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

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

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

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


What We Tellin' Them / Lucas Valley Drive

Josh Praus has been involved in San Francisco’s Bay Area scene for the last two decades. A prolific collector and player of records, "What We Tellin’ Them" marks his first public outing as a producer. As debuts go, it’s pretty darn impressive. Praus has been working hard in the studio over the last three years, creating tracks that draw influence from a wide range of styles and artists. He cites “downtempo, disco, house, Italo and techno” as major inspirations, and listeners may hear elements from all of these disparate styles on this assured, confident EP. Some may hear echoes of the trippy, tribal-influenced house sound of Siesta and Tango Recordings in the dense, drum-heavy shuffle of “What We Tellin’ Them”, while others may find comparisons with African rhythm tracks and hypnotic, late night techno. However you frame it, “What We Tellin’ Them” is an impressively percussive, mid-tempo workout designed to tease and titillate late night dancefloors. Flipside “Lucas Valley Dr”, featuring the dreamy, freestyle vocals of experienced San Fran singer Nina Lares, couldn’t be more different. Sparse, synthesizer-driven and undeniably intoxicating, it seemingly channels the spirit of both dubbed-out West Coast deep house, and the similarly delayladen New York proto-house of Winston Jones and Paul Simpson. Throw in clear Italo-disco and Chicken Lips influences, and you’ve got something that’s undeniably magical. Both tracks were produced by Josh Praus at his home studio, with additional production, mixing and mastering by friend Layne Fox, best known as part of regular Leng contributors 40 Thieves.


Patrick says: San Fran man Josh Praus makes his 12" debut with two low slung and hypnotic slices of deep, dubby, disco house on Leng. Falling somewhere between a vintage DFA cut and Afro-cosmic, this should get the dancefloor dancing like zombies whatever the time of year.

Earthboogie’s debut album, "Human Call", rightly earned praise on its release earlier in the year, with listeners responding positively to its sticky and humid dancefloor fusions of African and South American rhythms, chunky dub disco, retro-futurist house, spacey analogue electronics and sun-kissed Balearica. Hot on the heels of that release, Leng Records has sourced new remixes of two album highlights – “High Minded Man” and “Silken Moon” – from Running Back label boss Gerd Janson and synthesizer-wielding Balearic boogie stalwart Pete Herbert. It’s Janson who steps up first, offering up two total overhauls of “High Minded Man” that re-cast the undulating, Afro-fired original as a dreamy, drum machine-driven chunks of vintage deep house goodness.
Where Earthboogie’s album version bobbed and weaved around horns and live bass, Janson’s Deep House Mix places the duo’s original chanted vocals above a bouncy, polyrhythmic rhythm track, Larry Heard style chords, Kwaito-esque electronic bleeps and a smooth, soul-stroking bassline. Janson’s Deep House Dub, which strips out the vocal for a more sparse and ethereal listening experience, is also included on the EP. The EP’s other remix comes from sometime Reverso 68 member Pete Herbert, who gets his mitts on previous single “Silken Moon”. While he retains some key elements from Earthboogie’s original – specifically the vocals, Afro guitars and house stabs – he naturally adds a little of his own rubbery electronic disco flavour via spacey synthesizer flourishes and a massive electronic bassline that brilliantly tracks the rising and falling movement of the main melody. It has the feel of a terrace anthem in the making


Matt says: Gerd continues his near perfect path through house music's dense foliage. This one conjuring up tribal tinged, florescent-lit dances under exotic canopies and thick palms.

Lay-Far & Phil Gerus

Solitary High Social Club

Two of Russian electronic music’s rising stars, Phil Gerus and Alexander Lay-Far, invite you to join them at the Solitary High Social Club. While table service is provided, they’d much rather you throw caution to the wind and head to the dancefloor.

Before joining forces in the studio, both Moscow-based musicians have delivered a string of memorable solo productions. Lay-Far has previously released a wealth of material on such labels as Local Talk, City Fly, Lazy Days and 4Lux Black, while synthesizer fetishist Gerus has showcased his electrofunk and disco-fired cuts on Futureboogie Recordings, Sonar Kollektiv, Public Release and Superior Elevation Records.

