Contours and Yadava. Cosmic Echoes was built over numerous jam sessions fusing live percussion, bass, drum machine, synthesizers and field recordings to create a raw EP full of soul and warmth.

                  ‘Start First Finish Last’ opens up with smooth keys and alluring bass solo. The drum and percussion interplay keeps the up beat rhythm flowing, allowing for the bass to enhance on a Balearic and laid-back dance groove.

                  ‘Udu' takes the vibe on a more beat-driven road, with interlocking Kit and Udu patterns, floating keys and rolling synth arpeggios cutting in and out of the groove. ‘Speaking Through Broken Shells’, gets back on the bass and drum heavy interaction, with lots of influences from UK jazz scene.

                  The B-side starts off with a more familiar house groove. ‘Low Slung’, is a nod to the eyes down moments on the dance floor, with raw hats and shakers swirling around synth swells and heavy synth bass for introspective bliss.

                  ‘Cascades’ swaps over to an atmospheric soundscapes, with plenty of stereo play and rich sound quality, making it easy to get lost in a jungle of flutes, keys and rain-line percussion notes.

                  Closing out the EP NIAN’s remix of Cascades, takes the atmosphere up a beat and subs the rolling bass with broken beat rhythm.

                  Roisin Murphy

                  Murphy's Law - Inc. Cosmodelica Remix

                  Today, Róisín Murphy teams up with producer and DJ Colleen “Cosmo” Murphy on the fabulous ‘Cosmedelica’ remix of her latest disco masterclass 'Murphy’s Law’. Transformed into a funky, strutting number, the already rapturous track evolves into something equally joyous and electrifying.

                  Revered by her peers, Colleen is a hugely respected radio broadcaster, music producer, remixer, record label owner and founder of Classic Album Sundays, coming up in the ranks in the DJ world with her unique take on the craft and knowledge of club culture.

                  She says, "When I heard ‘Murphy’s Law' for the first time, it pressed every melodic and lyrical button. And as we evolve into a new reality, the song takes on new meanings - sometimes tragic (‘all my hard work goes down the drain’) but ultimately resilient (‘pretty soon I’ll be breaking loose and the scene y’ll be changing). We’re not ready to break loose yet, but when we do, we’ll have the best party. Ever."

                  Róisín further explains, “This remix came about in the way all the best ones do. Colleen had a vision for the track, she wanted to do it and she doesn’t do a lot of remixes. Colleen’s linage and pedigree is so deeply embedded in the music I love, I feel foolish even going into it here, I don’t like to name drop!

                  When she asked could she do the mix, my mind was blown. Murphy versus Murphy in the funky case of Murphy’s Law!!!” Róisín also recently created a series of 6 performance videos for the renowned Manchester club night Homoelectric’s recent Stay Homo 12 hour live stream – a rave for these times - and you can now watch them in all their glory here.

                  It was here that she first debuted the dizzyingly addictive Cosmodelica remix. Murphy’s 25 year career has been one of unbridled, unmatched creativity and these mind-melting, breathtaking videos, all made in her living room during lockdown, once again showcase why she is such a trailblazer.

                  Last month Murphy co-hosted a 3fm show from her living room and more recently fans voted to celebrate and delve into her “Overpowered” album as part of Tim Burgess’ “#Timstwitterlisteningparty”, which has become the most replayed of the series . So much so that Róisín is returning on June 19 to discuss seminal Moloko record “Statues”. If this hive of activity wasn’t enough, expect a full length album in the summer featuring all of Murphy’s iconic singles with DJ Parrot (“Simulation”, “Jealousy”, Incapable”, “Narcisuss” and most recently “Murphy’s Law”), alongside brand new tracks.

                  Apollo Brown & Che' Noir

                  As God Intended

                  Buffalo & Detroit are America’s broken dream. They are once thriving cities, now known for frigid temperatures and violent crime. The cities were birthed in a different era, forged in fire, built of cold steel. It follows that the rawest hip-hop in recent memory has bled from these two regions. No two artists exemplify this hard truth more than legendary Detroit producer Apollo Brown and Buffalo’s maverick emcee Che’ Noir. The two artists came together to create a sound as natural as calm after the storm.

                  The soulful, head-nodding production of Apollo Brown has been a staple called on by some of the greatest to ever do it. From GhostfaceKillah to Danny Brown, and from Freddie Gibbs to Chance the Rapper, Apollo Brown’s signature style has become an iconic staple of the culture.

                  Meanwhile, Che’ Noir has stepped onto the scene as smoothly as any double dutch veteran. Having already worked alongside Benny The Butcher, Kool G Rap, and Fred The Godson, she has emerged as one of the most extraordinary New York talents heard in years.

                  The pair’s new album, “As God Intended”, drifts up and down city streets and offers a glimpse behind closed doors, telling the stories of gunshots, missing fathers, & playing the system.

                  The new album from Apollo Brown &Che’ Noir features Skyzoo, Blakk Soul, Planet Asia, Ty Farris, and Black Thought. Coming July 10th on Mello Music Group, it is exactly “As God Intended.”

                  STAFF COMMENTS

                  says: Can Apollo Brown put a foot wrong at the moment? Fire LP after fire LP seem to leave this guys studio on an almost monthly basis. I've been vibing off this since hearing it on bandcamp a few weeks ago and eagerly anticipating this gold vinyl edition. Honestly, Apollo is without doubt the hottest in the boom-bap business right now. And with Che' Noir's arresting, sultry, natural attitude and obvious hardship-influenced lyrics this is a match made in ghetto heaven! Already purchased by myself, I suggest you all follow suit!

                  Second Circle returns with the follow up to Giuseppe Leonardi’s 2018 debut record ‘TBC’, with another singular EP from the young Austrian musician, titled ’MenteMente’. Recorded this year in Vienna, during the lockdown of the city, the title ‘MenteMente’ was derived from the Spanish word ‘Mente’ (meaning ‘Mind’) and refers to a meditative state developed during times of crisis, and the evolution this has brought to Giuseppe’s own musical process over the past months.

                  Reflecting an evolution in his musical output, the six tracks on ‘MenteMente’ incorporate a diverse mix of sounds and influences. The EP also includes collaborations with vocalist Fresh Princess, a young experimental dancer and vocalist from Ghana now based in Vienna. As well as spoken word from Georgian Art Theorist Lana Girkelidze who reads her favourite passages from Georgian poet Galaktion Tabidze’s poem ‘Qari qris’ - გალაკტიონ ტაბიძე-ქარი ქრის.

                  For those with an active browser, ‘MenteMente’ comes accompanied by a series of digital visuals made by Carolina Rivera Arboleda, artist and student at the Vienna University of Applied Arts and a stop motion video installation by renowned Viennese street artist Olivier Hölzl.

                  STAFF COMMENTS

                  says: As an unrepentant fanboy for Second Circle and Giuseppe Leonardi, this one had me at hello. Upon extended listening, I can confidently declare that the FM synths, digital funk, nuanced drum boxes and dreamy melodies combine in pure trouser tenting glory. File next to Eirwud Mudwasser, Dazion and Darling.

                  Mind Fair have been around the block with their strain of disco-infused house music, stopping off at Golf Channel, International Feel and Kinfolk amongst others, so you know they've got you covered for classy edits that are actually useful and interesting. This heavyweight drop for Magic Wand kicks off with the righteous stomp of "Holding On" before dropping into a reworking of uptempo jazz funk classic "Feeling Good" by Francine McGee. "All Night Soca" beefs a classic cover of Lionel Ritchie up for the dance, while "Mastermind" finishes the record off with some cool and deadly funk.

                  WOLF Music enlist the expertise of Earth Boys, also known as co-captains Julian C. Duron and Michael Sherburn, to take you on a worldwide TRIP for their newest release, ‘A Deal With The Devil’. Off the back of standout releases for the likes of 1080p, Shall Not Fade and Let’s Play House, the duo hand you a one-way ticket round the globe, pit stopping at all their favourite house jaunts for their WOLF debut with that mischievous monster whispering in your ear to indulge till your brain can’t take no more.

                  Sun kissed Balearic house rhythms lie next to dream-like Italian Riviera heaters, Chicago-tinged deepness kicks back alongside UK-fused techy grooves. Six tracks that give you a taste of all that’s good about house music’s far-reaching flavours, sampling the delights of those cultures and sounds with a glint in the eye and a penchant for the party at the forefront of the mind.

                  The King & City reissue series continues with Paul Robinson's disco boogie jam Come On Sister. Moving from the Lovers sound of his early productions, his first solo recording was aimed straight at the blues, clubs and pirate stations of South London and beyond - a prolific artist on the rise.

                  Appearing as a 13 year old protegee drummer in The Simeons, recording for the legendary Freedom Sounds label out of Kingston; to forming the influential Roots / Lovers Rock outfit One Blood; then vocalist in the Nick Straker Band; and through to a 30 year career as "dubplate" producer / singer Barry Boom, Robinson is a man of talents and serious legacy.

                  This highly sought after debut, part of Neville King and Lee Laing's family of labels, followed releases in One Blood and productions for female Lovers groups Blood Sisters and Charisma. A pure disco boogie party cut, Come On Sister sees the Robinson family hit the Brit funk.

                  In label style, the flip is given the Discomix treatment, here by up and coming digger, dealer and producer, Bruno (Perfect Lives). Letting the horns, dub bass and drums build in anticipation before the keys and guitar join and it all drops to Robinson's vocals - Come On Sister.

                  La'verne Washington

                  The Promise / I Found What I’ve Been Searching For

                  Melodies International are glad to be back with their latest reissue, a couple undercover soul gems from the Midwest originally self-released in 1984: La’Verne Washington’s “The Promise and “I Found What I’ve Been Searching For”. 

                  FORMAT INFORMATION

                  Ltd 7" Info: 7" Plus 14"x14" poster!

                  Vega Records are proud to present the re-release of EOL Extensions by Elements Of Life, the second album from Louie Vega’s critically acclaimed live orchestral project. With an allstar cast of remixers the lineup is a who’s who of worldwide talent. On the repertoire are Jazzy Jeff, Kenny Dope, Dj Spinna, Joe Claussell, House of Rumba, & Dj Gregory, along with EOL Alumni lead vocalists Josh Milan, Anané & Raul Midon. The Vinyl release is in two parts, two double packs, get it on your turntable, close your eyes and listen to the cosmic sounds of EOL. The new tracks “Messin’ About”, “Our People”, and the unreleased mix of “Love Is On The Way” are ones not to be missed.

                  Vega Records are proud to present the re-release of EOL Extensions by Elements Of Life, the second album from Louie Vega’s critically acclaimed live orchestral project. With an allstar cast of remixers the lineup is a who’s who of worldwide talent. On the repertoire are Jazzy Jeff, Kenny Dope, Dj Spinna, Joe Claussell, House of Rumba, & Dj Gregory, along with EOL Alumni lead vocalists Josh Milan, Anané & Raul Midon. The Vinyl release is in two parts, two double packs, get it on your turntable, close your eyes and listen to the cosmic sounds of EOL. The new tracks “Messin’ About”, “Our People”, and the unreleased mix of “Love Is On The Way” are ones not to be missed.

                  VeeVV are back! The band born out of the ashes of Tunnelvision and cult Factory signing reformed in 2018 and dropped a fully loaded CD of unreleased track alongside some well known favourites. 

                  Riding the momentum into 2020, we have a brand new double A side 12" from the group who've also joined forces with Toka to provide the indie-dance smashers, "Ugly Freedom" and "Sure Is Ugly". 

                  Both tracks ride galloping nu-Italo synthlines with crisp 4/4 drums that will excite fans of electronic indie-dance no end. Think LCD, ACR, Leftfield and The Chemical Brothers and you're halfway there; but these two tracks are undeniable forward gazing, covered in a soundsystem tweakin' patina, charged, and ready to make people dance! Amassing tons of support, with John Robb, Dave Haslam and Tom Ravenscroft all singing their praises, it's possible that a second wave of adoration and spectacle await this most storied Manchester outfit. 

                  The inimitable Honey Dijon delivers a preview of her forthcoming album ‘Black Girl Magic’ with ‘La Femme Fantastique’. Continuing to be a magnet for the most forward-thinking and exciting artists, here Honey teams up with London based DJ, producer and vocalist Josh Caffe, also inspiring a remix from heralded experimental artist KiNK and his fellow Sofia resident and protégé KEi. Capturing the energy of a hot and steamy dancefloor in full flow, this special edition, 12” purple vinyl package shows Honey’s unapologetic, hedonistic and achingly cool style at its finest. Opening with the raw, seductive interlude ‘Introducing La Femme Fantastique’, Honey’s industrial and electrifying club cut follows, as Josh’s captivating vocal narrates, the hypnotic lyrics are echoed with her mesmerising production. On the flip, KiNK & KEi deliver their captivating remix, with gradual builds, an irresistible bassline and swirling, otherworldly synths destined to excite selectors of the highest order. There is no doubt this killer EP is set to become one of the most in demand releases of 2020, as artists of the highest order come together on a package designed for dancefloor escapism.


                  Metronomy Forever Remixes

                    LIMITED TO ONE PER PERSON.

                    Best remixes from the current Metronomy Forever campaign onto a 12" including Idles take on Wedding Bells, the Bristol band's first official remix created for another artist. Dubbed the 'Til Dev Do Us Party Remix', Idles' reinvention of 'Wedding Bells' came from the long-running mutual respect that Metronomy and IDLES share.The original's driving bass is pushed to a pulsating new peak, while the distortion layered on Joe Mount's vocals increase the track's tension.The result is manic, energising and surprisingly uplifting. Next up is Michael Mayer's What IZ Love remix of 'Insecurity' where we see the co-owner of the Kompakt label reinvent the original track as a sprawling 8-minute techno exploration. Then we have interdisciplinary audio-visual artist Anna Lann who applies some audacious experimentation to her remix of Salted Caramel Ice Cream.Mount's topline is twisted beyond all recognition and layered with skittering beats and foreboding vibes, making for a waking nightmare. Hotly-tipped Domino artist, Georgia, who looks set to make a major breakthrough in 2020 delivers her playful mix of Wedding Bells, heightening the track's innate sense of fun, going big in every way - imposing synths undercut by seismic bass and hyperactive percussion. Finally we have Gerd and Shans mix of 'Lately', bringing a '90s flavour to the track, with old school house stabs reframing Metronomy as big room floor-fillers.

                    Aashid Himons

                    The Gods And I

                      LIMITED TO ONE PER PERSON.

                      Aashid Himons classic 1984 Electonic/Reggae/Boogie-Funk track finally gets a well deserved re-issue.Taken from the very rare sought after album 'Kosmik Gypsy.The EP includes the original mix, a lovingly remastered Fyraften 2019 version.Also includes 'In a Figga of Speech' track from Kosmik Gypsy.

                      Buena Onda - Balearic Beats is a lovingly compiled collection of exciting music from the new Balearic generation that captures the essence and eclecticism of their Berlin party oasis, Buena Onda. It takes in 12 tracks of fast and slow, acid and downtempo, lush and dreamy sounds to transport you to a place of beauty, warmth and soul. It has been compiled by Hell Yeah label boss Marco with Buena Onda 's resident DJ and co-owner Gallo, and arrives later this summer as a 12" sampler, limited cassette, download, stream and original t-shirt. This first sampler features four tracks from it with artists Lucas Croon, Sergio Messina & The Four Twenties, Gallo, and Black Spuma all featuring.

                      First Up, Lucas Croon takes us on an epic 10 minute trip with his head-in-the-clouds sounds, long legged drums and summery pad work. Next, Sergio Messina & The Four Twenties mix vocodered vocals with lush acoustics on the dreamy 'Fly Away' while on the flip, Gallo's Tropical Hinterhof Remix of J-Walk layers up lush chords with new age hand drums and synth gorgeousness that is soothing and cleansing. Last of all, Phillip Lauer and Fabrizio Mammarella aka Black Spuma's mid tempo drums sink you into a groove that is embellished with heavenly chords and plenty of oceanic breezes all carrying you away. This is a fine taster of the full length compilation to come.

                      STAFF COMMENTS

                      says: Though the summer's been a total write off for most of us, Hell Yeah continue to give Covid the middle finger, dropping another essential Balearic 12" a matter of weeks after their last. This sampler for the excellent Buena Onda party in Berlin offers soothers, horizontal groovers and a whole load of haze across four tracks. Quality as always.

