The third BASEMENT JAXX album KISH KASH features an array of stellar guest vocalists including punk icon Siouxsie Sioux on the title track, London grime superstar Dizzee Rascal on “Lucky Star”, the mighty pipes of Rock n’ Soul diva Lisa Kekaula (of LA”s “The Bellrays” ) on “Good Luck” and rounds off with the mellow tones of Meshell Ndegeocello.

Released on XL Recordings in 2004, the album subsequently won the inaugural GRAMMY award for “Best Dance/Electronic Album” and was nominated for the UK’s prestigious Mercury Prize.

TRACK LISTING

A1. Good Luck (ft. Lisa Kekaula)
A2. Right Here’s The Spot (ft. Meshell Ndegeocello)
A3. Petrilude
A4. Supersonic Ft. Totlyn Jackson
B1. Benjilude
B2. Lucky Star (ft. Dizzee Rascal)
B3. Plug It In (ft. JC Chasez)
C1. Living Room
C2. Cish Cash (ft. Siouxsie Sioux)
C3. Tonight (ft. Phoebe)
D1. Hot ‘n’ Cold
D2. Cosmolude
D3. If I Ever Recover
D4. Feels Like Home (ft. Meshell Ndegeocello)

Boasting a perfectly calibrated vocal quartet, an aggressive rhythm section, and stacks of Rhodes, Rolands, and Hammond keyboards, Mind & Matter were instrumental in creating the Minneapolis Sound. Tracked in 1977, this bundle of never-before-released basement demos throw Jimmy Jan Harris’ beloved Philadelphia Sound into an unfinished root cellar, pelting it with Clavinet attacks, disco skats, and infectious hooks. Named for the street address of its underground uptown genesis, 1514 Oliver Avenue (Basement) is an organic alternative to a late-’70s Prince songbook gone increasingly synthetic.

TRACK LISTING

1. No One Else Can Do It To Me Baby
2. The Wonder Of It All
3. My Love Is Like A Fire
4. I Don’t Know Why (I Love You Like I Do)
6. Disco Child
7. When You’re Touching Me
8. Would Be Mine
9. Virgin Lady

Remedy is Basement Jaxx’s joyous debut album from 1999. It was one of the most assured, propul-sive full-lengths the dance world had seen since Daft Punk’s Homework. A set of incredibly diverse tracks, Remedy is indebted to the raw American house of Todd Terry and Masters at Work, and even shares a penchant for Latin vibes (especially on the horn-driven “Bingo Bango” and the opener, “Rendez-Vu,” which trades a bit of salsa wiggle with infectious vocoderized disco).

TRACK LISTING

A1. Romeo
A2. Breakaway
A3. SFM
B1. Jus 1 Kiss
B2. Broken Dreams
B3. I Want U
C1. Get Me Off
C2. Where’s Your Head At
D1. Do Your Thing
D2. Freakalude
D3. Crazy Girl
D4. All I Know

Named after their infamous Brixton club night, Basement Jaxx’s second album Rooty saw Basement Jaxx continue to push the boundaries of pop and club music. The album mixes classic house with generous lashings of punk, funk, R&B, jazz, hip hop, 2-step and pop song-craft in a mad genre crash that works like a charm. It features the massive tracks “Where’s Your Head At”, “Romeo” and “Do Your Thing”.

TRACK LISTING

A1. Romeo
A2. Breakaway
A3. SFM
B1. Jus 1 Kiss
B2. Broken Dreams
B3. I Want U
C1. Get Me Off
C2. Where’s Your Head At
D1. Do Your Thing
D2. Freakalude
D3. Crazy Girl
D4. All I Know

Stag-O-Lee Presents – Primal Beats From The Basement - For Dancers Only Rhythm & Blues Club.

For Dancer Only is the legendary club night of Bill Kealey, the hard-drinking, energetic collector and vinyl hunter from Dublin. Almost every weekend he is out and about with his 7" vinyl case and makes the crowds happy. Since he's been doing it for a few decades, he belongs to the absolute Champions League of those who deal with Rhythm & Blues of the 50s and all its varieties.

This is his first compilation and Stag-O-Lee claim it's one of the best Stag-O-Lee has ever released.

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
LIMITED TO ONE PER PERSON.