The five tracks that make up Solitary High Social Club deliver a perfect marriage of the two producers’ distinctive solo styles, combining the rich musicality of Lay-Far’s house productions with the spacey, intergalactic electronics of Gerus’s discoid adventures. In many ways, it’s a marriage made in heaven – or in Lay-Far’s celebrated In-Beat-Ween Studio, at least.

The duo’s spacey and melodious musical fusion is arguably best exemplified by lead cut “City 2 City, Star 2 Star”, a widescreen, mid-tempo disco epic rich in tactile Rhodes riffs, supernova synth solos, delay-laden drum beats, tumbling melody lines and heavy analogue bass. Fittingly, the track returns in “Reprise” form – think sweeping, weightless ambient bliss – to round off the EP.

Elsewhere, the duo provides further proof of their combined musical talents. Check, for example, the gentle drum machine electro beats, cascading new age melodies and sparkling, stretched-out synthesizer chords of the impeccably beautiful “Am I Tripping”, or the devilishly percussive, mind-altering brilliance of “Love Life”, where mutant electro bass, wide-eyed chords and alien melodies rise above a heavy, Afro-influenced groove.

As for “Snowflakes On Her Lips”, you’ll struggle to find a more confident and positive dancefloor workout all year. Blessed with killer piano parts, darting analogue synth-bass and a range of disco-tinged musical flourishes, it’s by far and away the most celebratory moment on an already happy-go-lucky EP. It confirms, too, our initial hunch: at the Solitary High Social Club, life is always good. 


Patrick says: On the eve of the World Cup, Leng line up two of Russia's hottest producers for a 5 tracker of smooth grooving dance music flavoured by funk, boogie and disco.

It’s rare to come across a debut album that delights and surprises in equal measure, but that’s exactly what you can expect from Human Call, the first full-length excursion from daydreaming dancefloor fusionists Earthboogie.

The East London-based duo of Izaak Gray and Nicola Robinson has previous form when it comes to creating beautiful, funk-fuelled fusions of soundsystem-ready rhythms, humid instrumentation and intergalactic audio explorations. To date, they’ve released a pair of fine EPs on Leng, both of which did a splendid job in showcasing their unique musical vision.

Even so, this vision has never been clearer than it is on Human Call, a vibrant eight-track missive that fixes the sticky tropical cheeriness of African and South American dance music – be it Afro-disco, Afro-funk or samba – with a wide range of complimentary sounds, styles and influences, from spacey analogue electronics, sun-kissed Balearica and hazy West Coast jazz-rock, to chunky dub disco, snappy retro-futurist house and bouncy, dub-fuelled club workouts.

Throughout, Gray and Robinson showcase an impressive level of musicianship, variously combining crunchy drum machine hits and dusty old synthesizers with razor-sharp electric and acoustic guitars, rich bass, cascading saxophone solos and hazy, life-affirming vocal harmonies.

The result is a string of memorable highlights, from the sticky tropical-house-meets-dub disco futurism of “Human Call” and fuzzy disco-funk righteousness of opener “Overground”, to the post-punk disco jauntiness of “Stargazing” and samba-infused dancefloor bliss of Nina Miranda collaboration “Silken Moon”. Cheery, absorbing, imaginative and hugely entertaining, Human Call offers a perfect snapshot of Earthboogie’s distinctive musical world. 


Mushrooms Project and Earthboogie selected a track from each others recent catalogue with a view to reinterpret the original in their own style. Mushrooms Project are known for their sleazy mid-tempo laid-back style and Earthboogie are making a name for themselves with their African inspired dancefloor productions. Here these two approaches collide with great effect.