                      Durutti Column

                      Free From All The Chaos / Number Three

                        The first stand-alone vinyl single to be released by The Durutti Column this century will be released on Vini Reilly’s Birthday early August 2020. ‘Free From All The Chaos’, was originally on the CD release ‘Chronicle’ presented with the unreleased track ‘Number Three’, from the same sessions, also includes the voice of singer/songwriter Caoilfhionn Rose a collaborator with the band over the past five years.A series of releases originally on the KOOKY imprint will be re-issued for the first time on vinyl, including the very limited CHRONICLE album. ‘Chronicle’ is a body of work commissioned from Vini Reilly as an autobiographical project concluding with a series of live shows. It will be released for the first time in VINYL format later this year.

                        FORMAT INFORMATION

                        7" Info: A limited run of 750 copies c/w a Trevor Johnson designed sleeve on crystal clear vinyl.

                        Elado / Eddie C

                        Hipos / Crazy Heart

                        Red Motorbike - the long running edit series curated by Eddie C, and somewhat of a staple here at Piccadilly Records - moves into its twenties, gifting us another jem of a record on it's trusted 7" format...

                        A beautiful lost folk-disco frugger from Tel Aviv's Elado greets us on the A entitled "Hipos". Perfectly Balearic, it pretty much encapsulates the vibe and energy of one of Moonboots and Balearic Mike's infamous daytime sessions at Electric Elephant in those halcyon Petrecane days... Eddie meanwhile expertly re-jams a lesser rotated Turkish delight with some punchy 606 rhythms keeping all those quirky Eastern tropes that get the dancefloor jiving....Pure class!

                        STAFF COMMENTS

                        says: Hark back to those Croatian sunsets as Eddie C brings the back that OG Adriatic flavour for his latest Red Motorbike.

                        The incredibly named Alasdair Tropical (heads will know from LYL Radio and Ransom Note) launches his Plant Life imprint with a sumptuous and surreal dance-not-dance EP from Darcey Electronics AKA Darling & Tracey. Acting independently the Amsterdam producers have previously dropped Piccadilly approved releases on Off Minor, Safe Trip and Voyage Direct, and now make their tag team debut for the inaugural Plant Life.
                        If you've kept your head in the game, you'll understand the aesthetic already - quantum rhythm programming, fractal electronics and hypnotic arrangements designed to send the listener into a state of hallucinogenic rapture. Opener 'Morgen' circumvents the dancefloor traffic, gentle changing lanes between house and electro as staggering percussion makes room for a rubberized bassline. Groove established, the duo substitute your SSRIs for echo drenched chords and lyrical keys, encouraging a higher state of club consciousness right from the off. Driven by a hypnotic sequence, swelling bassline and mechanical rhythm, "Handbird" softly nudges us down a psychedelic wormhole, the whispered female vocals promising the paradisiac at the other end.
                        With my salad days behind me, I appreciate an opportunity for half-time dancing, and the B-side delivers with deranged majesty. If you're old, you can sway to the phasing slank which woozes away throughout "The Berries", while young uns can take full advantage of the nuanced hand drums which more than make up for a lack of kick. Chirruping voices, digital idents and celestial keys convey a Balearic warmth or tropical haze, though in reality we're probably holed up in the Holodeck. Darling and Tracey close the curtain in utterly cosmic circumstances, locking into the sci-fi stylings of "Auto Zap" a trippy mélange of bleeps, whirrs, chimes and blurs which shifts gears from an opiated 70bpm to the racy 140 of the second half without sending your heart rate out of whack. 

                        STAFF COMMENTS

                        says: New label alert! Firing on all cylinders, Alasdair Tropical enlists Darling and Tracey to drop the inaugural Plant Life release under their new Darcey Electronics alias. Four cuts of forward thinking, future proofed psychedelia for innovative DJs and dancers alike. Find your nearest chemist, load up and get weird.

                        Legendary composer/director John Carpenter has returned with his first nonsoundtrack music since 2016’s Lost Themes II. Collaborating again with son Cody Carpenter and godson Daniel Davies, his bandmates and co-composers for the David Gordon Green-directed Halloween films, Carpenter is sharing the propulsive new single “Skeleton” and its B-side, the haunting “Unclean Spirit.”

                        The sessions for these songs saw the trio shifting their focus from scoring for the screen and engaging a totally different creative muscle. Instead of being guided by what was happening in the world of Halloween, they were free to work toward other ends.

                        “It was refreshing to be able to write music that didn’t have to fit to any sort of locked image,” John said. “We also had a specific focus and direction we wanted to follow when working on Halloween, both in terms of mindset and instruments, and being able to return to working without that narrow focus was refreshing. Although working on Halloween didn’t specifically influence any of these new compositions, there is always a honing of craft that must take place when working on a film like Halloween, and our improved skills definitely helped us in writing these songs.”

                        Working together to score a major Hollywood production only deepened the collaborative chemistry between the three composers. That comfort level paid dividends, as the songs developed largely in the room where they were recorded. “Like the majority of the songs that we write, both ‘Skeleton’ and ‘Unclean Spirit’ mainly started with an improvised riff, which was then expanded and built upon to create the full song,” John explained. “Like the previous Lost Themes album, we each handled duties of writing and recording, with all three of us contributing ideas and parts.”

                        STAFF COMMENTS

                        says: In the words of Youtube commenter Justin Martinez - "Now that we're all living in a John Carpenter film, we should at least buy the soundtrack."

                        Fifteen!!! Seemingly set on making me feel old, Magic Wand drop a new batch of edits on our azz, calling in the services of Osmose, Sweetooth, Baz Bradley and Mushrooms Project for some slanky fun. 

                        Osmose takes a break from Smokecloud duties to deliver a suitably stoned jame on the A1, pitching a disco loop down to qualuude tempo, then dipping into his bag of Balxplo style vocal samples to round out the kind of beatdown jam we were hammering in 2010. Sweetooth (me neither) make their vinyl debut on the A2 with a hydraulic boogie / cinematic italo cover of Joni's Hissing hit "Edith & The Kingpin", turning out something frankly glorious, and utterly unexpected for a guy who looks like Lee Mack and a gal with top notch disco hair. (I don't usually go in for look-a-like quips, but our internet is patchy today, so I'm just going off the Discogs image. Might not even be them)

                        Bounce along to the B-side and Baz Bradley seeks out the sunset with a super loopy re-stretch of an Italian AOR jam, complete with ascendant sequences, female vocals and Fleetwood Mac guitars. All that remains is for Mushrooms Project to go full on swamp funk with an Afro-cosmic stomper comprised solely of clattering polyrhythms and synth weirdness. My kind of thing really.



                        Illicit tech-house renegates, EEE are back with another headspinner that is destined to do the business. Sweeping minimal rhythms, deep pads and heavyweight bass coupled with, of course, an upfront vocal ripped from the mainstream in signature EEE style. Another buy-on-sight, cult release from this tasty little label - don't sleep!

                        STAFF COMMENTS

                        says: Shadowy, naughty AF tech-house refixes of classic RnB, hip-hop and some other moments of UK dance heritage remixed for given a SUAT-friendly rubdown.

                        Hot off the press, Okinawa Delays' lay down their second single of 2020, Just A Little Lovin', an ethereal cover of Dusty Springfield’s classic that’s nestled within her many Balearic wonders.

                        Drinking in all the essence from Dusty’s original, Satoko Ishimine channels that pureness through her breathtaking vocals on the lead track. Sweeping, soulful and with a summer haze weaved into it’s very makeup, it’s that warm embrace you’ve been pining for all year. Ibiza legend DJ Pippi and Ibiza-born talent Willie Graff then step up to provide a laid-back dance remix as the sun sets on the beach club.

                        Rounding off the EP captains of the Balearic waves, Seahawks, provide a sublime psychedelic chill-out mix that's ready-made to lose yourself in as you stare across the glistening horizon.

                        Every odd number has an ‘E’ in it, even if it's just a Picogram. Now ask Piccadilly's chemistry corner (Messers Ward and Smethurst) and they'll tell you a pico ain't gonna get you jumpin' - it's not even gonna get you thrown in nick. This Odd Numbers 10" is the exception to that rule, bringing a couple of garage chonks onto the turntable. On the A-side "Bumped In NY" moulds organ stabs, a rib rattling funk break and guttural bass sounds into a two step rhythm then lays an RnB vocal over the top to tick off all the genre appropriate boxes. Flip it and "Ninety Five" finds that swinging, shuffling overlap between UKG and deepish house, serving us Stonebridge, Strictly Rhythm, and Sound Factory stylings from start to finish. 10/10 MK fans clicked buy...

                        STAFF COMMENTS

                        says: Proper secret weapon tackle here with soundsystem refux, "Bumped In NY" deploying some tasty Reece's to accompany THAT vocal... Mega!

                        Love Drop

                        Love Drops 01

                        Love Drop has released some absolute belters over the years on labels like Disco Deviance and GAMM. Here he decides to go it alone, kicking off his own imprint with two deadly cuts. Blending disco and house music wonderfully, both tracks pay tribute to the long standing legacy of the dancefloor, whipping up a storm that's certain to drive the crowd wild.

                        Keeping up the quality, he drops two deadly cuts that blend Disco inspired sounds with those trademark Love Drop delays and his masterful feeling for what really drives a crowd wild. If you're a fan of that post-millenial disco sound, think Eric Duncan, DJ Harvey, La Discotheque, El Diablos etc, then this is a sure-fire addition to your record box.

                        STAFF COMMENTS

                        says: New label alert! During these testing times it's important to remember sometimes a simple thing like a 12" record can put a remarkably large smile on your face...!

                        Loves Last Episode

                        Rock The Boat / My Boo

                        Party season might be cancelled this year, but that doesn't mean you can't pretend you're dancing under the stars, eyes-wide-shut with your friends and loved ones inna tropical disco paradise! Records like this would have surely been best sellers throughout the summer festival period; resplendent with everything that makes going out dancing so much fun! Capturing the holiday spirit in the bucket load, these three numbers will sound equally good when prancing around the villa, demolishing a fish platter or sauntering across the dancefloor!  

                        STAFF COMMENTS

                        says: With Summer written right through its grooves, Loves last Episode hits a sweet spot between new disco, electro pop and Balearic goodness and finds much favour amongst Picc staffers!

                        DeFeKT & Extrawelt

                        Field Day / Off Planet

                        Feel My Bicep steps it onto its next release with the debut of two established acts, linking up for the first time. DeFeKT and Extrawelt combine their formidable talent and years in the game to bring us a two-tracker entitled “Field Day”.

                        DeFeKT (AKA Matthew Flanaghan) has been putting out his hardware-heavy productions for 10 years now, dropping releases on an array of respected labels including Omnidisc, Boysnoize, Acid Avengers, Komisch and Convex. Known for his high quality production and ability to create havoc on the dancefloor, he previously appeared on Feel My Bicep with a rework of Cromby’s “Retribution”.

                        Meanwhile, German duo Extrawelt have production credits dating back almost 20 years with their first tracks released in 2001 under the alias Midi Miliz. The Extrawelt moniker was adopted in 2005 and they’ve been producing and performing under the name ever since, with an exhaustive list of club and festivals appearances plus an extensive catalogue of releases, including four albums.

                        From Bicep themselves ‘We've always been massive fans of Extrawelt, fondly remembering Soopertrack being hammered by Sven back in the mid 2000s. Matthew, who we're good pals with told us he'd been jamming with them and sent over the demos. Signed it pretty much there and then! Don't think we need to explain much more, both absolute weapons that capture that era of our early clubbing memories perfectly.’

                        STAFF COMMENTS

                        says: Heavily electronic leaning tracks that'll warm up the tops mids and bottoms of any self respecting big rig quiiiiite nicely.

                        JKriv & The Disco Machine

                        Make It Hot Remixes - Inc. Ray Mang / Pete Herbert & Dicky Trisco Remixes

                        File Under Disco revisit the 2013 classic-in-the-making "Make It Hot", one of the biggest tunes released on their 100% original disco imprint.

                        The original track showcased the musical talents of NYC maestro JKriv and the wonderful vocal skills of Adeline Michele. These days Jason is one of the faces behind the Razor-N-Tape label, co-songwriter and bassist with live NYC disco act Escort and the producer behind various big releases on Z Records and Glitterbox. He really is a contemporary disco machine!

                        On this set of new remixes this fantastic production talent comes head to head with longstanding remixer extraordinaire and studio master Ray Mang.
                        The man called Mang opts to launch the original into the outer dub-sphere in his trippy and extended "High Pressure Dub".

                        Meanwhile on the flip, JKriv himself launches a new and raw electronic interpretation that completely reignites the original vocal performance by Adeline into an ecstatic dancefloor work out.

                        Last, but not least, old friends and disco compatriots Pete Herbert and Dicky Trisco deliver an Aperol-infused Balearic house rework of the original, which is the perfect soundtrack for those beach sunsets and summer nights that just refuse to end quietly.

                        STAFF COMMENTS

                        says: An all star cast of remixers grace this new disco future classic from way back in 2013. Pete Herbert & Ray Mang offer up interpretations alongside a new take from the composer himself JKriv.

                        A nice selection of previously unreleased tracks from the studio of Scott Grooves, including "Movin' On" - the first vocal track Scott has released in the past 10 years! Featuring Seoulonnie on vocal duties "Movin' On" is classic deep Detroit house; with ultra crisp percussion combined with seductive synth and keyboard work. Bright, blissed-out and brimming with optimism, it's one of those tracks you'll revisit time and time again when the dancefloor needs a solid injection of electronic soul. "Red Crates" powers up the lazer rig for some hi-tech business, delicately placed stabs, fizzing leads and more frenetic percussion sure to get bodies gyrating manically late on into any session. "Me Solista" on side B flips the mood to a more experimental approach, phazed rainforest percussion accompanying rich piano chords and lavish xylophone lines for a head-turning tropical feast of sound! Very nice indeed. "French Road" concludes this beastly EP in fine style, gliding pads encompassing a syncopated bassline and glistening synth washes. Wonderful stuff.

                        STAFF COMMENTS

                        says: The inimitable, mighty (and not to mention officially the nicest guy in Detroit), Scott Grooves returns to his phenomenal Modified Suite. Proper.

                        Originally released in 2013, ‘Virtual Lover’ was the debut single from Nadia Ksaiba, the East London DJ icon best known for her joyous sets at beloved queer space Dalston Superstore.

                        Fast-forward to 2020, and Ksaiba’s ‘Rhythm Connection’ with Dan Beaumont, is one of NTS Radio’s longest running shows. Meanwhile, as Phantasy approaches a landmark 100 singles, ‘Virtual Lover’ still sounds timeless, masterfully channeling boogie, Italo and disco reminiscent of early Madonna to classic Midnight Star. With this in mind, Phantasy are delighted to offer a new perspective on Ksaiba’s club hit with two spellbinding edits from Belfast born and based DJ/producer, Jordan.

                        On PH28RMX, Jordan refreshes the energy of ‘Virtual Lover’ with two additions to his already beloved series of Nocturne edits, which have earned multiple represses having gained huge support from the likes of Erol Alkan, Midland, Gerd Janson and Kornel Kovacs.

                        With an analogue touch, Jordan deftly shifts the casual call of the original into a lean slice of brooding freestyle electro, transforming Ksaiba’s charming vocals into a robotic paen, yearning across a futuristic grid of deeply satisfying bass. ‘Jordan’s Nocturne Dub’ achieves a similar effect driven by a frenetic, chopped-up vocal amid cybernetic flourishes.

                        The Tel-Avivian Berlin Based duo TV.OUT are back on Parallax Records with a beautiful 12′ and a fresh Florian Kupfer remix. It strikes right after their album debut on Dark Entries, and releases on L.I.E.S Records and BANK Records NYC.

                        When life gives you a pandemic, make monstrous electro - that's a saying right? TV.OUT say/synth what we're all feeling and get angsty on this new Parallax release, starting with the terrordome saw wave, serrated drums and space sirens of "If I Die Tonight", the official anthem to the Tory welfare reforms. The doom and gloom continues on the utterly uncompromising "Dead Lines", a brief glimpse of the not too distant future - I can just see Boris, Rishi, Raab and Priti plotting our destruction from some sort of chromed out litecraft, intercepting crypto currencies and defecating on the peasantry. Flo-Ku (as no one calls him) puts a little hespeck on it, echoing the drums into a thunderous rumble while injecting a little Depeche Mode maquillage into proceedings. Flipping, we swap electro for techno on the perc heavy "Aurora Secrets", which is reminiscent of a late UR cut, but much more gnarly, then embrace the frosty synths, snapping beats and campy bass sounds of the Dutch West Coast for "It's Yellow Outside". Makes me want to smash my car into "the city" then eat a banker's face.

