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Jack Cutter / Paqua

Serpent Strut / Ruby Running Faker - Larry Heard / Emperor Machine Remixes

Bonus cuts from the Claremont 56 Box Set featuring tracks and mixes not featured on the original release. Chicago legend Larry Heard is joined by UK mainstay Andy Meecham in his EMperor Machine alias as they remix the amazing Paqua and Jack Cutter. First up, "Serpent Strutt" by Jack Cutter gets a spacious and soulful rerub by Mr. Fingers who emphasizes the relaxed nature of the track through a beachy, waves lapping at your ankles kinda vibe that really resonates with the OG whilst simultaneiously shining a light on Larry's unique, effortless style.On the flip, EM takes Paqua's "Ruby Running Faker" into squelchy new disco territory complete with boogie bass, dubbed out delays and echo laden hand claps. Rock solid but with a bit of give around the hips, this'll make ideal warm up tackle... Super limited and really quite good - you know what to do! 


Matt says: Nice Brucey bonus for fans of the ultimate Balearic collection. Larry Heard and Emperor Machine's remix never made the boxset, but they're more than worthy additions to this most pretigious collection. Super limited too so don't dilly dally.

With the label’s 10th anniversary celebrations now done and dusted, Claremont 56 returns to action with something rather special: a magical debut single from a previously unknown talent. There’s not much we can tell you about Ferdi Schuster, other than that he is a talented young producer from Augsburg in Germany. As Claremont 56 is one of his favourite labels, he speculatively submitted some tracks for consideration. Label founder Paul Murphy was astonished by what he heard and believes the two tracks showcased on this 12” are amongst the best things the label has released for some time. A-side “Little River” is breathtakingly good. Opening with the sound of a babbling brook, it sees Schuster wrap plucked, sun-kissed acoustic guitar licks and jaunty vintage synthesizer motifs around a languid, samba-influenced groove. As the track progresses, further magical musical elements come to the fore, including blissful electric piano solos and more mazy synthesizer solos, seemingly played on battered old equipment from the turn of the ‘80s. Schuster’s love of the acoustic guitar is explored further on similarly impressive B-side “Befreit”. Here, gently strummed chords and fluid Spanish guitar motifs catch the ear, as hushed cymbals and gentle hand percussion lap at your feet like the sea at sunrise. The German producer adds atmosphere through a combination of leisurely Hammond organ solos and a touch of Jew’s Harp. When all of these immaculate elements combine, the results are little less than spellbinding. Schuster may be taking his first steps into releasing music, but his compositional, playing and production skills are already finely tuned. We can surely expect to hear more inspired music from him in the years to come.


Patrick says: Just making it out of the pressing plant pile-up before 2018, Claremont's latest serving of mellow magic comes from German newcomer Ferdi. The A-side's a bossa beauty, the flip's pastoral and pretty. Very nice!

Stupendously limited Claremont 10" here by Blair French. His second single this year and another quintessentially Balearic offering fitting Paul Mudd's label like a new pair of slippers. The title track chimes and struts with all the majesty of a midday walk down the promenade. Darting, sunshine pan pipes riding a floor tom driven beat with ethereal vocal washes and gentle flurries of synth and guitar. Flip and the low slung creeper that is "Inland Island" rears its head. Reminding me a bit of that Bison 10" from very early on in the label's career, it pairs a swinging bass to lapping drums, twinkling keys and subtle percussion work. Undulating, gently bobbing on the crest of a coastal wake it makes the perfect accompaniment to any beach-side soiree you're thinking of hosting or attending as the last weeks of Summer burn to a close...