Turkish mystery man Ali Kuru is fast becoming one of Leng's go-to artists. Since joining the label in early 2016, he's released two superb EPs, with a debut album of evocative musical blends due to drop later this spring. Ahead of that momentous occasion, Leng Records has decided to hand over the parts to a clutch of Kuru's tracks to a handpicked team of remixers. Predictably, all have delivered, serving up versions that retain the essence of Kuru's atmospheric productions, whilst taking the tracks in a variety of beguiling new directions. First to feature are cosmic disco pioneer Daniele Baldelli and production partner Dario Piana, fresh from dropping an inspired EP of their own on Leng. Their version of "Ashoka" successfully wraps feverish Persian instrumentation and vintage synthesizer chords around a rock-solid rhythm track and bold electronic bassline. The result is not so much 'Afro-cosmic', as 'Arabic-cosmic'. Next up is long time friend of the label Craig Bratley, whose hypnotic, chugging interpretation of "Zurna" - all crispy snares, dubbed-out electronic motifs, exotic vocals and snaking lead lines - recalls the finest moments on his essential Magic Feet label. On the flip, you'll find a pair of revisions from artists who made their name on Multi Culti, a label specializing in the kind of global dancefloor fusions that are near impossible to pigeonhole. First up is Nicola Cruz, who successfully transforms "Return To Paradise" via an intoxicating blend of loose cumbia rhythms, dub bass, lilting guitar lines and deep space effects. If Ali Kuru met Adrian Sherwood in Columbia for a jam session, it would probably sound a little like Cruz's fabulous rework. Peter Power travels further towards the atmospheric depths on his version of "Lost Bedouin". More horizontal and clandestine in town, the producer makes great use of Kuru's haunting flute lines and evocative field recordings. The resultant remix is gentle in tone and tempo, but also ethereal in its' druggy, early morning outlook. Like the other three tracks, it's a very fine remix. Top stuff here from Leng, Kuru and crew.

Over the years, Phil Mison has become the go-to selector for those looking for Ibiza-themed compilations. None of his previous collections, though, have been quite as personal as "Out Of The Blue", a compilation inspired by his first spell behind the decks at the Cafe Del Mar in 1993 - and the remarkable chain of events leading up to it.
Mison made his first trip to Ibiza in the summer of 1991 and quickly fell in love with the magical music being played by Cafe Del Mar resident DJ, Jose Padilla. On his return to the UK, Mison began to cultivate his own take on the laidback, open-minded style, recording mix-tapes of "Ibiza style chill out" tunes to give to friends. In November 1992, Mison was hanging out in Tag Records, Soho, when Padilla walked in. He plucked up the courage to speak to the Spaniard because earlier that summer Mison had given one of his friends some tapes to take out to Jose in Ibiza so he wanted to see if he had got them. During the conversation Mison invited him down to his next DJ set at Nicky Holloway's club, the Milk Bar and less than three months later, and clearly impressed by what he'd heard on the tapes, Padilla invited Mison to fill in for him at the Cafe Del Mar, beginning in April '93.
It's that first trip to DJ in Ibiza - a crazy six-weeks spent dividing his time between spinning records at Cafe Del Mar, hanging out in Jose Padilla's house in the hills, and meeting some particularly eccentric White Isle residents - that proved the inspiration for "Out Of The Blue". The compilation contains a mixture of records that Mison played in his earliest Ibiza sets, those that remind him of that period, and recent discoveries that boast a similarly warm, loved-up vibe. Mison is at pains to point out that it's not a track-for-track representation of his first sets, but rather a collection inspired by this most momentous of experiences. As you'd expect from a selector of Phil Mison's standing, "Out Of The Blue" is an outstanding collection. Some will no doubt hear the influence of his mentor - the man he credits with effectively turning his DJing career around - in the undulating rhythms and new age melodies of Kamasutra's "Sugar Step", the meandering synthesizer solos and Spanish language vocals of Congarilla's sublime "Sacred Tree", and the lilting flamenco guitars of "Gambarra", an unreleased mix from Mison's popular Cantoma project. Elsewhere, listeners can marvel at the starry ambient bliss of Belgian legend Frank De Wulf's "The End", recline to the saucer-eyed fusion jazz of the Christoph Spendel Group, shuffle along to tactile, hard-to-find period deep house from Language, Moodswings and Don Carlos, and marvel at The Cactus Rose Project's ridiculously rare "Jelly", a sparkling, disco-era jazz-rock outing partly inspired by the Doobie Brothers' "Long Train Running".
"Out Of The Blue" may well be a very personal selection of tracks celebrating a moment in time, but it's happily one that we can all enjoy for many years to come.


Patrick says: Compilation of the year from Balearic maestro Phil Mison covering the rare gems which sparkled in his legendary Cafe Del Mar sets. Not only is this an all killer, no filler affair, but it's around £1798 cheaper than picking up the originals so there's plenty of bang for your Balearic buck...