                        After supplying a couple of the hottest selling singles in recent years on their first two vinyl releases, Sprechen are back with another utterly spectacular offering on this magic number. Enlisting the talents of Manchester 6 piece See Thru Hands, and making maximum use of the fattest Rolodex around to secure remixes from Skream and Jorja Chalmers, label boss Massey (who offers his own interpretation on the B2) makes a series challenge for 12" of the year here!

                        'Connectivity' is a self-produced alt-pop banger from See Thru Hands which delivers 'disco-not-disco-synth-funk-dancefloor heater' vibes from start to stop. The feisty rhythm section and snappy vocals call to mind dance-punk sensations Friendly Fires, while funked up synthesisers trill and quiver around the spiky guitars, conjuring a loved up studio jam between ACR, Prince and Rufus.

                        There are remixes for every occasion on this one with Skream cranking up the Italo disco-o-meter to 14 on his bass driven peak time banger for large room raving while Jorja Chalmers takes the party back to a smokey shebeen on her mix that sounds like Tricky sharing a blunt with Aphex Twin whilst King Tubby twiddles the dials!

                        Main man Massey finishes off the package with a mucky tops-off style gutter pumper which belongs in those basements you'll often find him and many like-minded souls dwelling within.

                        Bufi-Jan locks into serious percussion mode here, translating the technicolour breaks and progressive wormholes of a sextet of 'Albumsi' tracks into bonkers and bubbling drum dubs.

                        In his own words: “Hi, my name is Bufiman and I do drum music for world peace and dance music for frogs. I recently released a longplayer called ‘Albumsi' on Dekmantel. While doing the mix-downs for ‘Albumsi' I realized how much effort I had put in it and how it might even seem overproduced in comparison to other records of mine. This was the result of ‘Albumsi’ being in the first year after quitting all other jobs to focus completely on music. It was the first time I had a studio, some gear and time all at once, at the same moment. So during the mixing process I realized how carefully and loaded the drum tracks were, I even had unused leftover drum material… I also just found a Dutch record heavily inspired by the classic Jive Rhythm Trax with the name 'Mix Your Own Breaks - Construction in Music' with an accompanying text that inspired my idea to do some of my own rhythm trax versions: "The compositions on this LP only consist of rhythms and sound effects. They can be used as: a transition between two records, to be mixed as a break in between and for the production of jingles. Have a lot of fun with these breaks!" Or in Dutch, as originally printed on the record: VEEL MIX-PLEZIER MET DEZE BREAKS - Een multifunctionele LP voor Discjockeys, Thuismixers en geluids-amateurs.”

                        STAFF COMMENTS

                        says: Stripping back some of the choicest cuts from his Albumsi, Jan lets us luxuriate in his outrageous drum programming, break surgery and comic book boings on this EP of phat rhythm tracks. Perfect for playing in the mix, or enjoying at high volume in the comfort of your own home.

                        As they near a whopping 150 releases, GAMM finally get round to releasing something by the undisputed champ of the edit, Danny MF Krivit. Given carte blanche to search beyond the standard disco edit spectrum the Body & Soul legend digs deep into his vinyl directory for something truly 'special'. The result is a two track release entirely focused on Brazilian drums...nothing else! Here's a rhythm record where two Batucada sessions are reworked for your DJ pleasure, transforming into unstoppable, insatiable dancefloor bombs. So simple but so, so effective...Rio meets NYC.

                        Jamie 3:26

                        Sober Disco Edits

                        Chicago brother Jamie 3:26 is back and this time more focused and more sober than ever (yup, he gone clean)! After his classy album release on BBE he's now back on GAMM with what he does best, top class Chi-town disco edits!
                        This time 'round Jamie goes to work on two gems from The Watsonian Institute and Peoples Choice. As usual, the soul and funk is always present and both edits go well beyond the 9 min mark...extended play guaranteed!

                        The first of three 12”s from Jamaican duo, The Pearls. Reggae Disco Rap from 1980.

                        The Pearls are Stanley Shaw and Norman Watson, lifelong friends who wanted to fuse Disco, Soul and Rap with Reggae. Norman Watson worked at the famed Randy’s record store in downtown Kingston, also the base for the revered V label, where he came into regular contact with label artists Fats Domino, Millie Small and Augustus Pablo. Suitably inspired he started his label Reality Hits in 1978 and not long after came a series of singles including ‘On & On’. The Pearls soon caught the ear of Sly & Robbie and went on to record an LP for their Taxi label.

                        The original 7” version of ‘On & On’ leads the charge on the A1, a proper reggae disco stomper with boogie piano, super charged bass and a chorus that sounds like a lost hit. The Dub Version ‘We’ll Do It’ occupies the A2 whilst on the B side Waxist, the consummate Parisian selector and compiler Julien Minarro, steps up with an extended edit that combines elements of the Original and Dub. The 12” is housed in a disco 12" themed Isle Of Jura sleeve.

                        High Resolution

                        Sweepin' Off

                        Sweepin 'Off" is one of the most intriguing record of the entire Roman production of 1983. Moving away from the classic repetitive and pounding strand "Italo-Disco" and thanks to the vaguely pop-new and wave atmospheres made by Stefano Galante (BlackWay & Helene, aka BWH & Asso. 

                        Official repress from your friends at Best Record. 

                        STAFF COMMENTS

                        says: High gloss tackle from 1983 here, plucked from obscurity by the fine folks at Best. Rather than Italo disco, Roman outfit High Resolution served up thick boogie with new wave vocals - and it's ace!

                        Live Fashion

                        Bicycle Song

                        Totally funkin', groovin' female Italo-Disco vocal jam recorded in 1984 at the Studio Group in Rome by Stefano Zito (aka Blackway & Helene, B.W.H.) together with the band Live Fashion. He was supported by his partner Carlo Favilli, the arranger Marco Colucci (aka Mark Owen) and Gloria Ludovisi with her magical voice.

                        STAFF COMMENTS

                        says: Another Romano gem polished up and repressed by Best, bringing us propulsive bass, infectious synth hooks and killer vocals on a synth pop tip.

                        The Renegates of Planet Earth were a group of DJ-producers from the detached Best Record of Sabaudia (small Saint-Tropez of the Tyrrhenian Sea, 100 km from Rome). They had the excellent idea of having Herbie Goins play "You Don't Love Me" (who also wrote the lyrics) who was the frontman of Alexis Korner's Blues Incorporeted and band leader of the fabulous The Nightimers in the Sixties. Here are the 3 re-mastered versions of this historical Italian Funk Boogie record.

                        STAFF COMMENTS

                        says: Ugh! This is the kind of sticky icky funk that makes you wanna do the nasty, but supplies the requisite lyrical melancholy to stop another 'Space Docking' situation...

                        Italian Disco remixer extraordinaire Moplen is back at the controls with a super sublime reworking of a wonderful and rare early 80's Leroy Burgess jam from the Salsoul vaults. 'Heartbreaker' is an underground classic, seeing Burgess back in the studio with longtime collaborator Sonny T. Davenport and Kiss FM mastermixer and producer Shep Pettibone on mixing duties. A tight and flawless early 80's production sensibility and the incredible vocal arrangements and lyrical performance of Leroy Burgess make this one a definite essential in any DJ's box. This is the real deal. If you dig that post-Disco electronic sound this one is for you, simply perfect in every way and quite tough to track down these days in its original form with copies reaching high figures on the second hand market. Needless to say, Moplen injects his own personal style into his remix and adds his unique flair creating an essential new version of this classic on the B-side. Always understanding, respectful and fresh, Moplen pumps 'Heartbreaker' in all the best ways, crafting a drum and bass heavy DJ version and new arrangement that you will be hearing for many years to come! Disco bliss.

                        Horse Meat Disco unveil the latest preview of their forthcoming album ‘Love & Dancing’ with ‘Message To The People’, featuring one of the main co-artists on the LP, Amy Douglas, alongside soul trio Dames Brown. A record that started as an adaptation of the Shirley Caesar original, recorded in the studio with the Dames; Horse Meat Disco and Luke Solomon then headed to Amy’s native Brooklyn, where she wrote her verses sat at the piano for this sublime disco jam. This 12” delivery features remixes from some of the genre’s most revered artists, each turning their hand at this labour of love. Up first, unrefuted master of the edit Danny Krivit delivers a blissful, club-friendly extended version, making full use of the longer playtime with an elegant, journey-like mix. The Key-A-Pella follows, an essential DJ tool that allows Amy and Dames Brown’s vocals to really shine. The funk-fuelled Michelle Mix kicks off the B-Side, an empowering, uplifting narration provided by a sample taken from none other than former First Lady Michelle Obama, inspired by Chicago legend Kelly G.’s creative sampling on his Deeper Message Groove mix, the track that closes out the release. Kelly’s mix is a soulful, grooving affair with dreamy keys you can’t help but move to.

                        Big Joanie

                        Cranes In The Sky / It's You

                          Big Joanie are a black feminist punk band who describe themselves as The Ronettes filtered through 80s DIY and 90s riot grrrl, with a sprinkling of dashikis.

                          Based in London, UK, Big Joanie formed in the summer of 2013 to play at First Timers (a gig where each band plays their set for the very first time) at the close of the year. The band also functioned as a space where its members (Stephanie Phillips, Chardine Taylor-Stone, and Estella Adeyeri) could be completely themselves as black women and discover their own power in creativity. Since their formation, they've opened for such notable acts as Bikini Kill, Sleater-Kinney, The Raincoats and Parquet Courts.

                          Outside of the band all three members have strong community ties, from helping run the festival for punks of colour Decolonise Fest, coaching new talent at Girls Rock London, or launching the 'Stop Rainbow Racism' campaign which works to stop racist performances in LGBT venues.

                          Their new single, and first release with their fans and supporters at Third Man, is a stunner. The A-side is a brilliantly re-imagined cover of Solange's anthem dedicated to un-addressed sadness, "Cranes In The Sky". Big Joanie nods to the full weight and dazzle of the original but refreshingly transforms the song with a distorted, straight-ahead vision and drive. On the B-Side, "It's You" is a shadowy post-punk burne.. crisp, surprising, no BS. Like all the best songs, it's over before you're ready for it.

                          Black feminism is at the heart of Big Joanie's music and actions, and with this new 7" single, Third Man Records is proud to support Big Joanie in spreading their message even further.

                          A treasure trove of edit wonders from none other than the Turkish master and esteemed digger’s digger, Jonny Rock, released on the ever-dependable Orange Tree Edits.

                          Four cuts, taking you on whistle-stop tour around the inner workings of Rock’s mind, from electro to new wave, with a slice of Serbian soft rock in there for good measure. With tastefully selected source material and deft work with the knife, these skillfully sliced edits should ignite any cosmic-leaning dancefloor. 

                          STAFF COMMENTS

                          says: Ace 12" for cosmic disco & EBM-leaning discotheques. Tracks that sit nicely alongside Aiwo, Red Laser & Talking Drums records, and as such present a pretty poigant tapestry for the more tasteful spectrum of the dance.

                          says: I was gonna edit the A2 here, but Jonny's beat me to it. It's a Ricky Gervais track FYI

                          Another healthy dose of iconic and lesser known tracks reworked, retouched and edited; steamily rising up from the unique and magic poolside of Pikes Hotel (Ibiza). Trusted taste that sees Jazz N Palms warm-up the monthly exclusive Ronnie Scott's (London) jazz concerts held at Pikes.

                          Jazz music fused sartorially with Latin, funk, rock and international sounds to be enjoyed under the palms and sun of the Mediterranean sea. Perfect listening whilst sipping on your favourite holiday cocktail!

                          STAFF COMMENTS

                          says: Patrick's off on his jolly-bobs but I know for a fact he digs this label. I'm sure we can all picture him now; poolside, margarita in hand and maxin' out to the sunny sounds such as what's contained here. Ahh, I'm not jealous at all.....

                          The Belpaese speedboat swings back around, loaded up with four more special deliveries, marked ‘Open In Case Of Emergency’. A peaktime rescue package with all the disco, exotica and jazz funk goodness you need to juice up those livestreams and socially distanced dances heading your way (if yer lucky!).

                          Inducing big smiles throughout its duration, tempos accelerate and subside as a plethora of tantalizing elements converge on these four tastefully arranged vacation-leaning tunes. If you're heading to the beach then be sure to squeeze these into your cool box!

                          STAFF COMMENTS

                          says: It's stupendously hot outside and with records like this knocking about don't be surprised if you come in to find us all sinkin' frozen daiquiris behind the counter...

                          Stomping through the undergrowth once more, top label Culted return with their modest sixth recording. Five mad-cap edit bangers. Pounding, hypnotic, tribal, this is shamanic dance of the highest order, acid-laden rhythms to shake the dust off our pandemic rattled spines from Nicola Cruz, Asa Moto, Balam, Tyu and Akimbo. Check it! 

                          STAFF COMMENTS

                          says: If your currently pining after the writhing, sweaty mess of the dancefloor, then stick this on your player take three huffs of poppers, close your eyes and pretend you're back in the drug-smothered bosom of the White Hotel.

                          Steam Down, Yazmin Lacey, Afronaut Zu

                          Etcetera / I'll Never Stop Loving You

                          For the next 7'' in the Blue Note Re:Imagined series, Steam Down bring to life a new version of Wayne Shorter’s track “Etcetera”. Meanwhile Yasmin Lacey records a new version of Dodo Greene’s track “I’ll Never Stop Loving You”. Modern masterminds interpreting the rich legacy of Blue Note with devastating results! Essential stuff for Giles Peterson devotees and all the young jazz cats out there. Limited copies and pressed on super heavyweight wax - you know what to do! 

                          Absolutely storming new Chicago house music! 3rd release on Factory Music Chicago comes from the legend DJ Deeon and label owner Traxman himself. Both presents two bangers each on this split EP called "Da Disco Tekk" EP. Highly recommended, this comes correct with that twisted, OG Chi-town swing!

                          Killer money shut from Deeon comes via the charged and frenzied mainroomer - "XXX" while "Rage" is full of dark energy making it a prime contender for the strobe machine section.

                          Traxman begins his excursion by utilizing an illustrious vocal to devastating effect. Conjuring up a band new Chi-town masterpice on "What Do U See". "One More Tyme" completes the essential set with a bonafide house music anthem that'd be sure to work the daytime crowds at Gottwood and Dekmantel up into a frenzy were they to be aired this year... Roll on next year's festival season then, after which these tracks will have been chilled to perfection, ready for our delectation. Recommended! 

                          STAFF COMMENTS

                          says: Twisted Chi-town house from this these Windy City mainstays. Essential listening for house heads!

                          Originally released in April 1994 on Finiflex (FF1009) and fetching upwards of £70 on Discogs, The Mercury E.P. by State of Flux (Dave Clark and Roger Elliott) has long been overdue a repress; it now sees the light of day once again with fresh remaster by Keith Tenniswood. State of Flux were an integral part of the Scottish electronic music scene, during what is now considered as the classic foundational wave of British "intelligent techno". These tracks were written between 1992 and 1993, with the E.P. released to coincide with their first UK tour in 1994.

                          With the recent death of Andrew Weatherall, a hero and legend for so many thanks to his championing of all genres of music and endlessly supportive attitude, we saw a massive outpouring of grief and love – alongside a wealth of old mixes, personal recollections and tributes. One of his most beloved ambient mixes – billed online as Massive Mellow Mix; just Andy Weatherall 2 on the tape itself – featured both Mercury and The News, and was a firm post-club favourite, still keeping heads together over 25 years since it emerged. It is largely thanks to Weatherall and his reputation that the spotlight has been recast onto all sorts of obscure or well-known music, including this E.P.

                          In Dave's words: "1994 was exciting for us. We first met and played with Weatherall early that year, and I remember he gave us his entire rider and sat chatting to us for hours until our slots came up. We were already big fans of him, both as a producer and DJ, and he’d given our latest record a great review in the NME or something, so we were blown away. By then we had started gigging seriously and toured in April and then in Europe in September, sharing bills and rubbing shoulders with the likes of Black Dog, Autechre, Higher Intelligence Agency, Derrick May, Psychick Warriors ov Gaia and finding ourselves on compilation albums together with Aphex Twin, Biosphere and Bandulu. We started to be invited to 'music industry things': record company offices, panel talks, an exclusive WARP party in Sheffield. Weatherall would pop up now and again, and he’d always be super-friendly, and - most importantly at a time when everyone was out of their nut - engaged and interested."