LP with split coloured black & white vinyl Early in 2016 Ali Chant texted me, asking if I still wanted to record some stuff at his studio - as property developers were about to knock it down.Another creative space bulldozed away for capital gain.Politically it was a shit year.The noise building for the Brexit referendum that would fuck with the future of the young was in full swing.Bowie died, and on the morning of the first recordings I had the worst migraine.I left the building and threw up in the street.I wanted to commit to the lyrics and sing live so I think I was stressed about getting them ready to sing. I had a batch of songs I wanted to record but I didn't have a record label or any plans of what to do with them. I gathered incredible musicians from my square mile in Cardiff in the van and drove to Bristol.Kliph on drums, Steve on bass and Osian on piano. I sang and played guitar - We recorded live takes for 3 days then I sat on the songs for almost 2 years.Eventually handing them to composer Stephen McNeff to work on orchestral arrangements. I called the album that was mixed by Samur Kouja; Babelsberg - and I'm very happy with it. This album meanwhile is an exploration of how it came to be - and the songs in their raw state.A companion piece rather than the definitive article. Most tracks are similar to the final work except for Selfies in The Sunset which is pre-duet and much longer. At some point it would be great to release the amazing orchestral elements too.Maybe both records could be played at once.In the meantime please enjoy the fruits of Kliph Scurlock's mixes and demo digging for (Don't) Welcome The Plague As A Blessing. I'm very grateful to Lisa Jen and Mirain Haf from the band 9 Bach for singing the background vocals.Kliph for overseeing this project, Rough Trade for their enthusiasm and thanks to the designers; thanks Uno Moralez for agreeing to have his incredible Babelsberg sleeve illustration carved up, and ace designer Mark James for this final article. Further thanks to Ali, Steve, Osian and also to Robin Turner for lending his ear at the time. 1. Frontier Man 2. The Club 3. Oh Dear! 4. Limited Edition Heart 5. Take That Call 6. Drones in the City 7. Negative Vibes 8. Same Old Song 9. Architecture of Amneisa 10. Selfies in the Sunset

Heavy Eyes is the debut album from Canadian indie-rock trio Basement Revolver. There’s an air of weariness pervading the album, with the sleepy title Heavy Eyes summing up a general exhaustion right down to the bone, as well as hinting at a heavier direction as they deftly merge 90s infused indie rock with fuzzy dreamy pop and poignant, yearning lyrics. Unable to disguise the emotion in her voice, songwriter Chrisy Hurn shares intimate stories and personal wounds from her past, revealing a deeply affecting and rewarding set of songs.

Bringing together the talents of Chrisy Hurn (vocals, guitar), Nimal Agalawatte (bass, synth) and Brandon Munro (drums), the band hail from Hamilton, Ontario and were named Basement Revolver due to Chrisy’s basement apartment, rather than any trigger happy leanings. Their ascent to the spotlight has been a steady trajectory, capitalising on the success of their debut single “Johnny” in 2016. The track garnered endorsements from DIY Magazine and Exclaim! as well as respected tastemakers Gold Flake Paint, who hailed it a “‘favourite song of the year” contender. They had stumbled across a sound that is capable of stripping listeners of inhibition, yet heavy hitting enough to leave a lasting impression.

On the back of “Johnny”, they were signed by Memphis Industries’ UK sub-label fear of missing out records, who released their debut self-titled EP in 2016 with “Johnny” and their second single “Words” reaching the higher echelon of the Hype Machine chart and the EP flagged up in several end of year lists. They followed this up with the Agatha EP in 2017 where the single “Bread & Wine” reached the B-list on Radio BBC 6 Music and also garnered support from John Kennedy at Radio X. The band have racked up over one million plays on Spotify across the two EPs.

In a relatively short time, Basement Revolver have successfully encapsulated the yearning and hopefulness of their generation, whilst harnessing a unique, yet familiar soundscape.

TRACK LISTING

1. Baby
2. Johnny
3. Dancing
4. Friends
5. Knocking
6. Johnny Pt. 2
7. Words
8. Wait
9. Tree Trunks
10. You’re Okay
11. Heavy Eyes
12. Diamonds

Soundway Records presents “Down In The Basement”, the debut EP from The Mauskovic Dance Band - a heady, tropical blend of cumbia, Afro- Caribbean rhythms and space disco, resulting in a vibrant hypnotic groove destined for bustling dancefloors. The Mauskovic Dance Band is the brainchild of the Amsterdam-based producer and musician, Nicola Mauskovic. A seasoned drummer, he finds himself constantly in demand - as part of Turkish psychedelic outfit Altin Gun, a recent tour with the revival of Zambian legends W.I.T.C.H., and a worldwide tour with psych-pop artist Jacco Gardner, with whom he then went on to form the dance-oriented duo Bruxas (released on Dekmantel).

Throughout this hectic schedule Nic still found time to begin studio experiments that would eventually lead to several 7” singles, released on Swiss label Bongo Joe Records in 2017 under the name “The Mauskovic Dance Band”. Following this, he tapped long-time collaborators Donnie Mauskovic (vocals, keys, effects), Em Nix Mauskovic (guitar, synth, percussion), and Mano Mauskovic (bass) to make the jump from record to stage. Soon they caught the ear of fabled underground Cumbia producer Juan Hundred, who left his home on a Caribbean island to join the band on drums.