Despite a discography that stretches right back to the late noughties, little is known about Turkish producer Ali Kuru. Perhaps he’s publicity shy, or simply wants to let his music do the talking; either way, the music is as magical as the man is mythical. The keen-eared should recognise Kuru from last year's Leng 12", which boasted two typically exotic and fragrant tracks, both of which effortlessly joined the dots between dub disco, hazy house, gentle downtempo movements and snaking, Middle Eastern instrumentation. Here, the Istanbul native further explores his unique musical perspective, serving up a quartet of tracks that eschew easy categorization. Twittering birds, throbbing dub basslines, crisp hip-hop beats, trippy vocal samples, and distant chimes combine on the moody “Mandari”, while “Causa” peppers a jangling, acoustic guitar-laden loop-groove with fluttering flutes, deep space electronics and rolling hand percussion. On the flip, his more exotic musical inspirations return to the fore. There’s “Zurna” – the musical equivalent of a panicked dash through a bustling late night market full of drunken jazz drummers, metronomic groove merchants and snake-charming pungi players – and the low-slung stomp of “Avaz”. Here, sampled vocal chants and Bollywood-inspired instrumentation wind their way around a rubbery bassline and handclap-heavy rhythm track. If there was such a thing as Turkish-Hindi jazzdance – and maybe there should be – then this would be a guaranteed floorfiller. All four tracks offer further glimpses into Ali Kuru’s fertile imagination. It’s the perfect teaser for the Turkish producer’s debut album, soon to see the light of day. 


Patrick says: Ali Kuru whets our collective appetite for his imminent album with four off-beat excursions into the loose and swinging exotica of his unique imagination. Middle Eastern flavours and blasts of Bollywood dance into the distance on this intoxicating disc.

There’s much to be said for chance meetings. Vitruvians – in their words, “a meeting of minds, cultures, styles and experiences, powered by music, and designed by faith” – owe their very existence to once such random encounter. In the summer of 2014, producers Frankie Valentine and Thomas “T-Ash” Sciurpa bumped into each other in a London shoe shop. Over a fine selection of brogues and loafers, the conversation drifted onto music. The duo quickly realized they had much in common, and a plan began to form: they would get together and make music as Vitruvians, using the alias as a vehicle for their collaborative work. Some 18 months and numerous recording sessions in England and Italy later, the first Vitruvians record is ready for release. Dropping on Paul Murphy and Simon Purnell’s Leng Records imprint, “Spaghetti Saloon” is a banjo-pickin’ hoedown at the last drinking hole in the Milky Way. Propelled forwards by a restless drum machine rhythm, the duo’s original version expertly combines winding synthesizer melodies, wild honky-tonk piano solos, clanging ‘closing time’ bells, and the most loved-up banjo player in the galaxy. Ennio Morricone, eat your heart out.
The flipside of the 12” features a pair of tasty, DJ-friendly revisions. There’s the chugging Banjo Dub, where delay-laden bells and undulating banjo lines rub shoulders with a throbbing, space disco groove, and the even more psychedelic and alluring Piano Dub. As the title suggests, this pushes the duo’s distinctive keys work to the fore, stretching out the life affirming solos in a bid to incite even greater dancefloor abandon. Down a glass of bourbon, grab a partner, and get dancin’.

Quarry Hollow

The Path Of Tranquility / Masons Arm

Few parents while away time at the school gates discussing analogue synthesizers, dusty drum machines, and obscure old records. Then again, few parents are quite as musically decorated as Mark Evetts and Stuart Hobbs.

Evetts, of course, has carved out a successful career as a globetrotting DJ / producer under the Mark E alias, delivering a string of killer albums and singles on such esteemed labels as Running Back, Spectral Sound, Golf Channel Recordings, ESP Institute and his own Merc imprint. As for Glasgow-raised Hobbs, he currently works as a producer out of his own SHONK studio in Oxford, having previously co-owned Crash Records in Glasgow, and appeared in all manner of weird and wonderful bands alongside former members of Teenage Fanclub, Superstar, Ride and Candyskins.

As the duo got to know each other – and their shared musical interests – while waiting to pick up their respective five year-old daughters from school, a plan began to form. They’d get together in the studio to have some fun, indulging in “an eclectic groove-driven forage into the wonky playing of first takes”. They decided nothing was off limits except “the formula”. Thus, Quarry Hollow was born.