                          Mercury was shortlisted for Warp's Artificial Intelligence 2 album, but didn't quite make the cut. Roger and Dave were young, skint and went their separate ways – burning brightly for a short period, then quitting while ahead. Dave has continued under a variety of aliases and always operated at the centre of Glasgow's electronic music scene, working most closely with Numbers and Optimo to cement the city's legacy.

                          A1: Mercury - our eponymous hero, god of many things and psychopomp guiding the souls of the dead to new realms. As we travel, a high, probing bassline paves the way for soft melodic cycles – morphing and entwined like serpents on the caduceus. A bright legato entity and its bastard harmonic cousin arrive to derail us; we escape toward nasal hyperspeed nonchalance haunted by the plaintive entreaties of a randy qliphothic temptress. Stay true. The melodic serpents return in harmony and unravel, leaving a refrain of august mood backed by siren of the pining temptress. The cousin reappears with several evil mates to answer this increasingly malevolent beacon, together threatening to devour all; but they are banished, the qlipoth unsated – and a mood of quiet optimism is reestablished for the remainder of the journey

                          A2: New Lanark is what happens if Bytes-era Black Dog were asked pressing questions about Welsh philanthropist and social reformer Robert 'Derrick May' Owen's model village / labour camp on the banks of the Clyde. Grimy but well-educated kids – saved from punishing apprenticeships at the mill and instead given pioneering nursery education – take us along the path through the Devonian sandstone gorge up to the Falls at Corra Linn on a grey Sunday afternoon in late autumn... but what's this? Little Annie has dropped her barley bread in a mud puddle en route and naughty Wullie has picked it up and snaffled it hissel' – bacteria, ciliates and all! The other children all laugh and dream of a future where they will bake grain-based techno morsels for sharing with all, "without regard to their class, sect, party, country or colour".

                          B1: The News - we've all read it and we're all sick of it: coming in waves, 'rolling' and 'breaking', promising endless novelty and repetition. We hear Radioactivity-era Kraftwerk transposed to the naïve early 90s, when the internet was made of string vests and social media was but a gleam in the rolling, gaping pupil of anyone chewing their own face off in front of several strangers in the 'chill out' area. The mood is full of hope; good news is possible and desirable. Darkness is stirring, though: we must learn to see through our own biases... "feelgood" stories serve ulterior motives and the lamestream will erode critical thinking. Bleeping morse alert signals demand your attention at any time; once you are plugged in, you can't really opt-out... time to pop another pill.

                          B2: OWG - 'OId White Guy' running 'One World Government'? The encroaching, ubiquitous media landscape hinted at in The News now 'feeds the mouth that bites the hand', ushering in a technocratic New World Order led by Bill Gates' cunning plandemic to inject a microchip – hidden in a "vaccine" – capable of tracking the entire population. Donning their spritely trance trousers, Bill, his pal Elon and countless other OWG dignitaries take their position on the empty dancefloor, maintaining reasonable social distance to instigate a celebratory acid hoedown in the face of Icke, Jones and all other former goalkeepers, wellness practitioners and truthsayers of "independent thought" who would convince the masses to inherit their beliefs and rise up to save us from our own future.

                          STAFF COMMENTS

                          says: Hold my hands up to being totally unaware of this beast. Lucky me! - as listening to this first time round is a wonderous moment! Mid 90s gold from (there's that name again) Dave Clark and Roger Elliot. Big with Weatherall and remastered by Keith Tenniswood this is a real beauty!

                          'Dusk/Grey Skies (i)' features two tracks recorded by Glasgow-based artist Daniel Magee during the coronavirus lockdowns of 2020. They mark an evolution in production sound for the Lo Kindre project and can be interpreted as a meditation on the events that are transpiring globally at the moment.

                          'Dusk' is a slow-building journey soundtracking walks through empty city streets as night falls. Sombre modulating pads underlie a slow and sparse drum machine and bass combination, leaving space for explorative, rhythmic and longing synth melodies to interplay overhead. In 'Grey Skies (i)' we’re lead straight into trance induction, swirling modulating pads returning, echoing over a dub bassline, droning synth and minimal drum machine. Once again the melodies perforate the foreground, this time echoing out into the haze and taking you further under.

                          STAFF COMMENTS

                          says: Suffocating dub-wise soundscapes from this sprouting fern of the electronic undergrowth.

                          First time repress Greensleeves 12” classic from 1979 - two more roots anthems back to back!

                          Deep and heavy extended workouts from "The Dark Prince of Reggae". 

                          Both sides made big impressions on the sound system scene on raw dub-plate, continued heavy Jah Shaka rotation means they remain in-demand to this day.

                          Produced by Keith Hudson and repressed across two luscious sides of fresh wax, I challenge you to find a better version of this huge rasta anthem. 

                          STAFF COMMENTS

                          says: Every time I see a Greensleeves 12" bag I get excited. You're generally in very safe hands with this label. No exception here with two deep vocal roots cuts from no other than Keith Hudson.

                          Wayne Wade

                          Poor And Humble

                            First time this Greensleeves 12” classic from 1981 has been repress. Two more roots anthems back to back on fresh wax. Both sides mixed by Scientist at King Tubby’s in a 12” murder style.A-side track, "Poor & Humble" (which would later become "Space Invaders Dub"). Flip side features underratted reggae vocalist Bunny Lie Lie who drops in on an extended version of "Babylonian". Produced by Linval Thompson and featuring the Roots Radics riddim section, both tracks are highly demand by dancers, DJs and collectors alike! 

                            STAFF COMMENTS

                            says: Two absolutely huge cuts on Greensleeves that went onto become legendary dubs off the Scientist's "Space Invaders" album. The vocal cuts, backed by two of the tighest riddims every recorded by the Roots Radics are stupendously deep!

                            SlothBoogie celebrate 10 years in the game with a new compilation featuring exclusive tracks from label mates.

                            Dancing With Friends aims to take listeners on a night out - warming things up at home, then on to the dancefloor for hands in the air good times before heading back home for the afterparty.

                            This sampler is just a taste of the full album and is available on vinyl for a very limited run. With a strong nod to Ron Hardy and the Lumberjacks In Hell mob (check track “Warehouse Discotheque”! – ed) we don’t expect this to hang around long… Pure heat from start to finish and just itching to get itself on a bustling dancefloor. 

                            STAFF COMMENTS

                            says: First day back in the shop for me and a joy to see records like this haven't disappeared despite the ongoing club shut down... Locked, loaded and ready for when the gates are open once again.

                            Black Marble

                            I Must Be Living Twice

                              I Must Be Living Twice is an EP of cover versions performed by Black Marble, including songs originally recorded by Robert Palmer, Lives of Angels, Wire, The Field Mice, and Grouper.

                              "I’ve always loved the cover song aspect of live performance. Most musicians are fans first and covers are a way for bands to show this. They can add an improvisational tone to an otherwise rehearsed feeling set, and give a sense that songs are owned not only by the people who write them but by the fans that know them and the other musicians that take influence from them.

                              About three years ago we started playing cover songs on stage, and a couple of unforseen things started happening. First off, people would ask me - not knowing it was a cover - when the new songs they heard were coming out on an upcoming Black Marble LP. Sadly, I’d have to tell them that a) I didn’t write the song, and b) me playing this new material was not evidence of the impending new release they were hoping for. The other thing that would sometimes happen is people would come up to me who already knew the songs I was playing. These people were stoked to hear an old favorite worked into our set, but again they would often wonder if they could ever hear them outside of the live setting.

                              After awhile it became obvious that we eventually wanted to record the covers we’d been playing live for the fans that wanted to hear them. Also, we’ve played a lot of shows in the past three years. We crossed the full U.S. several times and met a lot of great people and this covers EP is a cool way for us to remember that time as well.

                              As far as process, I recorded and mixed this one myself shortly after, and as a way to come down from, the process of writing and recording the Bigger Than Life LP. I took some of the mixing and arranging things I was working through for a year on Bigger Than Life and was able to apply to this record fairly quickly and easily, so I think from an engineering perspective this recording is the culmination of that way of thinking about presentation before I move on to the next phase.”

                              -Chris Stewart, Black Marble, April 2020 

                              Dana Gavanski

                              Wind Songs

                                Following the release of Dana’s debut album “Yesterday Is Gone” in March 2020, Wind Songs brings together 5 cover tracks recorded in London shortly after, whilst in lockdown. 

                                As fierce as the inclement weather itself, the ethereal tones of Serbian-Canadian musician Dana Gavanski can stir a breeze and destroy like a storm. With her new covers EP Wind Songs Dana serendipitously teases her debut album from her new home in London across both sides of enforced isolation, to show an artist making the best of unfortunate circumstance and seeking comfort in the familiar strangers of her musical heroes.

                                Like discovering a Northern Soul gem decades after it was made… but even sweeter. Club Chi’ll have found a holy grail of house right here. Chicago house legends Marshall Jefferson and Jungle Wonz having unearthedunreleased tracks played by Ron Hardy, direct from the tapes in 1985, then lost for decades with no one but the Music Box crowd hearing them until now… 35 years later?!

                                Those lost tapes have now been recreated through Marshall’s unparalleled and unquestionable production skills, and who better to give you their story than the man himself:

                                “I would take tapes to the Music Box and Ron Hardy would play my music. VIBE was one of those tracks. I recorded VIBE in 1985, but it became one of my tracks that I just forgot about until some guy on Facebook sent me a recording of it, that was taken from a club. The only person who I ever gave a recording of VIBE to was Ron Hardy. The only other people I know who had copies of the track was Gene Hunt and DJ Emanuel Pippin. The original version of VIBE was made using a Roland 707, Roland JX8 P keyboard and a Roland 727 drum machine. I was still working at the Post Office at the time, and this was pre-Move Your Body (The House Music Anthem). VIBE was the building blocks for Move Your Body because it was using the instruments on the track that I discovered what I could do with the bass sound, to make a track like Move Your Body.” - Marshall Jefferson
                                Likewise, ‘Human Condition’ by Jungle Wonz, sees Marshall reuniting with Harry Dennis, using the same base as Vibe Three but with Harry providing the vocals with his brilliant poignant lyrics over the top, that are evidently relevant for us all today. Speaking on ‘Human Condition’ Harry expressed, “The track we have is on terms of suffering in the Hoods of Chicago or any place with poverty, and it’s deep.”

                                Danny Rampling on Human Condition: ‘This is a great track and the words so appropriate for the social conditioning unfolding at present.’

                                Terry Farley: ‘Discovering stuff like this is almost Tutankhamun territory!”

                                Ashley Beedle: ‘A superb production from Marshall Jefferson and Harry Dennis who made up the legendary Chicago house outfit Jungle Wonz. This track 'Human Condition' comes from the early days of house but trust me it sits right here in the present! A dark-vocal rides against a glorious Chi-town groove. All the elements are there. If you love house music consider this a bonafide classic.'

                                STAFF COMMENTS

                                says: Where the bleedin' eck have they found this?! Just when you thought that rich seam of original Chicago house music had been bled dry, Marshall Jeff goes and hits us slap bang in the face with this! If you're into that Robert Owens / Larry Heard / Trax sound then you're about to be very happy!

                                Astrel K

                                You Could If You Can / Gnistrande Snö (Cover Version)

                                  Astrel K, based in Stockholm, is the solo project of Rhys Edwards of Ulrika Spacek. 

                                  FORMAT INFORMATION

                                  Ltd 7" Info: An edition of 492 copies in a generic card sleeve, with a hand stamped band name plus numbering.


                                  Creep / Waterfalls (2020 Reissue)

                                    TLC’s “Creep” and “Waterfalls” are both stone cold killers from the golden age of American R&B. Here they are again, back to back on a jukebox 7", just as they appeared back in 1996. Name a more iconic duo.

                                    As far as Be With is concerned, the mid-90s remains a high point for this supreme musical expression, and these two tunes from T-Boz, Left-Eye and Chilli sit pretty much at the summit. A pair of canonical guaranteed party starters if ever we heard them.

                                    The achingly cool funk of “Creep” was the lead single from TLC’s second album CrazySexyCool. Released in 1994 it was the R&B trio’s first worldwide smash, and hit number one on Billboard’s Hot 100. This is a sophisticated head-nod gem. A breezy horn refrain, speaker smashing beats and the Slick Rick samples blend sumptuously with the defiant lyrics to create an eternal sun-drenched classic.

                                    Written from inside the head of a woman who’s cheating on her shitbag boyfriend just to feel wanted, Dallas Austin penned the lyrics for “Creep” after talking with lead singer, T-Boz. “Unfortunately, that was one of my true stories,” T-Boz said in 2015. “You’re with a guy and he’s not showing you attention, so another guy comes along and you’re like, ‘Hey, if you were where you were supposed to be, he couldn’t be showing me attention right now!’”

                                    On the flip, “Waterfalls”, also off CrazySexyCool, was no mere follow-up single. This was TLC’s version of alternative music, a song with a strong message: “the idea that pursuing anything that’s self-destructive, that’s chasing a waterfall”. To the three of them, this meant “unprotected sex, being promiscuous, and hanging out in the wrong crowd”. The message hits home hard, now as much as ever, and it’s probably why “Waterfalls” remains their biggest track. But the mighty Organized Noize also deserve some credit. They produced “Waterfalls” after working with Outkast and Goodie Mob and brought along that same in-the-pocket funk, that soulful sound that was their signature.

                                    It’s maybe easy to forget now, 25 years on, but the track was regarded as groundbreaking when it was released in 1995. Musically, the future-retro sound appealed to deep heads across the board, turning TLC into the mainstream R&B group it was hip for the indie cognoscenti to reference, and those bracing lyrics moved them beyond “just a fun girl group”. From then on, TLC were seen as the real deal.

                                    Remastered for this vinyl reissue (that turntable crackle is pure, authentic 90s sampling), we’re delighted to present this essential double-sider as a dinked 7" perfect for every record bag.

                                    FORMAT INFORMATION

                                    Ltd 7" Info: 2020 re-issue, dinked jukebox 7".

                                    Galaxy II Orchestra

                                    Acid Rain

                                      Forgotten side project production from 1986, by Grammy award winning sound engineer Chris Lord Alge. Two versions of an oddball leftfield electro downtempo chugger and one previously unreleased patriotic monologue acompanied by heroic emotional piano - to be served with a sense of sarcasm. 

                                      Light Of Love

                                      Melting Pot

                                        Two early digi-reggae super rare masterpieces by Arnold Brackenridge, made available again, now on 12" format, remastered and restored from the artist's master tapes.

                                        Tomorrow Syndicate

                                        Populous / Living In A Simulation

                                          Glasgow’s always wonderful, new ‘sci-fi pop’ kids-on-the-block return with an ace new 45 for Polytechnic Youth.

                                          Two fabulous tracks recorded pre lockdown, but which act now, say the band “as a perfect soundtrack to these surreal times”. Both tracks unique to this stand alone release, as the band knuckle down on recording the next full length.

                                          A side “Populous” has already attained 6music radio play and the bands’ self made video has been given video of the week thumbs up on 2 online blogs- and merges perfectly with sleeve art created once again by the always great Nick Taylor. A fabulous synth pop track, totally befitting the current climate.

                                          The instrumental flip “Living in a Simulation”, brings to mind a long lost La Dusseldorf demo given a modern reworking- punchy, kraut infused synth pop acting as a perfect foil to it’s flip. Lovely stuff once again and like everything by artist and label; expected to sell out swiftly upon release. Pressing of 300 on vinyl only. 

                                          STAFF COMMENTS

                                          says: It's a rare thing indeed that PY put out a record i'm not completely enamoured with, and that slims down to 'absolutely unheard of' when it's Tomorrow Syndicate's new release. This double A side shows all of the kosmische power of these top-tier synthesists, and is further evidence to their supreme skills. THAT VIDEO TOO! So good.

                                          Tim Burgess & Peter Gordon

                                          Temperature High (Benjamin Freeney Versions)

                                            'Foom label head Benjamin Freeney reworks Tim Burgess & Peter Gordon's restless, psychedelic epic, "Temperature High" into three new forms (two cuts for the dancefloor, and one ambient interlude), rearranging the rich source material of the original (metallic field recordings from the New York subway, Peter Gordon's original Korg bassline reincarnated in sub-bass form, Tim Burgess' ethereal vocal cut-up into new patterns) and fusing it with new percussive and melodic elements. The original track was featured on Tim Burgess & Peter Gordon’s Same Language, Different Worlds album from 2016, with contributions from Arthur Russell's close collaborators Peter Zummo and Mustafa Ahmed, as well as Factory Floor’s Nik Void.'