With each band member of varying heritage, the group draws inspiration from diverse genres: primarily Afro-Colombian styles such as champeta, palenque, cumbia and the pic soundsystem culture, as well as the Afro-Disco and No-Wave scenes in their current base of Amsterdam. The city’s hotbed of underground producers has also brought an electronic edge to the band, with vintage drum machines and synthesizers effortlessly melding with Afro-Latin rhythms and slick guitar riffs to create a contemporary sound rich with cultural influence.

STAFF COMMENTS

Millie says: The Mauskovic Dance Band providing all the tropical disco grooves, bright and zesty this is the exact sort of twelve inch to get the Summer vibes in full swing. Take a listen and float to a faraway island of your choice, ahhhhh.

Partly formed out of the Art Department of London's Island Records HQ in 1978, Basement 5 were an innovative and highly original black post punk group who created a kind of politically charged, futurist dub. Their lyrics were an attempt to reflect the situation of young people in Britain in the era of Thatcherism, high unemployment, strikes, racism and working class poverty. The seething resentment, dub noise and sheet metal riffage was welded into a mighty sound by Hannett that stands the test of time.

In an unparalleled age of crate digging and reissue programs, Basement 5 is one of the few remaining great untold stories of its time. Vinyl has been out of print for over 30 years. 

“You have to play it very loud to enjoy it fully. It was the most difficult production, I must say, the heaviest. It was eighteen degrees in the shade, the end of August. As I recall it has been the most physical album that I’ve ever done. Made me feel like I’d been carrying bricks around. Heavy work. Putting the bass lines in the right place. But it was good.” - Martin Hannett, 1981

Basement Jaxx are back with their fifth long player, "Scars". The set features a host of special guests including Yoko Ono, Sam Sparro, Santigold, Kelis and Chipmunk, and is as innovative in its sound as it is in its vision. Their sound still remains as urgent and as impactful as ever – there's no need for Basement Jaxx to try and embrace any kind of retro outlook to their music. From the Top 20 smash hit summer anthem of "Raindrops" featuring Felix's twisted vocals, to the string-drenched, grime-esque title track "Scars2 and the gorgeous "My Turn", which features Lightspeed Champion on vocals, Basement Jaxx deliver an album that outshines any dance act in the UK.

Great new album from this Italian four piece who dash out a noise rock akin to Brainiac, Fugazi, the Pixies and possibly worship at the altar of Touch And Go Records circa 93-95, but that's no bad thing, in fact it's a fresh take on the noise rock staple, more dimension added to the power, there's a disjointed pop that filters through the well orchestrated mush of melody, jangle and hi speed rock and roll.

"Crazy Itch Radio" certainly scratches the spot, with Simon Ratcliffe and Felix Buxton swerving from all-out drama on the operatic intro straight into the jet-packed kaleidoscopic pop of the future hit single "Hush Boy" which features live collaborator Vula Malinga, last heard on "Oh My Gosh". Rammed up next, "Take Me Back To Your House" is a sexy, energetic moment of what they're calling 'banjo house'. There's also Balkan folk woven into vocals from Swedish pop sensation Robyn on "Hey U", a hyper grime tune cussing vain boys from East London's Lady Marga, titled "Run 4 Cover" (previewed on one of their Stop label 10"s), and "Lights Go Down", a Wil Malone-scored beauty with legendary British singer Linda Lewis.

The Penetrators' "Basement Anthology" chronicles this criminally overlooked bands recordings from 1976-1982. Their sound was firmly rooted in the tradition of the rebellious rock'n'roll of the 60s and branded with generous amounts of the attitude and style that marked the first wave of American punk bands. "Basement Anthology" is a time machine back into an age that chronologically is not that long ago but culturally is beyond reach. In a time when eyeliner and synthesizers were listed as ground breaking musical influences the Penetrators upstate isolation bred a band worthy to hold the torch of garage blasting during what was then considered dark times. Two unreleased videos from 1982 of "Shopping Bag" and "Teenage Lifestyle" complete this retrospective. None of the material on "Basement Anthology" has ever been released on CD before.

Six years, three top five albums, numerous stellar collaborations, countless globetrotting technicolour punk carnival live appearances – now, on CD, XL bring us Basement Jaxx: "The Singles". Spanning everything from the proto punk garage of early hit "Flylife" to the Motown monster that is "Good Luck", taking in worldwide smashes like "Red Alert", "Where's Your Head At", "Rendez Vu" and "Romeo". Where most greatest hits albums fall down at least once there can be no argument that this collection delivers the bangers and nothing but.

The Jaxx are back with an LP packed to the brim with punk-electro-soul-funk-house-clash joints that switch effortlessly between in-yer-face pogo-disco and sneaky under-your-skin melody. There's a wide ranging set of guests, including Siouxsie Sioux (playing bagpipes...only joking!), Meshell N'degeocello, Dizzee Rascal, Lisa Kekaula, JC Chasez etc.