The first results of their musical partnership are presented on this fine debut EP for Leng. It’s a deliciously warm, fuzzy and off-kilter exploration that touches on numerous musical styles, whilst developing an endearing loose mix of krautrock guitars, heavy dub basslines, bongo-laden percussion and fluttering synthesizer lines.

“The Path Of Tranquility”, the EP’s triumphant title track, sounds like an unlikely jam session between Tangerine Dream, Terry Riley, Can and The Idjut Boys - all picturesque synthesizer lines, attractive cyclical melodies, fuzzy guitar textures and rolling, organic percussion. It’s utterly sublime.

“Long Slide” takes a drowsy, high-grade fuelled trip into Balearic dub territory, with aquatic funk guitars drifting in and out of a mix that wisely emphasizes the duo’s heavyweight bass, live percussion and ghostly synthesizers. “Masons Arms”, on the other hand, tips a wink to low-slung post-punk rock, whilst at the same time maintaining one eye on the dancefloor via restless percussion, Doors-style organ riffs and hazy, psychedelic electronics.

Formula-free music from the margins: what’s not to like?

Ali Kuru

Luna / Araf

Leng start the new year with a perfectly on trend hit of dancefloor mysticism from mysterious Turkish producer Ali Kuru. Not much is known about the Istanbul native, but the music he produces draws heavily on the east-meets-west heritage of his home city. We're dancing in outer space right from the off on this disc, as Ali takes a deep hit of Frank Herbert's melange and draws us into the centre of "Luna"'s potent psychedelic swirl. The shoulder rolling, head nodding rhythm leaves us no option but to move, while the looped guitar, fx-drenched saz and melting soundscape overwhelm the senses with a opiated haze - far out! Over on the flip, "Araf" sees Ali working a chunky guitar riff, disjointed rhythm and sci fi bleep with pitchy female vocals and a deep bassline to deliver a long lost Arabian relative of Visti & Meyland's massive "All Night Long". Haunting vocals, a shifting soundscape and crunching beats come together into the perfect soundtrack for the late night dancefloor.

So here it is, after three years, three albums and all manner of musical incantations we're ready to embark on the final leg of this 'Magik' journey. Starting with the redolent psychedelia of the dancefloor leaning "Magik Cyrkles" in 2012, Danny and Tom have led us around the globe, through different seasons and feelings, be it the deep calm of "Magik Sunrise" or the atmospheric beauty of the opening chapter of their "Magik Sunset". Now we stand poised on the edge of forever, ready for these sonic shamans to turn day into night through thirteen otherworldly, unheard and deeply obscure selections. We head for the depths of the musical universe from the off, transported to a distant dimension on the wings of the previously unreleased "In Search Of Atlantis", a mindblowing electronic symphony from Edinburgh composer John Keating. Germany's Orchester Ambros Seelos and France's Plaisirs Erotiques keep things cosmic but inject a hefty helping of funk into proceedings before Danny & Tom hit us with the mighty (and pricey) "Young Freedom" from the one and only Francis Lai. This cinematic groover gives way to the glam slam of a vocoded Neue Deutsche Welle cut from Glenn, before our digging duo pluck another pearl off Jack Adkins rare as rocking horse shit "American Sunset" LP to kick off the second disc. We find ourselves sipping cocktails by the pool to the organic fusion of the Instrumental Group Cabas, before Frederic Castel hits us with the emotive AOR of "Open Up". The Electric Connection supply a counterpoint to the vocoded disco of "Groovy" from "Magik Sunset Part One" with "Cry Of The Lone Wolf" while Fabio Fabor blisses us out with the naive melodies of "Idolo Moresco". Harking back to the weirdo disco of Magik Cyrkles, The Primates' "King Kong" provides a slow, psychedelic groove perfect for any Wolf Muller fans, while the Tony Sinclair Orchestra's "Walkin' Through The Night" is a superlative slice of AOR disco with one hell of a low slung groove. As the sun dips below the horizon, Psychemagik leave us "Far Away" from where we started, drifting along the beach to the tropical strains of the Trepidant's cod reggae.  