                                            Earth, Wind And Fire

                                            45s Collection

                                              Dynamite cuts is proud to releases another Monster 7” double pack. The one and only Earth, Wind & Fire. 4 tracks taken from the anthemic first LP

                                              These amazing tracks are all MUST HAVE 45s Cuts! Loaded with classic B-Boy break, Loops and club dancers. 

                                              Ben Tankard

                                              All Keyed Up EP

                                                This collection of ground-breaking instrumentals captures a moment of musical alchemy. Stylistic edges become blurred with by-turns into jazz, gospel, soul, funk and dance. A new genre – gospel jazz – was created in their wake.

                                                The son of a minister father and a missionary mother, Tankard grew up playing drums in his local church. Numerous offers of scholarships to music college came his way but his height and youthful speed determined the choice of a scholarship in basketball. Turning pro, he was drafted with NBA team Portland Trailblazers before a knee injury cut his career short and led to a period of homelessness: “I could not pay my rent so for a short time I was living in my car and sleeping on friend’s sofas.”

                                                A church visit proved life-changing: “I heard of a revival service that was going on. I was nearly starving with no job or income so I went only for the free meal. Afterwards the preacher called me up and told me to sit down to the keyboard. I was hesitant but after all I did not have anything to lose. When my hands touched the keys I began to play like George Duke! No lessons - just instant awareness. That is where ‘gospel jazz’ was born. Since it was jazzy in nature, yet inspired in the church, I decided to call it ‘gospel jazz’.”

                                                Tankard got a job at a local music store where he spent the next few years honing his craft before he began recording his own music. “I programmed all the instruments myself on a keyboard so I called it All Keyed Up.”

                                                Curator Pol Valls found the record while digging and was struck by it’s genre-defying creativity: “the track which stood out the most for me was Eden Celebration which has the feel of early dance music. I also loved Melodic Heaven and the title track All Keyed Up. That track was really short though so we decided to make a remix of it.

                                                If Eden Celebration, with its highly rhythmic cross-breed of jazz fusion and electro shows Tankard at his most creative, then All Keyed Up - a stellar exercise in funk-laced jazz fusion replete with Don Blackman-esque piano runs - demonstrates his prowess on the keys. On Melodic Heaven lo-fi synths and boogie-fied bass synths combine with his elegant and soulful piano. The remix of the title track expands the short-but-sweet piano-based vignette into a Balearic anthem replete with extra drums, synths and guitar.

                                                Released in 1989, Tankard’s All Keyed Up album kick-started a hugely successful recording career. Nowadays he’s also known as a motivational speaker, author, trained pilot (famously flying to shows in his own planes) and as the star of his own reality TV show. This collection chronicles the magic that happened at the beginning of his career, it’s inspired melding of styles sounding as fresh today as when they were first put to tape on his home studio.

                                                STAFF COMMENTS

                                                says: You're looking at a masterclass in acceptable fusion right here folks. Maximal DX7 vibrations power the New Age dance mode of "Eden Celebration", a firm friend to Hardcastle's "Rainforest", while the smooth "Melodic Heaven" and "All Keyed Up" are jazz jams for the Balearic crowd. Toppest of notches.


                                                No Limit / Do It Till The Fluid Gets Hot

                                                  Be With presents hen’s teeth extended cuts of two glorious Breakwater classics - “No Limit” and “Do It Till The Fluid Gets Hot”. These super-rare Arista promo-only 12" versions from 1978 have never been commercially available until now. Originals have regularly sold for upwards of £400 in the past 10–20 years so you know how vital this is.

                                                  Breakwater’s futuristic boogie-funk glider “No Limit” is six and a half minutes of slickness on wax. It’s almost AOR. Like an infinite masterpiece, the chilled opening chords of the intro could go on forever - and they almost do - but when they give way to the power-funk groove, the track just slaps. It sounds so fresh today, over 40 years on, thanks to the smooth, smooth mixing of Jimmy Simpson. In no uncertain terms this is a monster, written by the great Grey and Hanks. That bassline, those keys, the horn section… all the ingredients are there. Ahead of its time by a good 3 or 4 years, some regard “No Limit” as the first 80s groove ever recorded in funk/soul history. A neat trick, given its year of production.

                                                  On the flip, the six minute version of “Do It Till The Fluid Gets Hot” is an original Philly party jam. A showcase for Breakwater’s phenomenal intensity, this sounds like Parliament’s “Flashlight” on steroids. Acidic synths bleep and warp, blending with triumphant horns, in-the-pocket drums and bumping bass to conjure a truly deep funk groove. Laying deep in the cut, the salacious vocal delivery only adds to the brilliant sleaze.

                                                  Breakwater had a sonic aesthetic beamed in from the future and these two tracks are just more proof of that. Remastered and cut loud for devastating dance floor dynamite, this vinyl reissue arrives just in time for all those (perhaps imagined) BBQ Boogie Throwdowns. This is a true modern soul double-sider, essential in every way.

                                                  FORMAT INFORMATION

                                                  Ltd 12" Info: 140g vinyl, extended versions, cut at 45rpm.

                                                  Billy Paul

                                                  Let The Dollar Circulate / East

                                                    Billy Paul’s “Let The Dollar Circulate” and “East” have never appeared on a legit 12" before. They do now.

                                                    “Let The Dollar Circulate” is inextricably linked to one of J Dilla’s greatest ever deep productions, whilst the massive “East” has long been a big Harvey tune. Both make full use of the incredible MFSB, the regular group of crack musicians that acted as the house band for the Philadelphia International Sound label at Sigma Sound Studios.

                                                    Causing glorious damage to discerning dance floors until this very day, Billy Paul's “Let The Dollar Circulate” was first released in 1975 on the album When Love Is New. It has the upbeat, dramatic proto-disco sound of classic Philadelphia soul. Taut, urgent verses of evergreen lyrics that preach the evils of capitalism and environmental destruction, to a thumping, menacing bassline. A gospel-infused chorus releases the tension in an explosion of strings and horns. Dynamite.

                                                    A richly textured and enduring soul hit, “Let The Dollar Circulate” received a second wind when it was sampled by Dilla for Spacek’s 2005 underground gem “Dollar”.

                                                    “East” is a fascinating, genre-blending track; a magical, widescreen soul-jazz masterpiece. Mystical and powerful, it’s a pulsating mini-epic with a potent spiritual dimension. “East” was written by Philly bassist and baritone Tyrone-William Brown and appears on 1971’s Going East LP. Lenny Pakula’s atmospheric arrangements are complex but deeply funky, perfectly suited to Paul’s fervent vocals. Gamble and Huff’s production is a brilliant demonstration of their balancing Paul's jazz roots with the funky soul of the day, and seeking to innovate and push musical boundaries.

                                                    A first-person rumination on slavery, Paul’s thoughtful, deeply moving spoken word introduction unravels as the track reveals its secrets. Against the jazzy backdrop Paul’s delivery is heartfelt, welling up with emotion. Strings cascade and winds howl while the bass prowls along the arrangement. Stunning.

                                                    Remastered to stunning effect, Be With is delighted to present this vital double-sider from the man ?uestlove called “one of the criminally unmentioned proprietors of socially conscious post-revolution ’60s civil rights music”.

                                                    FORMAT INFORMATION

                                                    Ltd 12" Info: 140g vinyl, first time on a 12", cut at 45rpm.

                                                    Yes Grasshopper


                                                      Enter Yes Grasshopper, taking you on a trip into the unexplored depths of their collective mind, a place of daring rescue missions and uncanny swamp monsters, all imagined through the lens of a playful B-movie aesthetic.

                                                      Emerging from England's unforgiving northern coast, this dynamic duo present a wholly unique take on noise rock, with crushing riffs, white water rhythmic twists and barking intertwined vocals making way for heinously catchy hooks you'll find yourself whistling at the most unexpected of times. And with the lyrics spinning esoteric tales over such a compelling foundation, Yes Grasshopper won't let your undivided attention slip for a single second.

                                                      Their universe is one where both rage and joy jostle side-by-side, one moment buzzing with all the fury of a swarm of pissed-off hornets/mozzies, the next inviting the whole lot round for an unforgettable afterparty. Call it metal. Call it punk. Hell, call it hardcore-acid-math-crustcore if you want. What's so striking is that it doesn't deal in the usual palette of oppressive blacks and greys those genres invariably paint with, instead imagining a more kaleidoscopic and perhaps even welcoming landscape. And despite the heavy-as-heavy-can-be riffery and hammer-blow grooves, there is somehow an air of levity permeating the whole thing.

                                                      Giving the likes of Hella, Lightning Bolt and John (times two) a run for their money in the 'how much noise can two people make?' stakes, the respective halves of this newly established duo have been nourished on a diet of music's more extreme offerings, with the mischievous demons within intent on shredding hard. Live shows consist of the slicing of mustard and people losing their socks.

                                                      Bonny Light Horseman


                                                        The timeless qualities of traditional tunes can carry us across oceans and eons, linking us not only to the past but to each other as well. It was under the banner of those eternal connections that the trio of Bonny Light Horseman came together. From festival fields and a German art hub to a snowy upstate studio and everywhere in between, the astral folk outfit—comprised of Anaïs Mitchell, Eric D. Johnson (Fruit Bats, The Shins), and Josh Kaufman (The National, Bob Weir)—is mixing the ancient, mystical medium of traditional folk music with a contemporary, collective brush.

                                                        Their s/t debut is an elusive kind of sonic event: a bottled blend of lightning and synergy that will excite fans of multiple genres, eras, and ages. They follow that up with the Green/Green 7-inch, featuring two songs that didn’t quite fit on the album. Says Mitchell, “We recorded ‘Green Rocky Road’ and ‘Greenland Fishery’ for our LP, but ended up cutting them at the last minute to keep the record simpler (and higher quality for vinyl). We see the songs as a bit of a pair, they both feature Eric’s banjo playing and lean a little more ‘Americana.’ We’re glad they have a home on Green/Green and are grateful to be able to share music at a time when the world is hurting.”


                                                        Civic Jams - Remixes (Feat. John Talabot, Loraine, Parris And Horsepower)

                                                          "Broad brushes of melancholic warmth often underpinned by metronomic propulsion" - Crack

                                                          "New album on Warp is inspired by everyday life, shoegaze and the hardcore continuum" - Resident Advisor

                                                          "'Civic Jams' may have been produced before the current climate, but arguably only personifies the here and now, adding to the ambience of what we make of our surroundings" - IA.

                                                          KC & The Sunshine Band

                                                          Let It Go (Parts 1+2)

                                                            Dynamite cuts is proud to releases one of the all time b-boy breaks and club classic. KC & The Sunshine Band “Let It Go” part one is an up-tempo groove loaded with killer horns and vocals. Not forgetting on the flip one of the best DJ drum sample tools of all time.

                                                            These amazing tracks are all MUST HAVE 45s Cuts! Loaded with classic B-Boy break, Loops and club dancers. 

                                                            FORMAT INFORMATION

                                                            Ltd 7" Info: 1x45 vinyl release with full colour sleeve.

                                                            Redman / Method Man Vs Stevie Wonder

                                                            How Superstitious

                                                            DJ Soopasoul's last mash-up was an inspired affair that saw him perfectly fuse tracks by Philadelphia Soul legends MFSB and the Beastie Boys. Here he takes a similar approach, placing the rap vocals from the 1995 hip hop classic "How High" atop a suitably funky, lolloping beat crafted from Clavinet-heavy sections from Stevie party-starting floor-heater "Superstition". It works remarkably well on the A-side vocal mix, and those who'd not heard either track would be convinced that there was no mash-up antics going on. Over on side B you'll find an instrumental mix that showcases Soopasoul's editing skills; minus the Hip Hop vocals, is a fine re-edit of the Wonderful jam.

                                                            HUUUUUUGE REISSUE right here for all my DJs and dancers. Sheffield in the house, literally!

                                                            Originally dropping on Toko back in 97, this bad mamma jammer has recently been introduced to a new generation of house heads, pushing prices for OG copies right through the roof. Fortunately, Piccadilly pal and distribution wizz Alec Greenhough and his All Ears cohost Chris Duckinfield are in fact half the team behind this bad ass record, making a reissue pretty straight forward. Working with regular collaborators Paul Ingall and Si Brad, and making excellent use of the infammatory Brass Eye coined Klarky Cat, the Sheffield All Stars cooked up one of the deepest, dopest and warmest house cuts you're ever likely to hear. Armed with a squirming bassline which never ever quits, "Gumbo" rolls through pillowy pads, delicate Rhodes licks and M1 strings, calmly strolling into the midst of your cerebellum and setting up camp. Hypnotic, smooth and seriously groovy, this is uplifting in the most wonderfully understated way - no wonder the kids are going mad for it. On the B1, the quartet take things a little darker with the techy pulse of "Custard Gannet", a masterclass in percussive nuance, spheric bass and synthesised funk. It remains for the "Blooty Mix" of "Gumbo" to put some addictive icing on the cake, translating the lead track into a progressive and hypnotic heater which begs twin copy deployment with the OG.


                                                            Never Come Back (Four Tet & Morgan Geist Remixes)

                                                            About the Remixes:
                                                            Four Tet Remix: This is what it sounds like when the universe spontaneously synchronises. We give you the new Four Tet remix of Caribou’s latest single "Never Come Back” Kieran took the track and warped and bent it into a playfully hypnotic late night wormhole that lures you in with it’s repetitive claps, snares and synths. It will never let you go.

                                                            Morgan Geist Remix: Morgan is one of the architects of modern electronic dance music and electronic pop as we know it today, whether it was as a part of influential duo Metro Area and the label Environ, as the mastermind behind chart-topping project Storm Queen or his numerous remixes, Morgan left an undeniable mark. His rework of Caribou's excellent single "Never Come Back" pays respect to the early 90ies transatlantic house phenomenon that stretched from New York to London US to Europe.

                                                            STAFF COMMENTS

                                                            says: We get a couple killer club edits of the Caribou originals here, first up is Morgan Geist glitching out the melodic floorfiller 'Never Come Back' into a burning, acidic rework before our own Mr. Tet reworks it into his ring-modulated take, more chaotic but keeping the euphoric vocal sample to ground things.

                                                            FORMAT INFORMATION

                                                            Ltd 12" Info: Black 140g vinyl in heavyweight grey carton sleeves. One time pressing, limited to 800 units for UK.


                                                            Never Come Back / Sister (Floating Points Remixes)

                                                            Three is the magic number! Following recent remixes by Morgan Geist and Four Tet for Caribou’s single NEVER COME BACK, Sam Shepherd completes the holy trinity. Sam outdid himself adding a dash of motor city oil to NCB and throwing in an extra remix for Caribou’s ’Suddenly’ album opener ‘Sister'.

                                                            STAFF COMMENTS

                                                            says: For the second one this week, we get Floating Points reworking 'Never Come Back' first up, brimming with all of the analogue click we'd expect from Sam, almost moving into trancey territory before slipping into the cool clear waters of 'Sister', a deep grooving beach-filler.

                                                            FORMAT INFORMATION

                                                            Ltd 12" Info: Black 140g vinyl in heavyweight grey carton sleeves. One time pressing, limited to 800 units for UK.

                                                            Whether you are still locked down, meeting close friends or gathering with small groups of party people in this new post-corona world, you will find plenty to love in this new package of vinyl-only remixes from Hell Yeah. Keeping mellow acid lovers happy are Calm's Still Dreaming mix of his brother Kenkou's 2004 cut 'Everlasting Dreams' and then his very own Extended Mix of Deadbundy's 'Lorenz'.

                                                            Of course, Calm is Japanese artist Fukagawa Kiyotaka, someone who has been making deep house, ambient and downtempo grooves since the late nighties. He is a legend of the game famous for his deeply dug out and immersive mixes and his current Oasis @ Home series is vital for lockdown listening. He is compiling a collection of contemporary Japanese meets balearic jams due for release next year, when he will come over to Europe to tour in support of it. But first, this…

                                                            The a-side is a psychedelic balearic guitar jam for the evolved and mature DJ and it is steeped in gently acid lushness. Over 11 minus it washes away all anxiety and douses you in rippling guitars and sun kissed rhythms that transport you to the Med in an instant. The b-side is a remix of a cult cut by Japanese band Deadbundy from Gifu. Calm flips it into an unbelievably groovy and chunky number with great pop hooks. The rubbery drums do their thing down low to make you move, while the warmth of the bass and the funk of the riffs oil the groove. It's open air, hands in the air, heart swelling music for good times.