In the spring of 2007, musician and producer Paul ‘Mudd’ Murphy decided to launch his own label. Named after the house he grew up in, Claremont 56 would release beautiful music by friends, associates, collaborators and like-minded musicians. In the 10 years that have passed since, Claremont 56 has more than surpassed Murphy’s modest expectations. It has built up a cult following around the world, with listeners responding positively to the label’s combination of magical music, beautiful artwork, and impeccable packaging. To mark the label’s first decade, Murphy has put together a sumptuous vinyl box set of previously unheard material, produced and presented with the same attention to detail that listeners have come to expect. Each copy of Claremont 56: 10 Years contains five weighty slabs of wax and a bespoke info sheet, housed in a specially designed, hand-numbered box with debossed logos on the front and rear. However impressive the packaging, it’s the music that makes Claremont 56: 10 Years stand out. Featuring a mixture of unreleased tracks and brand new remixes of vintage label releases, the highlights come thick and fast. As you’d expect, some of the most impressive contributions come from those artists you could describe as “legendary”, including Chicago deep house originators Larry Heard and Ron Trent. Can legend Holger Czukay kindly contributes one of the standout moments, the eccentric ‘Music To Be Murdered By’, from his own unreleased catalogue, while Afro-cosmic pioneer Daniele Baldelli joins forces with Marco Dionigi to deliver a typically spacey remix of Bison’s ‘Familiar Stranger’. There’s also an epic, Afro-tinged dub disco remix of Smith & Mudd’s ‘Nether’ by Norwegian scene founder Bjorn Torske. Elsewhere, Good Timin’ man Jex Opolis turns an overlooked track by Paraiso into a samba-boogie killer, Sean P dubs out Zee Erf’s beautiful cover of ‘Southern Freeez’, and Phil Mison turns FreshRo’s laidback electrofunk cut ‘Pacific State’ into a breezy, Balearic gem. Look out too, for the emotion-rich beauty of Statues’ ‘River Darkness’ – a track arguably worth the cost of the box set on its own – and the deep space explorations of Almunia’s Leo Ceccanti. We could go on, but we’re running out of space. Suffice to say, Claremont 56: 10 Years is a lovingly compiled, curated and presented celebration of the label’s first decade.


5x12" Box Set Info: Debossed black foil logo design box front
C56 logo de-embossed box rear, hand numbered
Info credit sheet
5 x vinyl
Pantone coloured spined sleeves

FREE SHIPPING This item has FREE UK shipping!

Hear & Now

Hirundo / Sabbia Magica

Ricky L and Marcoradi have been friends for as long as they can remember. They first met on the dancefloor of one of Italy’s most iconic clubs, Red Zone in Perugia, where Ricky has been a resident DJ for the best part of 25 years. Now, they’ve joined forces in the studio for the first time, uniting under the Hear & Now alias for Claremont 56. Those with a keen knowledge of Italian dance music will know their impressive track records. Both have a history of producing fine deep house records and remixes for the likes of Ibadan, Uomo, Reincarnation, Top Tracks, Restricted Tracks and Vega Records. With Hear & Now, they’ve decided to step back from the dancefloor, instead producing hazy, emotion-rich music for after-hours listening, and mornings spent blinking into the sunshine. A-side “Hirundo” is a thing of rare beauty: a gently flowering opus constructed from shuffling, mind-massaging drum rhythms, spacey pads, stretched-out organ chords and Marcoradi’s effortless guitar playing. Lilting, alien synthesizer refrains seemingly tumble from the heavens, intensifying the duo’s blissful mood. Flip for an even deeper excursion, the softly spun wizardry of “Sabbia Magica”. Here, the duo’s house influences gently rise to the surface. This is slow, deep and dreamy house from the top drawer, with jazz-flecked guitar flourishes and undulating electronics combining effortlessly with hypnotic, metronomic drums, cascading string lines and a wonderfully dexterous electronic bassline. You can dance if you wish, but you may just want a hug instead.


Patrick says: In case you didn't know, the Claremont 56 mission statement is simply to release beautiful music. Well, 58 stunning releases in and they keep on pleasing my ears, this time inviting Italian's Hear & Now to lead us into paradise with two brilliantly strung out grooves for enhanced relaxation.