Philippa says: So here it is, after three years, three albums and all manner of musical incantations, we're ready to embark on the final leg of this 'Magik' journey. Since 2012 Danny and Tom have led us around the globe, through different seasons and feelings, be it the deep calm of ‘Magik Sunrise’ or the atmospheric beauty of the opening chapter of their ‘Magik Sunset’. Now we stand poised on the edge of forever, ready for these sonic shamen to turn day into night through thirteen otherworldly, unheard and deeply obscure selections.


2xCD Info: Includes mix CD and unmixed CD.

Psychemagik slip on their technicolour dreamcoats, step into their cowboy boots and casually stroll into the party with the final chapter in their sublime 'Magik' series. This compilation may have been a year in the making on paper, but in reality it marks the culmination of a lifetime of exploration, excavation and expeditions into the deep and distant musical landscape of limited releases, private presses and long lost curios. Due to an incredible response from the artists contacted, Danny and Tom got all their Christmas wishes, and enough material for two compilations instead of one. So here's the first volume of "Magik Sunset".

Perfectly programmed to take you from the horizontal calm of the late afternoon to the energetic anticipation of the evening ahead, "Magik Sunset (Part One)" traverses from the calm folk stylings of the first disc to the synthier, proggier and dubbier side of the Balearic spectrum on sides C and D. Bobby Brown opens proceedings with the spoken word and sun-blushed smoothness of "My Hawaiian Home", before Kathy Stack's "Summer Wind" jumps out of its 82 private press home and blows us away. From there we're just floating on the gulf stream sampling the Dylan-esque soul of Mother Funk, the mountain music of the Nathan Perkins Band and the yacht approved jazz-funk of Crossesction and Majik. As we head into the second half of the session, Jake Hottell, Al Dos Band and P'Cock hit us with some proggy funk stylings before Terry Brooks & Strange trip us out with the dubby psychedelia of "High Flyer". Yet another flawless selection from Psychemagik, and this time it's only just begun.


2xCD Info: Includes DJ-mixed CD and unmixed CD.


Having wowed critics and crate-diggers alike with 2012's acclaimed "Magik Cyrkles" compilation, Psychemagik are now ready to unleash the follow-up, "Magik Sunrise", on Paul Murphy and Simon Purnell's Leng label.

Bristling with psychedelic, cosmic and curiously Balearic oddities hand-picked from the depths of their vast record collections, "Magik Sunrise" is, if anything, even more inspired that its predecessor.

For "Magik Sunrise", the Kent-based duo has dug even deeper into the dusty corners of their record vault, deep in the Cosmic Forest. The result is another inspired, 15-track collection that gleefully skips between all manner of forgotten gems and little-known nuggets, occasionally stopping to acclaim an otherwise unknown track or artist.

Off-kilter African reggae (Max Adioa) nestles side by side with eyes-closed deep-jazz funk (Rob Mehl, George Oban), while the stoned, Balearic prog rock of Jeff Liberman jostles for position with the Steve Miller Band-on-valium goodness of Fox's "The Juggler". Then there's the Roxy Music-ish grooves of Joey Newman, the drifting new age ambience of Iasos (whose "Formentera Sunset Clouds", from the 1975 album "Inter-Dimensional Music", is a highlight) and the folksy bliss of Yves Simon.

Artists originally ignored first time round, such as Daniel Mathieu, Cherubin, Susana Estrada and Steve & Teresa, are given a place in the spotlight. In fact, Leng spent a considerable amount of time tracking down each artist, allowing them to tell their stories, give the inside history of each track and relive their musical adventures - however previously obscure or overlooked. Their wares, from misty-eyed acoustic rock to slowed-down blue-eyed soul, sound sublime in Psychemagik's new setting.

As ever with Leng and Claremont 56, much attention has been paid to the artwork and packaging. Long-time Psychemagik collaborator, acclaimed illustrator Luke Insect, once again handles design duties. His illustration - part pagan, part medieval alchemy, part prog rock revivalism - effortlessly matches the wide-eyed mood of Psychemagik's brilliant selections.


Patrick says: To the clandestine online community of bearded middle aged men Psychemagik's digging credentials were already well evidenced through countless online mixes of obscure French pop, Middle Eastern disco and rare private press country. Their reputation grew with last year's magnificent ‘Magik Cyrkles’, which took us on a journey through a kaleidoscope of psychedelic funk and interplanetary disco and plenty of you came along for the ride. Indeed, that heady brew of nocturnal diversions rightfully earned itself a place in the top five comps last year and this time round Psychemagik FC have kicked on from the Champions League places and brought the title home.