                                                            The sixth and absolutely final chapter in the EROS story. This buy-on-sight collection of homages to the raw, decadent & formative birth of club music wraps things up with yet another stand out selection of cuts. Darker, more electronic & mind-bending moments, mingling with an altogether more strobe-lit and full-tilt take on the glorious Disco supernova from whence we all came.

                                                            King Sporty

                                                            Safari - Inc. Lexx Mix

                                                            After the trilogy of King Sporty & The Ex-tra's EPs in 2018, Emotional Rescue returns to the music of Noel Williams with this first ever single release of his 1976 reggae disco bomb, Safari, backed with a special discomix by Lexx.

                                                            Taken from William's debut album, Deep Reggae Roots, it can be considered a culmination of his career to date, from growing up on the streets of Kingston, Jamaica, to his first singles for Studio One and Trojan, his relocation to Miami and the birth of his Konduko label and moves to incorporate the local clubs growing affiliation with funk and disco.

                                                            Prescient to the coming wave, Williams enlisted some of Miami's finest in George Perry and Clay Cropper (Chocolate Clay), Ron Smith (KC & The Sunshine Band) and legendary producer Alex Sadkin (Compass Point, Bob Marley, Grace Jones, Talking Heads).

                                                            The stand out from the album, Safari, with it's hazy, low slung groove of razor sharp rimshot, guitar licks and funk bass is topped with an incessant chant 'Disco, Safari'. Criminally brief, the choice of Lexx to step in the mix was a simple one. His dubbed rework is perfect, laidback, letting the groove roll and King Sporty's mantra shine.


                                                            If It Ain't Jazz Vol. 2

                                                            Second drop on the If It Ain't Jazz imprint hits the racks and it's a tasty two tracker from main man Opolopo. Heads will know that this Swedish producer has been putting his signature stamp on boogie, jazz funk and disco gems for a decade now - need I remind you of that unstoppable Gregory Porter remix from way back when. 

                                                            Scalpel in hand and trademark bass preset loaded, the man from Stockholm retools Roy Ayers' ultra jam "Chicago" into a sub swelling, skippy bit of Detroit style house, before boosting Bernard Wright's Skee Lo sampled "Spinnin" into a huge discoid house bomb! Ave it!

                                                            Various Artists

                                                            Door To The Cosmos – OnTheCorner Dancefloor Sampler

                                                              On the Corner Records was awarded ‘Label of the Year’ at the Worldwide Awards 2018. OtC is a story of artists and scenes that goes way beyond being a record label. DJ and label owner Pete On the Corner has created a home for innovative, bordercrossing, genre-pushing artists. The OtC vision is to bring music to the world that is knocking at the ‘Door To The Cosmos’. The label is an inimitable mixture of Miles Davis ‘call it what you want’ attitude, Sun Ra’s Afro Futurism and the ecstatic soul lifting influence of black music on electronic dance music.

                                                              On ‘Door To The Cosmos – Dancefloor Sampler’ Pete has curated a volume of cuts from present and future label family. This first in the series, is not just knocking at the door but giving it a kick! It’s club music referencing the source, be it Detroit, or UK bass culture combined with future sounds rising from cosmopolitan hotbeds of sonic heat. On this maxi EP Venezuela meets India via New York, the street sound of Dar Es Salaam, Tanzania pulses through UK Jungle. Undergrounds pushing the dance, breaking borders and genre alike. Rhythms from the ancestors channelled for future times.

                                                              Opener Dengue Dengue Dengue ‘Yodeller’ is finally on wax having been a rare as hens teeth dubplate. From psychedelic cumbia to dub, salsa to footwork, tribal to techno, The Tropical duo from Perú explore analog and digital rhythms, to create their unique sound. New label family, The Diabolical Liberties are stalwart scenesters Alex Patchwork and Earl Zinger. ‘River of Sound’ tears through the jungle so jump in for a swim. Uffe is also making his OtC debut. He’s been firing out killer tracks on Oye, Berlin. Pete OtC chasing him down as he was Prolifically dropping jazzed-up and gnarly house after returning to his native Denmark. Black Classical is back after a regenerative hiatus: the mysterious web otherlings reputation underpinned by his 12 hour ‘spiritual jazz’ mix tape that has been living its own life online and across the radio waves over the last decade. ‘Medassi’ is an elixir of deep house. On the flip, another fresh-faced recruit to the OtC family. Familiar to Shine’s network from Clive’s recent debut release, ‘Moon Buggy’ makes it clear he wasn’t only paying attention to OtC’s numbers. MC Palakata aka Mosam is a dancer with a Singeli flow, from the streets of Dar Es Salaam. During an OtC recording session at Nafasi Studio in Dar, Tom Blip worked with Palakata and created this heat. Set alight with Swahili, ‘Singeli Jungles’ is wild. Following on from Planet Battagon’s sold-out debut EP of ‘driod jazz’, the Admiral has sent this hard- swinging, future thumper to OtC. Tugg Luke Endeavour kicks it to the cosmic dancefloor. ‘Mudras’ by Sunken Cages remixed here by New Yorks MPeach, brings more, new OtC family straight to wax. The remix adds ‘Latinx del Futuro, where hi-energy dance meets low-end bass, adding a lilt of the rhythms from her native Venezuela.


                                                              Visions - Inc. Flamingo Flame / Max Manetti Remix

                                                              Eclectics serves up a soothing elixir for troubled times. Essex-based trio Statues make their label debut with a four-track EP showcasing two original compositions, each with its own remix.

                                                              “Lele” begins with a marimba ringing out – a Balearic clarion call if ever there was one. What follows is live and direct. Keyboard lines that glisten and atmospheres that bed in and circle around you, leaving you dazed but never fazed. 

                                                              Birmingham’s Flamingo Flame step up to the plate for remix duties and use some weighty acid lines and a beautiful vocal to anchor the spirit of the original to something altogether more terrestrial, but no less magical.

                                                              “Visions” on the other hand is a tantric delight – all build and the promise of potential. Proving once and for all that soul isn’t a four-letter word, saxophone, keys, strings and delayed guitar build a suitably jazz-infused backdrop for the subtle vocal to move around, while the listener gets lost in the detail. And let’s face it – we could all do with losing ourselves in something these days.

                                                              “Papa” Max Manetti, fresh from his vinyl debut with Eclectics, takes the baton for remix duties on this one, translating it into a track that retains the spirit of the original, giving it a new bassline and a gentle percussive sense of purpose without once losing the laidback lustre.

                                                              When circumstance pushes people apart, music remains a unifying force. With this release, Statues have perfected that irresistible pull.

                                                              Originally written and produced as the centrepiece to his 2014 FabricLive compilation, Erol Alkan’s ‘Sub Conscious' arrives on 12” vinyl and to streaming platforms for the first time, accompanied by two charismatic remixes from Manfredas.

                                                              Shimmering and undulating, the original cut of ‘Sub Conscious’ was designed with Fabric’s cavernous main room in mind, taking full advantage of any finely tuned soundsystem with a patient, rhythmic trip. Remastered here, the track evolves out of hazy darkness towards halcyon euphoria in a uniquely Alkan style.

                                                              Resident at Opium Club in Vilnius, cult DJ and producer Manfredas provides two hugely creative and alternative takes on ‘Sub Conscious’. The first works hallucinatory magic with a supple bassline and much of Alkan’s original stretched and repurposed around vampish oscillations and a westward vocal sample.

                                                              On the contrary, the ‘Stream Of Consciousness' mix sees Manfredas pitch down and strum the bones of ‘Sub Conscious’, unexpectedly delivering a lovingly lethargic, bottom-heavy jam that’s pure dub-side pleasure.

                                                              STAFF COMMENTS

                                                              says: '06 Electro fiends rejoice as Erol gets super nasty on this previous FabricLive exclusive, now slapped on wax for the "proper" DJs. Manfredas on the remix, serving subconscious two ways, psychedelic techno and Compass Point brilliance.

                                                              Dinosaur L / Hanson And Davis

                                                              Go Bang! (Danny Krivit Edit Of Walter Gibbons Remix) / I'll Take You On - Danny Krivit Edit Of Larry Levan Remix

                                                              A special double header of 2 very very dope Danny Krivit edits from then Sleeping Bag / Fresh Records vaults.

                                                              Dinosaur L's immense 'Go Bang' takes up the A-side, with Mr.K tweaking the classic Walter Gibbons version into new sonic realms. Thoroughly minimal and spaced out in all the best ways and with a tense build-up, 'Go Bang' winds and winds until it feels like it's going to break! A brilliant reworking of a stone-cold classic that brings a fresh style to the familiar. On side B we are treated to a killer downtempo drum machine laden boogie-rap jam, namely the stellar Larry Levan mix of Hanson & Davis' 'I'll Take You On' from '86. Some primetime Garage sounds right here. A deep soulful cut that kicks and slams in all the right places, and is of course, touched up the right way by Danny's deft editing. Essential business right here, for real music lovers and dancers alike!

                                                              Remastered, re-edited and re-presented to you for 2020, courtesy of Danny Krivit, Sleeping Bag / Fresh Records and Above Board distribution. 100% legit!

                                                              Double Exposure / Instant Funk

                                                              My Love Is Free / I Got My Mind Made Up (The Reflex Revisions)

                                                              One of the undisputed kings of the remix, The Reflex works his magic on two new revisions for Salsoul Records. With a well-known ear for groove, the Frenchman takes on Double Exposure’s ‘My Love Is Free’ – crafting a layered, smooth remix that builds upon its slick guitar riff with conga rides, warm basslines and that euphoric, soulful vocal. Next up is Instant Funk to get the Revision treatment, as The Reflex re-edits and remixes ‘I Got My Mind Made Up’. This one’s got some punch: chunky, percussive breaks lay the foundation for lashings of funk, bass and some sexy vocals to boot. Always a welcome addition to any catalogue, The Reflex Revision of ‘My Love Is Free’ further solidifies why he’s the best in his field.

                                                              STAFF COMMENTS

                                                              says: Algorithm favourite The Reflex continues to work his edit magic, taking two undisputed classics from the Salsoul label and reshaping them in his soulful style.


                                                              Personify Edits

                                                                For the sixth instalment of the Kampana series, LA based DJ Personify brings just the right amount of disco magic to two heavyweight funk numbers. On the A-side we get a slick refix of "Soul On Your Side" from proto GQ funk troop Rhythm Makers. This is conscious, soulful and funky music now pitched up and locked down for the modern DJ. On the B-side the LA DJ works his magic on the Curtis styled "You Can Be A Star" from the Luther Davis Group, generally housing the fuck outta the 1979 jam.

                                                                Disco deliverance of the highest order once again from Moton Records INC. Diesel and Dave Jarvis work their wonders on these three cuts with the A side taken in full by ‘US Lover’, a sleazed up, foot stomper of a boogie workout that’s straight sweltering from start to finish – just listen to that bass!

                                                                Flip it over to find two jazz funk gems made up of the beaming pinball concoction that is ‘Hysteric Glamour’, and the raw grooves, jaunty jazz keys and synth touches of ‘Marabou’. Essential, as always.

                                                                Last year, Parisian label Banquise opened their account with a reissue of Zogo killer "Africa", and now they head back into the catalogue of the Cameroon disco kingpin for another Afro stormer "Please Please". Originally released 40 years ago, the track treads the perfect line between sunkissed optimism and gentle melancholy, serving spiritual and soulful vocals over a pulsating Afro-disco backing (Check out those bassy synth womps). I can hear this one killing it in an MCDE set, or changing lives through the Cosmic Slop speakers. Rounding out the package, Bellaire and Gerd Janson get creative on the flipside, the former freaking us in a decidedly late 90s funky house style while Gerd sticks pretty close to the original, just with an extra bit of power and fx trickery.

                                                                Various Artists

                                                                A Love That Never Dies 3

                                                                Third chapter in this secret archive of undercover club jams from across the ages. A New Beat holy Grail, a Balearic electro masterpiece, a Chicago favourite from a Deutsche legend, and some uncomplicated, slammin' 90's NY club tackle.
                                                                As ever, super limited...

                                                                After the success of the 2 Late 4 Love EP, Roy Of The Ravers returns to Emotional Response with a double LP with a deeper perspective, experimenting in ambient and drone textures, lucid techno travails and acid interludes. Recorded between 1997 and 2017, the album was pieced together over the last six months after Roy's archives were first feared lost and then found. Approached by the label to release a follow up with something more introspective and personal, it was discovered that a recent move to a new studio had led to over 20 years of music being misplaced after it was believed they were mistakenly dropped at a local charity store. However, deep in a box of what were thought to be patch cables were in fact the decades worth of hard drives and here presented, is a sample of those lost recordings. The nature of the music is introspection, eschewing the acid beats and white noise for a personal encounter between man and machine. The orchestral opening of the title track gives way to the submarine beats, pulsing TB303 and gliding hats of Robinson College 10 to set the outlook to come. Even with the scattering A Dim And Distant Past waking lulled senses, the melodies and feel all lead to a pause and reflect rather than jump and shout. This is continued with the haunting drives of Bounce Erec and Oriental X0X-Press; the twisted, warped jams of The Weber Traum Boat Pt.3, Ichi and Roland Corp Labs 05; and the beautiful, heartfelt odes in Sade Lost Theme, The Clock House Pt.2 and closer, Nemesis '01. The album's melodic nature hums and shines as CS (6x8) appears as much a centre piece as a alternative consideration to the acid tinged, club bangs of Roy's releases to date. A surprise package maybe, but in the rolling, word of mouth phenomena that was Emotinium II, all this and more was sensed and so White Sunrise Music II, spreading across 12 songs of contrasting moods, is a further affirmation that there is something good and worthy of exploration.

                                                                Purple Desert Rain God

                                                                Invisible Matter / Bridge To Nowhere

                                                                The psychedelia of Purple Desert Rain God is playful and innovative in a way that brings early Pink Floyd to mind, where classic blues elements were mixed with tape loops and tremolo/feedback guitars. But more than 50 years has passed since Barret’s trip through universe was caught on tape and the comparison stops there: Purple Desert Rain God is a new take on acid rock!

                                                                Purple Desert Rain God is nature music and transcendental dance music and they overlap between genuine psychedelia and electronic music with filter sweeps on guitars and drums. Sudden bursts of drum fills brakes the monotonous groove and amplifies the feeling of lost control and the band often balances on what is considered a beat that is on time. However, they keep momentum and hammers the pulse on your eardrums, into your mind.

                                                                To add some more mystery the band gives this explanation to their name: "Deep in the purple desert is a pervasive need for a logical universe that makes sense. But the Rain God is always one step beyond logic."

                                                                STAFF COMMENTS

                                                                says: Hoga Nord move back towards their psychy roots with this dense, euphoric slab of distorted grooves and swirling ambience from Purple Desert Rain God. Delayed guitar loops and heady lysergic percussion form together into a GOOD trip.

                                                                Under their one-off disco moniker, Leroy Burgess & The Fantastic Aleem Brothers produced this 1980 dancefloor wonder that finally gets its first deserved re-issue to celebrate its 40th anniversary. Frankly, you'll struggle to find a better example of where disco was at in 1980. The nimble bass and sizzling percussion of the 70s still holds centre stage, though cooler, jazzier piano and guitar hint towards the softer touch of the club soul which followed. Gorgeous string arrangements testify to some serious studio backing (albeit in its death throws) while the percolating moog sequence and spaced out synths drive the whole track into the near future. Remastered with love and respect and pressed on limited 7" vinyl for the true collectors, this release boasts the vocal and instrumental versions.

                                                                Ruutu Poiss, the Amsterdam/Tallinn based expert in glistening psychedelic electronics, arrives on the first outing for Wake Dream (A new label run by Amsterdam’s Orpheu The Wizard).

                                                                After releasing several 7”s, 12”s and EP’s on Levels, International Major Label, Rets Records and features on various compilations from Fasaan Rec. and Porridge Bullet, Ruutu Poiss lands at Wake Dream to release his first full length album (WADR002), scheduled for late summer 2020.

                                                                Leading up to the album, this untitled three tracker gives you a taste of his unique spectrum of kaleidoscopic modular dance music, futuristic synth funk and emotionally charged experimental cuts. These three tracks are not featured on the album and are exclusive only to this pre-release!

                                                                Theon Cross / Pokus

                                                                Candace Of Meroe / Pokus One

                                                                  Soul Jazz Records’ new album ‘Kaleidoscope – New Spirits Known and Unknown’ brings together many of the ground-breaking artists involved in the new jazz scene that has developed in the UK over the last few years.