Alaula - Inc. Mudd Remix

As Claremont 56 speeds towards its’ ten-year anniversary, label founder Paul Murphy continues to champion little known producers and previously unheard artists. Over the past 12 months, the label has showcased material from rising talents such as Bella Figura, Simon Peter, Paraiso and Oma & Amberflame. Now, Claremont 56 is adding another new name to the roster: Statues. Essex-based trio Bradley Lucke (production / bass / percussion / keys), Mark Crooks (keys / production) and Grant Carruthers (vocals / guitar) has been making music on-and-off together since they were teenagers, and last year decided to come together under the Statues alias. They submitted a number of demos to Paul Murphy, who was so impressed by what he heard that he offered to help produce and write an album with them. As debut singles go, “Alaula” is stunning. Reminiscent of many softly spun moments from the Claremont 56 back catalogue, it builds slowly and breezily via subtle waves of organic and electronic instrumentation. Carruthers’ impassioned vocals pop in and out of the mix at opportune moments, peeping above alluring acoustic guitar, bass, synthesizer and Rhodes parts. Throw in tumbling, life-affirming piano lines and swelling cello parts – both provided by friend-of- the-family Robin Lee of Faze Action – and you’ve got another nearperfect chunk of sunset-friendly, horizontal brilliance. On the flip, Murphy dons his familiar Mudd alias to provide a superb Piano Dub. Building the action around a sparse, delay-laden percussion track, Murphy teases out the track’s most potent moments, in the process creating something that lingers even longer in the memory. Lee’s superb piano and cello work naturally takes pride of place, as Murphy expertly emphasizes the track’s impeccably atmospheric nature.


Patrick says: How good is this? Newcomers Statues touch down on the inimitable Claremont 56 with a steady grooving Balearic beauty alive with frazzled guitars, delicate piano and jazzy synth licks. On the flipside, Claremont kingpin Paul Murphy dons his Mudd alias for a humid dub mix with plenty of piano and tumbling tropical percussion.

Some believe that the environment in which you make music - from the studio space, to the location itself - has a profound effect on the creative process. Immerse yourself in the world around you, the theory goes, and it will shape the music you make.

Listen to 'Gorthleck', the third album from veteran downtempo alchemists Benjamin Smith and Paul ‘Mudd’ Murphy, and you can almost visualise the craggy, windswept and breathtakingly beautiful environment in which it was made.

Reconvening after a near seven-year hiatus last summer, the duo headed up to the Scottish Highlands to spend a week recording in the surrounds of Gorthleck House, nestled on the shore of Loch Mhor in Inverness-shire. Earlier this year, they returned to the same venue, with its’ stunning views of the tranquil loch and rocky, wooded hills rising in the distance, to complete the nine-track set.

Certainly, the immersive environment and famously changeable weather seems to have inspired the longtime friends and studio partners. The album’s epic centrepiece, the nine-minute “Mhor”, sounds like an emotional love letter to the body of water they strolled alongside every day. Its undulating synthesizer line - reminiscent of classic Tangerine Dream and the Orb’s “A Huge Ever Growing Pulsating Brain” - mimics the slow ebb and flow of water across the loch, while Smith’s shimmering guitar lines mimic the glint of sunlight reflecting off the surface.

Elsewhere, the audio references are a little more subtle, but no less relevant. The hazy jazz guitars, twinkling pianos, rich grooves and fluttering clarinets of “Nether” sound like the perfect accompaniment to a single malt whisky-fuelled sunset session at the water’s edge, while the quietly foreboding aural textures, layered guitars and urgent electric violin of “Enos” evoke memories of watching storm clouds gathering behind distant Highland mountains.

The same could be said of “Mr Coats” - a track arranged in steamy Mexico, and blessed with all the humidity you’d expect from such an excursion - while you can hear gale force winds whistling around the rafters on “Dogwood”. As for “Errogie”, it’s as bracing as a crystal clear morning in the Highlands; chilly, but hugely life affirming.

The duo’s previous two albums, 2007’s 'Blue River' and its 2009 follow-up, 'Le Suivant', were both hugely evocative, but neither captured a distinct a sense of time and place quite like 'Gorthleck'. Listen carefully, and you could almost be there with them, watching the sunrise and sunset.


CD Info: Limited edition - individually numbered.