If ‘Magik Cyrkles’ was born in the swelter of an exotic discotheque, clouded in the sweetly perfumed air, then ‘Magik Sunrise’ is the soundtrack to the morning after. The spiritual synths of the recently rediscovered sonic shaman Iasos gently bring you round on the white sand of a Mediterranean beach before Daniel Mathieu's optimistic pop kicks things off in earnest. What unfolds over the next hour or so is a delightful collection of lost gems that could each have been a classic in a parallel universe. From the allegorical groove of Rob Mehl's "House On The Rock", the world weary soul of Walter Hawkins' "Metropolis" and the soft rock bombast of Joey Newman's "The One You Love" to the bouncing reggae of Max Adioa, Danny and Tom never misstep. Jazz-funk instrumentals chime harmoniously with the bossa nova flutter of a Hawaiian press 45 as the duo keep on leading you down new and interesting avenues. The beauty of this collection is that it gifts you with so many new discoveries, whether it's Andy's virtuoso skills with an air bass or the painful fact that a Spanish girl will slap you if you ask her what "Gozame Ya" means. Despite our many musical differences (and Martin's innate distrust of anything too noodley) ‘Magik Sunrise’ has had us all grinning and grooving this year and it's been a pleasure to bask in its warmth.

Building on the success of their always essential edits 12"s, Psychemagik are back with the full length LP ‘Magik Cyrkles’, a new compilation for Leng Records.

As well as prolific producers, Psychemagik are also vinyl collectors at heart, a passion that has led them to be the go-to guys when other collectors are looking for that elusive piece of wax. Amongst their many happy customers are the now satisfied and influential names of Soulwax, Chemical Brothers, Lovefingers, Q-Tip, Fake Blood, Tom Middleton and Lord Finesse. This love of digging deep for those obscure and long lost vinyl gems is the basis of their new "Magik Cyrkles" compilation. The fruit of many years digging, the compilation is a snap shot of music you might hear in a Psychemagik DJ set down in the sweaty basement clubs of the world and in the big tops of the festival circuit.

The album takes its inspiration from all corners of the globe, travelling through psychedelic funk, cosmic disco, Balearica, Middle Eastern beats and beyond… The album features artwork designed and illustrated by acclaimed oddball image-mongerer Luke Insect, and comes with four new and exclusive Psychemagik edits.


2xCD Info: Includes unmixed and DJ mixed CDs.

The second LP release on Leng Records is the fourth from German band Mountaineer. On "The Real McQueen" they deliver a subtle blend of summer Balearic-pop and bossa-folk which comes across like some kind of Brazillian country lounge cocktail bar music.

Mountaineer started out life as the project of German singer/songwriter and Hamburg-based Henning Wandhoff. A few years and a number of band member changes later he found his perfect writing and recording partner, Frank Mollena. They are both multi-instrumentalists with Henning playing acoustic guitar, drums, congas, percussion and providing the vocals on "The Real McQueen" and Frank playing bass, keyboards, electric guitar and programming the drum machines. The band's recording line up was completed by Alexander Rischer and they set out to rejuvenate their collective love of the classic LPs from the late 60s and 70s. We'd also throw in comparisons with 80s bossa-tinted indie-pop outfits like EBTG, the Pale Fountains, Shack and the jingle-jangle of Lloyd Cole & the Commotions.

The male / female vocals work like a charm, with stunning lap steel work, easy drums and a whole host of other instruments making for a complex yet easy listening vibe. All twelve tracks leave their mark, yet come together beautifully as a whole. It's no surprise that Leng would choose artists that suit their sunshine roster and this album is the sound of the first morning you unzip your jacket on the walk to work.


Philippa says: One for fans of Shack etc!

Andy says: Great title!

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MASSIVE @PyeCornerAudio NEWS : Pye Corner Audio 'Hollow Earth' Preorder LIVE!
Tue 22nd - 3:09
Back in stock and in the ‘just in’ section on the website. 12” vinyl from @77_78_ and @TheOrielles via…
Tue 22nd - 11:10
The @sharonvanetten banner looking really good today. Her new album ‘Remind Me Tomorrow’ out now via @jagjaguwar
Tue 22nd - 10:57
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