                                                                  Soul Jazz Records release an exclusive one-off pressing double-headed 12” single featuring Theon Cross and Pokus on the same day as the ‘Kaleidoscope’ album release.

                                                                  Exclusive to independent retailers.

                                                                  Spaziale Recordings strike gold again with this remastered, official reissue of the hugely in demand Billy Frazier disco funk masterpiece ‘Billy Who ?’. Originally released in 1980, it’s saucy, slick and oh so smooth, with the flip side containing one of the rarest, and most sought after disco tracks out there, ‘The Mind Blower (Finally Got His Mind Blown)’, hitting close to £1000 for an original copy.

                                                                  These two killer disco classics represent huge hits on the underground scene and a staple at legendary clubs like The Paradise Garage, The Loft and Chicago's Warehouse.

                                                                  A must have for any collection to get those bodies moving.

                                                                  STAFF COMMENTS

                                                                  says: Spaziale keep the hits coming, delivering an official reissue of a pair of disco funk unclassics plucked right off the Loft lists. The A-side owes a little inspiration to Skyy's mega jam "First Time Around" from the year before, and the B boasts a hen's teeth disco funker perfect for the rollerskating crowds.

                                                                  We were very surprised at Versatile when we received this file from And we still have very little info on the track that was there.

                                                                  “On m’a dit…” by Floco Floco is a lo-fi afro-disco stomper hailing straight from the new ghettos created by confinement. Something had to give and we are glad that Floco Floco, whoever he is, has chosen us to ease his lockdown mind:

                                                                  “I’ve been told to stay at home, on WhatsApp all day long, working in the studio, reading books I haven’t read, I hope it won’t be too long, I don’t know if I can hold, smoking weed day & night, like never I have been before”.

                                                                  Not a message, just a statement.

                                                                  The answer on the track was so good that we decided to come with more versions… We asked our friend Bufiman aka Jan Schulte to put his magic and he came with two versions. One stellar arpeggio, with no beats but a serious drive as well as an instrumental Disco version.

                                                                  Gilb’r slowed down the whole affair and turned it into a cosmic nonsense vocal reprise, with a different bassline, chords and arrangement. A great summer pack!

                                                                  “Soul is My Salvation is a collection of dance friendly gospel songs. The mission is to simply uplift your spirit through music and word. Dance floor’s around the world mirror the reactions of Churches from the 70’s and 80’s when experiencing these recordings.” - Tone B. Nimble.

                                                                  Released as a series of eight limited vinyl-only 45, when assembled together the covers reveal a beautiful design courtesy of designer Charlotte McCrae. A true collectors item.

                                                                  One side contains a boogie-infused cut from The Gospel Miracles, ‘Building Up Myself’ housed on their hard-to-find 1985 LP ‘The Lord Has Been Good To Me’. The other shines a light on the funk-heavy, gospel joy of Serenity - Don’t You Worry from another rare and pricey gospel LP, Serenity - ‘Like It Is!’

                                                                  Ron's Rework's round three… you know the score by now. Succulent cuts, sliced, diced and spiced for the perfect main course in any delectable DJ set. My sources tell me that A-side oeuvre "The Revelation" has been gettin plenty of support from Gilles P, and it's no surprise really. This is eyes closed hands aloft spiritual jazz-funk with enough haze to wrap you up and enough groove to make you move - it's a hit! B1 bomb "Games You Playin'" is a good old fashioned helping of housed up disco funk, totally on brand with Ron's DJ sets and that unique Crazy P club experience. And that ain't all folks, Ron uses up the excess run time to treat us to a totally infectious drum tool in bongo breaks style. 

                                                                  Man, I've been on Bottin since the Venetian first started putting wax out, and a decade later, the dude is still killing it! As far as edits go, Bottin has that uncanny ability to dig deeper, cut sharper and retain all the presumed magic of the unknown OG while pushing it a little further out. Here he rocks us with four cuts from his homeland, shifting between dreamy Italo-pop, Afro-cosmic bongo freakout, new wave meets disco and an organic, exotic and psychedelic oddity for the Balearic bods.

                                                                  Top drawer cosmic-tinged, timeless jazz funk from Elixia, ‘Soho Phaze / Soho Nights’, gets the remastered, reissue treatment on Record Shack.

                                                                  ‘Soho Phaze’ wasn’t going to be light on the effects was it? ‘Going heavy on the phaser’ would have been an understatement, but what could have sounded like an endlessly swirling soup of effects turned into a breathtaking, intergalactic, early ‘80s jazz funk dream.

                                                                  On the flip ‘Soho Nights’ keeps the effects subdued letting the squelching synth lines, feverish stabs and pure funk bass do the strutting. Both sides still do the damage to this day, with DJs such as Nick The Record, Joey Negro, Mark Grusane, Medlar and Faze Action all regularly drawing for the mystique and mastery of this 12 inch. Big tip!

                                                                  Black Sheep

                                                                  Strobelite Honey

                                                                    Black Sheep – and their 1991 'A Wolf in Sheep's Clothing' album - were definitely an outlier in the Native Tongues fold. They were raunchier and more playful than their peers which, given that those peers were A Tribe Called Quest, De La Soul and Jungle Brothers, is really saying something.

                                                                    'Strobelite Honey' catches that difference perfectly, leaning heavily on a pair of 1980 disco samples rather than the jazz of their brethren, and taking a somewhat less chivalrous approach to women. 'Strobelite's slender but fun narrative sees rapper Dres up in the club and fooled by the lights – approaching a girl he likes the look off but backing off when they reveal she's not what he expected. Charmed, we're sure.

                                                                    Dres and his partner Mr. Lawnge were always willing to push boundaries, and that extends to the often confusing labelling of the various remixes of this choice single. 12"s dropped with the 'No We Didn't Mix', 'Yes We Did Mix' and 'Maybe We Did Mix' (not to mention a separate 12" of House mixes).

                                                                    The last and best of these accompanied the original version on the now-rare 1991 7", as it does here. The 'Maybe We Did Mix' adds urgent horns - almost like the buzzing of a bee - and a new beat to completely reconfigure the sound into something much more of its era. It's a reminder of when remixes were about much more than the same beat with different rappers.

                                                                    From the backwaters of New Orleans, founder of the Mystery Zone imprint and parties Hiatt dB bursts onto the international scene with glorious technicolour debut EP ‘Palimpsest’, marking Rhythm Section's first recruit from the US of A. Having grown up in the Gulf Coast’s San Antonio, Hiatt made the move to New Orleans in 2015 with his heart set on exporting the sound of the Gulf South to the global discourse. Here, newly exposed influences from the Mediterranean to West Africa, Brazil through to the Caribbean motivated him to begin making dance music and performing as a percussionist and DJ.

                                                                    True to the drum city, Hiatt doesn’t let up on the rhythmic assault. From joyful piano stabs and dizzying percussive crescendos in ‘Sun Spell’ to the intricate snare rudiment of ‘Palimpsest’; the sizzling, hypnotic ‘Big Easy’ stylings of ‘6 O’Clock Rock’ to basking in the euphoric, sparkling breaks of ‘Everyday Break’. It’s the warm afterglow you need as the journey of the record comes to it’s triumphant conclusion.”

                                                                    Celebrating 30 years in the game for Z Records with a series of 12” vinyl EP’s containing some of the most sought-after remixes from the esteemed Z back catalogue. Part 1 sees highly desired cuts from Joey Negro, The Sunburst Band, Patrice Rushen, Akabu, Andre Lodemann, Hot Toddy, Sean McCabe and Atjazz.

                                                                    First up, Joey Negro’s incredible Extended Disco Mix of Patrice Rushen - Haven't You Heard, housed on the ‘Remixed With Love By Joey Negro (Part A)’ EP currently only attainable if you’re willing to part with £100+. Andre Lodemann’s remix of Akabu - Another World takes the second spot, a jazzy, synth laden house groover from the 2010 Summer Sampler EP that goes for up to £40 on the second-hand market.

                                                                    On the flip side, Crazy P’s Hot Toddy provides the goods with a driving, funk remix of The Sunburst Band - Taste The Groove. Previously found on the limited edition 2013 RSD remix EP, it’s been trading hands for close to three figures. Finally, a Joey Negro edit of Atjazz’s remix of Sean McCabe - Reach Out ft. Hannah Khemoh, a vocal house shuffler from Attack The Dancefloor Volume Eight that’s been going for £60 on Discogs.

                                                                    All in all, this is an absolute must for any discerning digger and the perfect way to kick start the 30th anniversary celebrations.

                                                                    Les Big Byrd

                                                                    Roofied Angels

                                                                      Stockholm’s Les Big Byrd are back with their new EP Roofied Angels due out on June 26 on limited edition 12” vinyl and with the A-side and title track released digitally in May. Roofied Angels is the first piece of new music from Les Big Byrd since 2018’s acclaimed Iran Iraq IKEA LP outside of the instrumental Snö-Golem 7” from last fall, which sold out immediately, and the English language version of the band’s 2017 hit “Two Man Gang” which was released in May 2019.

                                                                      The 7 minute fuzz-blizzard “Roofied Angels” might just be the best thing the band’s put their name to yet, melding Motörhead and Shangri-La’s influences into their krautrock infused psychedelic rock, while bringing to mind the heavier side of the band’s 2014 debut LP They Worshipped Cats and was recorded during the sessions for the band’s upcoming third full-length.


                                                                      Normal Never Was

                                                                        Late last year, anarchist punk icons Crass took the step of making the original separate track stems of their seminal debut album ‘The Feeding of the Five Thousand’ available as a free download on One Little Indian Records. With a call to take the original sixteen track recording in its pre-mix state, the intent was for people to create their own remixes and interpretations and breathe fresh life and ideas into this revolutionary music.

                                                                        First released in 1978, ‘The Feeding of the Five Thousand’ pre-empted rap and grime in its hard-on-the-beat, fast fire, uncompromising lyrics and the iconic sounds and messages are ripe for reinterpretation. Crass encouraged people to rip apart the sound and ideas and create something new, then send the files to Crass Records for future releases and charitable projects. The message is DIY like it never was before. “Yours for the taking, yours for the making,” Crass said. “You do it, we’ll stew it. Mix it backwards, forwards and upside down. Turn up the heat and fix it with a downbeat, bring in the trumpets and let ‘em blow, let the piper call the tune to let us all know, it’s up to you to do what you like with it. The only limitation is your imagination.”

                                                                        The response was fantastic with close to one hundred submissions from professionals, amateurs, do gooders, do badders, DIYers and give it a tryers twisting and morphing the sounds.

                                                                        The first results of this creative process are ready to be heard and released in the form of a twelve-inch EP (alongside a limited 1000 red vinyl pressing) of remixes by producer and XL Recordings honcho Richard Russell under the guise rLr, who tackles and further subverts the anti-war anthem ‘They’ve Got A Bomb’, turning it into a stuttering, rhythmic rattle, whilst Boston, Massachusetts experimental synth-pop artist Glasser takes aim at ‘Do They Owe Us A Living?’ and takes the original songs simple, direct messaging into entirely different realms of rhythm and distortion.

                                                                        “Crass is a great example of futuristic art and lifestyle; anchored in communal ethics and collective spirit, moving beyond mere defiance of authority and into radical ideas of love and creativity,” explains Glasser. “I’m so glad I had the chance to play around with their recordings. It’s basically the best gift a fan could get from the artists they admire. “

                                                                        FORMAT INFORMATION

                                                                        Ltd 12" Info: Limited Edition Red Vinyl.

                                                                        The Sensible Gray Cells

                                                                        So Long / What's The Point Of Andrew?

                                                                          7” Taster for forthcoming album! Limited to 600 copies (300 Gray/300 Red) Including exclusive B-side! Members of The Damned & Johnny Moped! The Sensible Gray Cells are... Captain Sensible - electric and acoustic guitars, lead and backing vocals, and interesting noises Paul Gray – bass and assorted string things. Martin Parrott - drums

                                                                          Who, what and why are The Sensible Gray Cells?
                                                                          Captain :- Paul Gray and myself being garage psych afficianados would prefer to hear more of this kind of music and this is our contribution to the cause. If I said that some of the songs were 'Damned rejects' that shouldn't be seen as an indication of inferior songwriting.. more that they're not wearing the right shirt. ‘So Long’ is the new single due out on Damaged Goods records. What’s the song about? Captain :- Ha ha.. it's a bit like the intro to '60s TV's The Prisoner where Patrick McGoohan storms down that corridor to rant and rave at his boss as he delivers his resignation request. Were not that formal in punk rock but if we were this is what it might sound like.

                                                                          Seasick Steve

                                                                          Love & Peace (Edit) - Indie Exclusive

                                                                            7" (Love & Peace) limited to 475 units packaged in Kraftboard sleeve with white inner bag.

                                                                            Seasick Steve

                                                                            Travellin' Man - Indie Exclusive

                                                                              7" (Travellin’ Man) – Love & Peace (green cover) Kraftboard sleeve w/ white inner bag 475.

                                                                              Hot off the press! Whities do it again with this fucking EPIC breakbeat infused hit of exotic house. Popping off the hardcore continuum to take a quick trip through Indian tonalities and synth raga, the three tracks here twist the melon with equal measures of opiated psychedelia and jungle rudeness, all delivered at a house tempo. 

                                                                              In recent years Mancunian DJ collective Supernature Disco have grown from reliable selectors and floor fillers to a truly unstoppable force, packing out some of the biggest venues around to the finest mirrorball smashers. Now crew member James Greenwood launches his new vinyl only label, Semi-Skimmed Edits. A label dedicated to the traditional style of re-editing. Nothing added, just precision sliced disco for modern day dance floors.

                                                                              This inaugural outing gives you a rampant electro-disco rocker on the A-side with raw male vocals and a brutal bassline, backed with a pair of smooth, groovy and funky cut ups on the flip.

                                                                              STAFF COMMENTS

                                                                              says: From (one of) those fine folks behind MCR's own Supernature Disco comes the brand new edit imprint Semi Skimmed. If you're looking for life affirming, turbo-charged disco energy (and who isn't?), you've found your next floor filler.


                                                                              Continentes Perdidos

                                                                                DNGDNGDNG is Dengue Dengue Dengue's new alias for this release of extra sensory perception. The duo have projected rhythmic visions of lost continents, unknown worlds and the unseeable past and future that is present all around us. By channeling rhythmic patterns from the matrix they're able to translate the waves of radiation around us which originated at the cosmic event which created the universe. DNGDNGDNG reach deep into their sonic imagination to draw from interlocking time signatures and variant tempos. From the cosmic interference and mathematics DNGDNGDNG create a polyrhythmic theme that brings the sound of continents lost and imagined to our ears. Dengue Dengue Dengue have established themselves as one of the most pioneering artists on the leftfield electronic scene in recent years with heavyweight support by the likes of Boiler Room, Resident Advisor and Bandcamp weekly.

                                                                                Heavily influenced by the sounds of UK bass sub-cultures Dengue Dengue Dengue are drawing on their decade of entrancing audiences around the world to connect to dances of the mythical past and lands of the dance beyond their alter ego Afro Peruvian invocations via ancient future rhythms. With the futurist alias of DNGDNGDNG the duo are able to break expectations and swing into imagined realities on a 6/8 rhythm.

                                                                                Behind the masks are Felipe Salmon and Rafael Pereira, two producers, dj’s and graphic designers from Lima, Perú. Their work explores the rhythms from Peru and other parts of the world, recreating them electronically by mixing new and old, analog and digital, to create a unique sound and visuals. Their musical explorations go from psychedelic cumbia to dub, from salsa to footwork, from tribal to techno. Their visual and sound palette continues to grow and add new flavours to this melting pot.

                                                                                DNGDNGDNG is the new alter ego of pioneering tropical bass duo Dengue Dengue Dengue

                                                                                ‘Continentes Perdidos' breaks expectations and swings into imagined realities on a 6/8 rhythm

                                                                                STAFF COMMENTS

                                                                                says: Ancestral idents, rainforest atmospheres and serious bassweight abound on this club destroyer from Dengue Dengue Dengue's new alias. Think Hessle, Yak or some of the more techno-tropical Neubau releases. Heaviest shit!