What happens when you take a track by a British power trio heavily influenced by blues and psychedelia, and get a master of wayward, left-of-centre Balearica to remix it? That’s the premise behind Claremont 56’s latest vinyl outing, which features Magic Feet Recordings boss Craig Bratley delivering a pair of druggy, spaced-out interpretations of “Better Man”, one of the more laidback outings from fast-rising rock combo Bella Figura.

The trio, comprised of Justin Gartry, Mikey Cooper and Jack Morford, have gigged tirelessly since joining forces a few years back, enhancing their reputation via a series of self-released EPs notable for their heavy grooves, bluesy guitar arrangements and Gartry’s gravelly, emotion-packed vocals. Even so, their work - as atmospheric as it is - has never sounded this cosmic.

Craig Bratley has previous in this regard. His solo releases for Is It Balearic, Bird Scarer and, most recently, Tsuba, tend towards the druggy, unusual and atmospheric, while his Magic Feet imprint has become renowned for its unique blends of slo-mo wonkiness and off-kilter, early morning Balearica.

He handles the poignant “Better Man” with great care, delivering vocal and instrumental interpretations doused in delay and reverb, with occasional bursts of white noise and deep space electronics enhancing the horizontal, smacked-out mood. There are notable beats – sparse, slow and dubbed out – but these are almost drowned out by Gartry’s reverb-drenched guitars and Cooper’s booming, pitched-down bassline. This is emotionally raw rock music dragged through a K-hole backwards, reappearing somewhere the other side of Jupiter. It’s a trip worth taking.

Simon Peter makes his Claremont 56 debut with a joyous slice of languid, organic Balearica entitled "Arc Of Lark". The young musician made his debut in February 2014 with the "Double Up EP" on Silhouette Music, which contained the shimmering nu-Balearic disco of “Espacio Temporal”. While that was laden with sun-kissed synthesizers, “Arc of Lark” is a much more organic affair. Blissful electric piano keys, hazy guitars and fluttering flutes cascade over an undulating live bassline and shuffling, bongo-laden beats. Warm and humid, it’s a slice of audible sunshine to brighten up the grim winter months.Long-time friends of the family 40 Thieves handle remix duties, turning Simon Peter’s picturesque original into an effects-laden chunk of slo-mo dub disco goodness. 40 Thieves member Layne Fox loved the track so much that he’s also contributed an additional remix that focues the action around a loose, languid, dub reggae influenced groove, spiralling electronics and Peter’s mesmerizing flute line. It’s a fitting conclusion to a magical label debut.

You'd be forgiven for not knowing the newest addition to the slowly expanding Claremont 56 roster. You see, there’s been no recorded output from German combo Bambi Davidson since the release of their largely overlooked “minimal post-rock” debut album, 'El Faco', in 2000. Until now, that is. Following the release of their debut set, founder members Robin van Velzen (guitar / vocals) and Hans Christian Fuss (drums) became frustrated with their lot. Bored with “rocking out” as a two-piece, they decided to start inviting other musicians to join them on stage. That meant that each performance was unique, with new tunes - often improvised on the spot - being developed for, or at, every gig. It’s an approach that frequently paid dividends. One particular collaborative gig, with Frank Mollena (most famous for his involvement with fellow German rock outfit Mountaineer) and Sofia Fuss, went so well that both were asked to become permanent members of the band.