                                                                                Alexis Le Tan and Joakim team up again as Full Circle. "Shiver“ is their debut on Offen, sonic shrine to a better yesterday. Piecing together bits of the past for a better future, the duo lean into the Goa revival HARD. Ethereal sequences twist, turn and gently unlock a cosmic wormhole, wordless vocals get gated and disembodied, snare rolls last a full 16 bars and the prog house revival takes one step closer to trance. The B1 offers a tribal take, stripped back, bass heavy and perfect for three deck deployment, while the B2 delivers the ambient mix you knew was coming ;)

                                                                                Hyperactive Leslie

                                                                                Al Go Ritm

                                                                                Forever and a day, Antonin Leymarie has drummed in a pack – be it his collective Magnetic Ensemble, Surnaturel Orchestra, the circus of Les Colporteurs or theatre of Joël Pommerat. A long time in the waiting, this solo project as Hyperactive Leslie all started with an epiphany during a residency at La Gare back in 2018. A couple of years later and al.ɡo.ʁitm has finally surfaced for air, the debut EP from this seasoned percussionist gone solo without a safety net – everything you hear on this EP is played by him with no re-recordings or additional sounds. Well, not quite solo. Scintillating through the sound recordings, mixes and production is the unmistakable flair of Joakim, the founding DJ of influential labels Tigersushi and Crowdspacer. With this symbiotic drum chant where human and technology feed on each other’s souls, without ever losing them, Hyperactive Leslie conjures an organic, cinegenic and labyrinthine trance in the spirit of Boards of Canada, Brandt Brauer Frick and Paddy Steer – all those for whom rhythms are far from robotic, but living, breathing creatures who will forever remain untamed..

                                                                                Italian duo Souldynamic are probably most known for their deep soulful house productions, but this time they've taken aim at some of their fave Jazz-funk tunes and reworked them with a nudge towards the house community. Rodney Franklin's classic 'Vibrations' and Franco Bixio's library anthem 'Break' both get superb house rubs, but without losing the organic & dynamic feel of the originals.

                                                                                Jay Z / Foxy Brown

                                                                                Lickshot Vol 1 Feat. Damian Marley & Spragga Benz)

                                                                                The first volume in the Lickshot series serves up two almighty slabs of reggae and dancehall-influenced hip-hop from two of the biggest names in the game. On side A you'll find an edited version of Jay-Z's "Bam" from 2017 album "4:44"; the revitalised H.O.V.A. hooking up with Damian Marley over a chopped and dropped reheat of Sister Nancy's Dancehall classic "Bam Bam". Over on the flip dancehall vocalist Spragga Benz guests on Foxy Brown"Oh Yeah", a hybrid hip-hop/ragga workout . Like its' A-side companion, it's a weighty, club-ready rocker that should be in every hip-hop head's collection.

                                                                                FORMAT INFORMATION

                                                                                7" Info: Limited to 300 copies

                                                                                The latest drop on the aptly named West Coast Classics treats us to two of the standout releases from the infamous Death Row catalogue, Dre & Snoop's "Nuthin' But A G Thing" and Lady Of Rage's "Afro Puffs", both produced by the good doctor, and both featuring a 22 year old Snoop at his inimitable best. 

                                                                                On the A-side the lowriders bounce to the frisky funk of "Nuthin' But A G Thing", Dre's masterful flip of Leon Haywood's "I Wanna Do Something Freaky To You" complemented perfectly by some of the smoothest verses in rap history. Long Beach and Compton on point folks.

                                                                                Flip it for THE undisputed masterpiece from Death Row's first lady, the standout cut on the excellent "Above The Rim" soundtrack (2Pac & basketball if you haven't seen it) "Afro Puffs". Dre murders the beat in gnarly g-funk fashion, twisting snippets of Johnny Wilson's "Love That Will Never Die" and Zapp's "More Bounce To The Ounce" over a wild bassline, while Lady Of Rage puts on a true lyrical masterclass.

                                                                                "flow like the monthly u can't cramp my style"...

                                                                                Awww shit son! More mashup action here for the hip hop heads, Bboys and funk fans as the Soopastole crew loop up MFSB's 'People All Over The World", then perfectly place the Beastie's "Ch-Ch-Check It Out" acapella over the top. Not only is this premium grade party fuel, but you also get a super loopy B-side dub of MFSB sans Beastie, so a two copy spin is not out of the question...

                                                                                Ju/Na is a collaborative project between Juri Corrado and Nathan Dawidowicz and was borne in Berlin where both of them live. It's a conjunction of free verse and analog soundscapes - which could be described as 'analog poetry'

                                                                                This debut album 'Haiku' is an exploration of contemporary narcisism which unfolds against a backdrop of different facets of contemporary life in imaginary/imagined or concrete urban spaces. Each side of the record contains three tracks - reflecting the three phrases of Japanese Haiku poetry. With a surreal language and quotes from mythology, the opus portrays the dreamy delirium of the Ego, from Love to disenchantment.

                                                                                STAFF COMMENTS

                                                                                says: Imagine if you will, the sultry and humid Balearic electronics of a Phantom Island release topped by the heartfelt croon which only comes with Italian vocals. I think we've got a hit on our hands...

                                                                                Legendary labels Decca Records and Blue Note have joined forces for Blue Note Re:imagined; a brand new collection of classic Blue Note tracks brought together for the first time, reworked and newly recorded by a selection of the jazz scene’s most exciting young talents today.

                                                                                Representing a bridge between the ground-breaking label’s past and future, the project features Brit Award-winning Jorja Smith, whose version of St Germain’s "Rose Rouge" is featured on the A side of this vinyl

                                                                                The track, for which St Germain originally sampled Marlena Shaw’s "Cookin With Blue Note At Montreaux" album, takes its cues from classic soul, jazz and reggae and perfectly captures the enduringly relevant Blue Note aesthetic. Jorja is “Honoured to be involved on this Blue Note album to rework St Germain’s anthem ‘Rose Rouge’. And with such an array of wonderful musicians on the album, including my brothers Ezra Collective”.

                                                                                Alongside Smith’s reworking of "Rose Rouge" is Ezra Collective’s version of Wayne Shorter’s "Footprints"

                                                                                “This project means so much to us in Ezra Collective. For us, Blue Note encapsulates everything that jazz is. Everchanging, evermoving with times and always swinging. From Herbie to Wayne, Glasper and Jose James. Across the decades it’s been a constant source of inspiration, so to contribute to that is a dream come true.

                                                                                Footprints was a song we learnt as teenagers, and a song we’ve haven’t left alone since. It felt the perfect opportunity to pay homage to a hero of ours, Wayne Shorter, as well as document the journey we’ve made as a band since then."

                                                                                STAFF COMMENTS

                                                                                says: I couldn’t think of a better combination of two artists on a seven, the gorgeous swooning vocals of Jorja Smith and then the fluidity of Ezra Collectives’ nu-jazz make these re-imagined versions an absolute joy.

                                                                                Poppy Ajudha / Skinny Pelembe

                                                                                Watermelon Man / Illusion

                                                                                  POPPY AJUDHA – WATERMELON MAN Another Jazz cover from the Blue Note Re-Imagined project. Poppy Ajudha brings to life a new version of Herbie Hancock’s track Watermelon Man.

                                                                                  SKINNY PELEMBE – ILLUSION (SILLY APPARITION) Another Jazz cover from the Blue Note Re-Imagined project. Skinny Pelembe brings to life a new version of Andrew Hill’s track Illusion. Blue Note Re:Imagined album will be out on the 25th of September.


                                                                                  Knights Are Cold EP

                                                                                  If you've paid close attention to the more experimental, esoteric and playful end of the modern disco spectrum, you should be well acquainted with California's Michoacan, a nu-disco survivor with previous outings on DFA and Eskimo. Here he joins the Imogen ranks with a two track 12" somehow managing to marry about 6,000 ideas. 

                                                                                  On the A-side, "Knights Are Cold" sees the producer infuse a mid tempo disco groove with all sorts of bleeps and blorps, shaping hooky melodies and gentle hints at Afrobeat into a summer-ready slice of pop eccentricity. "Be Side Me" on the other hand makes maximum use of both low end and flexatone to take us on a mournful cosmic disco journey. 

                                                                                  STAFF COMMENTS

                                                                                  says: Playful, breezy but bursting with ideas, these two tracks from Michoacan marry disco grooves with wonky electronics and pop sensibilities, guaranteeing smiles all round. File next to Metronomy at his most funky, Naytronix and Sinkane.

                                                                                  Emotional Rescue is proud to reissue a collection of global music band, International Noise Orchestra, presented across 4 special EPs.

                                                                                  Founded when Berlin based musician Ulrich Hornberg mixed a newly acquired Commodore 64 with visiting Algerian drummer Jol Allouche's tablas "old culture meets new technology" the fundamentals were laid. Simple, maybe naive, with a curiosity to combine and inspire. 'The means of production must belong to the workers', investing in a studio, label and publishing house allowed INO the adventure to record what they wanted, a project via 'gastes', taking their influences and culture, in a melting pot of eastern melodies, african percussion, jazz, soul, dub, and pop an orchestra not of size, but of different playing styles and idiosyncratic interpretations.

                                                                                  Old meets new starts with their cover of Gimme Your Lovin, taking Winwood's classic and molding a white funk, pop, rock, dance hybrid, with enigmatic actor / singer Richard Strange's distinctive poetic delivery. Following Dr. Sarmaz, released under INO's alias - Internationales Gerauschorchester - the global dance vibrations begin.

                                                                                  Feel It Flow is pure 80's dance pop, with Glynnis Thomas (Savage Progress) distinctive tones leading to the jazz fusion of Atai, before closing with the guitar / synth / tabla rhythms of Culture Rescue Service.

                                                                                  STAFF COMMENTS

                                                                                  says: For the uninitiated, INO are one of those weird and wonderful 80s oddities whose uptempo pop hybrid is about as Balearic as it gets. Funky, exotic and German, the contradictory crew stitch computer music, tablas, twanging Texan guitar and slinky synth pop into the kind of silly brilliance which never leaves my box. This three part reissue series puts all their best bits within a sane price range, so don't sleep.

                                                                                  Lola's Dice

                                                                                  Cacri’e Playa / Senor Cartujo

                                                                                  Tropical psych outfit, Lola’s Dice, return with an exhilarating double AA side 45 on “Cacri 'e Playa” b/w “Señor Cartujo” . Venezuelan strains of Caribbean rhythms blend with South American grit and humour; aided and abetted by studio maverick and renown bandleader Alex Figueira ( Fumaça Preta, Conjunto Papa Upa).

                                                                                  Lola’s Dice, an ensemble born and battle-tested by years of punk and hard rock before fusing into its current form, a consolidated tropical-psych quartet. The band’s evolution has resulted in music that is a pure body-moving delight — a fuzzy blend of guitars, synths and musical sabor that is very much rooted in the percussive sounds of Latin America, where all band members hail from, yet still comfortable in its punk-ethos.

                                                                                  One such fusion of sounds took place at the Barracão Sound studio in Amsterdam where they first asked rhythm sensei Alex Figueira (who currently joins them on stage whenever his agenda allows him) to help them twist their sound and bring it into the incendiary tropical realm his production work was known for.

                                                                                  Together they vandalized all sorts of rhythmic traditions. The resulting 4-track EP, “Viaje al Centro de Ritmo”, was a perfect match of genre-defying psychedelic madness and Caribbean cool and was duly signed and released by on-the-pulse NY based Names You Can Trust label.

                                                                                  After two years and a plethora of stages Lola’s Dice returned to Figueira's Barracão Sound for another dose of experimentation, diving deeper into their Caribbean roots and twisting them even further. The first fruits are now offered for release jointly by Names You Can Trust (later this year) and Figueira’s own Music With Soul.

                                                                                  The African Caribbean vibrations of “Cacri 'e Playa” tell a story of a stray dog whose sole habitat consists of the beach. A common phenomenon all across the Caribbean coastline shared by Venezuela and Colombia. Wonky synths and surf guitars interplay over a stomping extra syncopated drum beat. All things collide towards the end into a 1970’s style Salsa street party, the relentless cowbell driving everyone forward.

                                                                                  On the flip, “Señor Cartujo” contains a humorous tale about the most popular brand of anise liquor in Venezuela ("Cartujo") and a shameless ode to the glory days of "Techno Merengue", when Latino rappers in the US started making Dominican Merengue with hip hop influenced vocals and house production techniques and equipment. Lola’s Dice, however, take a more psychedelic approach to this merengue, oozing with funky guitars and percussion.

                                                                                  Fresh from the needle skating industrial-punk of Tata Toto’s “Fuck” flexi-postcard, new Parisian imprint Association Fatale drop their first vinyl proper in ‘L’Alarme Fatale’, a four tracker of razor sharp cuts from some of their nearest and dearest.

                                                                                  Parisian duo Jita Sensation kick the set off with occult whispers, flanging hats and the mechanical funk of ‘Posuere Nec’, a shamanic dancer which digs deeper into Xanax rave territories as it bursts into technicolour insanity.

                                                                                  The A2 belongs to Zulu and their ‘Vogeltanz’, a pitched down powerhouse of woody bass, electronic birdsong and futuristic breaks which takes a brief detour into the neon-matrix of Rustie on its way to the run-out.

                                                                                  Flip the disc and cop a load of ‘Tekamina’, the latest mind-melter from Drama-acolyte DJ F16 Falcon. Mangled vocal snippets, crushing system pressure and some batshit FX abuse are the order of the day on this whacked out track!

                                                                                  Bringing the curtain down with maximum angst, speaker tweaking mids and a gnarly bassline, So Track’s ‘Graille’ seems tailor made for the current climate - I can picture an industrial unit full of people dressed like Scorpion from Mortal Kombat losing their mind to this cut.

                                                                                  Fresh as fuck and in short supply folks…

                                                                                  STAFF COMMENTS

                                                                                  says: Moody, tough and tranqued out warehouse material from new Parisian crew Association Fatale. Bristling with mechanical funk, dark psychedelia and techy idents, this shit is so cutting edge you'd best wear safety glooves when slapping it on the deck. Highest Recommendation!

                                                                                  New Zealand/Aotearoa is an island known for its lush nature and unique geographical positioning: at the centre of the Water Hemisphere, its surreal blend of beauty and isolation has a distinctive effect on its inhabitants and the art that they create.

                                                                                  With "NZ Electro", INDEX:Records brings to the fore one of the genre mutations caused by this unique environment, hoping to expose the people pushing dance music deep in the Pacific.

                                                                                  Here is INDEX:007 by Ike, featuring two original compositions and a remix by GOD69.

                                                                                  The A Side: lazuline blueness, with perforations of laser lemon
                                                                                  (pressed at 45rpm, it complements percussive electro textures, that intricately mesh into sub-flecked breakbeat arrangements)

                                                                                  The B side: a cameo of pale pink, with roasted umber tones
                                                                                  (pressed at 33rpm, it accompanies acidic electro wobbles, accessorised by futuristic drum patterns).

                                                                                  TIME TO BE ALIVE the new and third record in the candomble various artists series - Featuring 3 mystic tracks by D.J. Ungel, Instrumensch and D.J. Rasputin.

                                                                                  STAFF COMMENTS

                                                                                  says: My Dusseldorf homeboys round out their trio of 10" EPs with this hot drop featuring DJ Ungel, Instrumensch and DJ Rasputin (AKA Number 1 Party Dude). Machine funk madness, cosmic wobble and poi friendly prog house for the heads!

                                                                                  BH003 comes in the form of another 4 track EP from our own Jorg Kuning. Drawing as much from the collective euphoria of the dance as his expansive surroundings in the Welsh valleys; these four carefully crafted tracks evolve and pulsate with a driving, essential life force.

                                                                                  The EP starts with ‘Vera’ - a joyful and tender exercise in dance floor functionality. Round kicks and an undulating bass line lay the cement for flowing and idiosyncratic melodies. This is followed by ‘Quixo’, where sparse metallic percussion is peppered with life affirming bleeps, topped off with transcendent chords that could roll out indefinitely.

                                                                                  The B side begins with ‘Spirals’. Here Jorg temporarily ditches his characteristic playfulness in aid of a thunderous dance floor destroyer. Psychedelic, atonal yelps twist around a powerfully dubbed out rhythm section - willingly forcing us into a cosmic dread march. Closing the party is ‘Aevr’ - fluttering synth arpeggios echo into cold, glassy percussion and moody bass lines, a perfect example of Jorg’s distinctive style: at once meditative and floor-focused.

                                                                                  STAFF COMMENTS

                                                                                  says: Big ups to MCR's Bakk Heia, who push the bar even higher on their third release, recalling Jorg Kuning for four more examples of his idiosyncratic techno stylings. Woody, organic, fractal and funky, the sounds on show seem to point to a new psychedelic direction for melodic minimal to groove into.