It was at this point that the newly expanded four piece Bambi Davidson finally headed back into the studio to record a new album, some 15 years after they’d recorded their debut. As you’d expect with a new line-up, things are a bit different this time round. Whereas 'El Flaco' was a stripped-back affair with most tracks featuring just guitar, drums and vocals, Bambi Davidson features additional bass, electronics and keys provided by Frank and Sophia. The result is an expansive but atmospheric album built around sensual, undulating grooves, gentle sun-kissed melodies, lilting pedal steel and woozy, dub-influenced production. Often magical and always immersive, the six tracks that make up 'Brunswick' are delightfully contrary. While pleasingly accessible and capable of inducing broad smiles on the first listen, each carefully considered, drawn-out composition reveals more intricate layers on each listen. This is particularly true of “Foxhunting” - reminiscent of fellow Claremont 56 act Bison, and as a result of similar sonic influences - and opener "Brunswick". Arguably the album's high point, the latter offers a 13 minute-long shuffle through Balearic post-rock territory with Van Velzen’s weary, emotional vocals riding a wave of vibrant colours. Hazy, intoxicating and evocative, it sounds like a horizontal anthem in the making. There are plenty of other highlights, too, from the hypnotic, pitched-down dub-disco-meets-Balearic rock shuffle of "Cattle", to the low-slung krautrock revivalism of "Artist", and the touchy-feely rhythms and stargazing chords of “Hubble”, the four-piece’s most intergalactic cut yet. Give it time, and we guarantee that you’ll fall in love with Bambi Davidson as much as we have.

Back in 2012, a 12” slipped out with little fanfare that introduced a new transatlantic trio: Paqua. That record, the hazy, low-slung psychedelic rock masterpiece ‘Dinosaur Zappa’ was merely a taster; a year later, the trio followed it up with ‘Late Train’, a dub-soaked Balearic rock chugger that went on to become an anthem at open-air parties around the globe.

Three years on from announcing their attentions, Paqua are ready to unveil their debut album, 'Akaliko', a Buddhist word meaning “timeless”. It’s an apt description for an album that bristles with sun-kissed beauty, fuzzy guitars, impeccable instrumentation and far-sighted late night charm. It is, in essence, a perfect fusion of the renowned styles of its creators, British DJ / producer Paul Murphy (AKA Mudd, famed for his deliciously Balearic compositions for Rong Music and his own Claremont 56 label), longtime collaborator Alex Searle, and Quinn Luke from New York’s Phenomenal Handclap Band, an act renowned for their funk-fuelled, flash-fried take on cosmic disco-inspired rock. With these three at the helm, you’re in safe hands.

The supporting musical cast includes Phenomenal Handclap Band drummer Patrick Wood, percussionist Patrick Dawes (famed for his work with Groove Armada), and Faze Action’s Robin Lee, who provides cello on a number of tracks. It’s a thoroughbred consortium that helps provide 'Akaliko' with a textured musical richness that’s never less than intoxicating.

Across the album’s eight tracks, Paqua run through a range of styles, from the Latin-influenced shuffle of ‘These Things Will Come’ and disco-flecked dancefloor stormer ‘Ruby Running Faker’, to the blissful Balearic rock shuffle of ‘We Are What We Are’ and stoned dub-rock-disco shuffle of the title track, which builds in layers towards a breathless climax. The band’s two acclaimed singles, ‘Dinosaur Zappa’ and ‘Late Train’, sound as resplendent as ever amidst such heady sounds.

Those who’ve been waiting for 'Akaliko' won’t be disappointed. If you’ve yet to succumb to Paqua’s charms, dive straight in - it is timeless, after all.


Patrick says: I can't exactly place where I was when I first heard "The Visitor"; was it Wonderland Avenue in June 1975? San Antonio in the balmy autumn of 86? No, it was the inner city gloom of Ancoats during the wet Mancunian spring of 2012, and it sounded truly sublime. In the intervening two years the transatlantic supergroup naturally took it easy, drip feeding us the stunning double A-side "Late Train” / “We Are What We Are" before finally claiming the summer as their own with the languid fuzz of “Akaliko”. Appropriately taking the Buddhist word for "Timeless" as an album title, Paqua casually combined the laid back strum of Laurel Canyon, the overdriven growl of stadium psych and the warm haze of the Balearic mañana. This was the summer Piccadilly grew its hair long and rolled in the tall grass, and there was no more fitting soundtrack than the Paqua's loved up grooves.

Having always done well with Claremont 56 releases, label boss Paul 'Mudd' Murphy's idea of a series of CD compilations from lesser known, perhaps more underground and unsung DJs seemed like an inspired idea here at Piccadilly Records. Especially as the whole shebang would kick off with a selection from the coveted record bags of local Balearic (bæliˈærɨk) reprobates Moonboots and Balearic Mike (he's so Balearic they named a Spanish archipelago after him...).

Since that 2008 opener Paul has hit us with comps from Mark Seven, Sean P, Matthew Burgess & Jolyon Green, Felix Dickinson, Phil Mison, Rong Music, Lexx, Yozo and Alex From Tokyo. All the DJs involved have dug deep in their collections, bringing us a diverse range of music loosely covered by the catch-all Balearic umbrella; disco, boogie, bossa nova, psyh-rock, jazz-funk, new age, house, downbeat, cosmic, pop... All have become Piccadilly favourites, being played on the shop CD player for the few weeks we still have copies (each release has sold out faster than the proverbial hot cake), and having us nerdy spotters checking Discogs for originals of the tracks, only to decide, after clocking the prices, that a CD compilation will do just fine thank-you very much.

Now we get the 'Originals 2008-2013 - Vinyl Box Set', which features two of the best tracks from each CD release - 20 in all (yep, even I can do the math), quelling the need to empty our Paypal accounts chasing vintage 12"s. Needless to say Claremont 56 have gone to town on the packaging of this box set, with five colour-coded gatefold sleeves housing each 12" (featuring new writing from each participating 'Originals' selector), and the whole lot in an embossed outer heavyweight BLACK cardboard slipcase. Mmm, nice.

We've already sold over 100 copies of this box set (which is all gone at Claremont 56 already), so you'll need to get your skates on if you want one.


12" Box Set Info: 5x12" box set. 5 12"s in gatefold sleeves housed in a black thick card box with a hot foil Originals logo embossed on the front. 1000 copies only.

Out of the cultural milieu that thrived and survived in downtown Manhattan circa 1980 came a musical group whose aesthetic was fun, funky, bold and smart. Female fronted, of its time but out of time, technically adept, purposely naive, conscious but not self-conscious. Dog Eat Dog embodied the best of what came out of that particular time and place along with fellow travellers; DNA, ESG, Liquid Liquid and Sonic Youth - they embraced a sound that was uniquely their own without apologies or regrets but most importantly without pretension or calculation. Writing songs and performing for only three years the band never released a record but still they produced some of the most vital & representational studio and live recordings from this period. That’s why after almost 30 years Dog Eat Dog’s music not only stands the test of time but also instructs the next generation of performers in a brighter, deeper approach to making music.


LP Info: Limited white vinyl pressing featuring original Keith Haring artwork printed on 350gsm card sleeve. All hand-numbered. 500 copies only.

CD Info: CD includes three bonus tracks.

FreshRo! / Apiento & Co

Pacific State / Under Open Skies

This is a little clear vinyl 7" beauty from Claremont 56 - a quick Balearic snifter before the summer vanishes. The first side features LA-based FreshRo! (Rong Music) who presents us with the drifting synth / violin-led summer gem "Pacific State" (no, not that one) that is reminiscent of Loggins & Messina. The flip side sees Apiento & Co (Paul Bryne from the Test pressing blog) layering up guitars in a Steve Reich / Manuel Gottsching style which will sure get the goosebumps going. "Under Open Skies" has such a light, ephemeral feel to it that's hard to believe the track has actually been captured and put on wax. Catch it while you can!

Bison return with their second single for Claremont 56, "Soup Fiction". The track is a slow dirty funky druggy Balearic rock groover enlivened by the vocals of Liquid Liquid front man Sal P. In fact, with its guitar shards and funky chugging rhythm, it's how you'd imagine a pre-punk Liquid Liquid to sound! Also includes and instrumental on the flip for the vocally-phobic.

Latest Pre-Sales


Ahead of stocktaking next week, we've had a tidy up. Loads of one off warehouse finds here: Don't snooze!
Fri 23rd - 12:11
Laura says: My album of the week this week! Gorgeous cosmic Americana. As much lazy Summer sunshine listening as it…
Fri 23rd - 10:53
RT @Sinkyateeth: DEBUT ALBUM out 1st June!! Pre-order VINYL or CD here:
Thu 22nd - 12:00
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