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Great loud-pressed vinyl EP featuring a superlative selection of Brazilian boogie monsters from the early 80s. Opens with Brenda’s amazing modern funk club killer ‘Natureza Viva’, originally released on an impossible-to-find 7” and produced by Don Beto (of ‘Nossa Imaginação’ LP fame). Next is another great boogie cut ‘Alegria No Ar’ by Rosana plucked from her highly sought-after self-titled album released in 1983. Recorded with some of the best exponents of the early 80s Brazilian boogie scene including Jorjão from Banda Black Rio, Azymuth’s Mamão plus legendary duo Lincoln Olivetti and Robson Jorge, this is pure bass-heavy dancefloor dynamite. Flip over for the wonderful ‘Copacabana Sadia’ by Junior Mendes, a track also touched by the hand of the prolific Olivetti who was in charge of arrangement here producing an elegant slice of upbeat smooth jazz-funk. Title track of Mendes’ mega-rare 1982 LP, this cut simply oozes class. Last but not least is ‘Vem Fazer Glu-
Glu’ which takes the Earth, Wind and Fire classic ‘Let’s Groove’ and ramps up the Latino disco feel taking it to a whole new dimension.

MM Discos originally emerges from the passion of two friends who share the same fondness for records made just of vinyl, after years spent hunting, collecting and spinning them. This is driven by the intention of bringing to light the work of talented newcomer artists.

MM Discos is born with no musical prejudices whatsoever but undoubtedly influenced by a certain mix of genres in which one can identify, among others, Disco, Synth-Pop and Italo.

Our first track is a groovy Edit, produced back-to-back by notorious Akirahawks, Capo di Tutti I capi of the Berlin scene and House Mannequin's frontman, and Enzino, responsible of his own editions at Encino's Rec. and one of the most significant representatives of the Balearic sound around the world.

The second cut is brought to you by the enigmatic MSMCI, who has masterfully deployed all his skills to put together a killer House track drizzled with soft-spoken vocals that carries the listener to an evocative world of Daiquiris, palm trees and girls in bikini.

On the B-side, Marvin & Guy coming hard after a series of successes on Hivern Discs and Young Adults, combining Synth-pop and Italo crystalising in a Nordic 80's-influenced Edit ready to rock the dance floor.

And last but not least the ultimate Edit produced by Just John. The ineffable producer from JohnWaynes, well known for his works for Mule Music, Endless Flight and Let's Play House, delivers an inspired self-righteous hymn for Italo Disco ready to become and instant cult classic.

Various Artists

1 - FXHE 10 Year Mix CD

    FXHE going for the professional look on this killer mix CD celebrating a decade of operations. Stone-cold classics like "Oasis#13" and the Omar S remix of Gunnar Wendal's "578" rub up against recent hits such as O.B Ignitt's "Oh Jabba", "SEX" and "Wayne County Hill Cops Pt.2". Vital!

    Sistrum welcomes the second installment in the Genesis Tracks series. Building upon the high sonic standards set by Genesis Tracks Vol. 1 (SIS-022), Vol. 2 brings together four special cuts from Patrice Scott, Reggie Dokes, Eric Cloutier and Kai Alce. Deep enjoyment awaits.

    A1 – Patrice Scott “Seasons Change”
    Label head, Patrice Scott opens the EP right - setting the tone with a smooth excursion into lush chord stabs and deep, low end vibrations. Vintage strings ride high, while tinkling jazz keys dance amongst the waveforms, making for yet another future classic in the Sistrum lineage.

    A2 – Reggie Dokes “The Baptism”
    Mr. Reggie Dokes offers up nothing less than a baptism by sound for his contribution to Genesis Tracks Vol. 2. Reggie goes deep with reverberant rhythms and crisp synth work, crafting an interstellar afro journey of the highest order.

    B1 – Eric Cloutier “Gossamer”
    Keeping the quality at its highest, Eric Cloutier’s entry is a deep, techy mover – designed to lock the dancefloor into a hypnotic state. Drifting strings provide the foundation for highly modulated, gritty chord stabs to lead the way through the darkest of dancefloors.

    B2 – Kai Alce “Jelly”
    NDATL main man, Kai Alce rounds out the EP in fine form – stripping things back to the essentials. “Jelly” is raw, bouncy goodness, simply put. The filtered down acid-esque bassline is nothing short of a call to movement for all believers in the authentic sounds of house music.

    Various Artists

    Hit + Run Presents Road Kill Vol 1

      Debut of the "Hit + Run Presents Road Kill" compilation series. Volume 1 includes 29 exclusive and unreleased tracks by the Los Angeles underground and beyond, available on a limited-edition digipak CD. We're talking beat builders, wonky-hoppers, hip hopers, down-beaters, electronica lovers and just, in the case of the Gaslamp Killer, bonkers mentalists.

      Previously only available digitally and on CD, the compilation features some of LA’s best and brightest, along with a whole host of artists from around the world - including J Rocc, the Gaslamp Killer, Ras G, Daedelus, Knxwledge, Mndsgn, Jeremiah Jae, Kutmah and many more - all contributing tracks unavailable anywhere else.

      Emotions Electric with the first Various EP for the label. Strong quality selection of deep soulful Detroit influenced techno tracks from some of the finest underground producers, artwork hand painted by Abdul Haqq / Third Earth. Highly recommended!

      In May 1976 a record was released that would have an unforeseen and lasting impact on the music industry “Ten Percent” by Double Exposure was an early release on the New York independent label Salsoul Records. America was in the grip of a disco explosion with new clubs opening on a weekly basis; Salsoul saw what was happening and swiftly created a sound for their label, heavily influenced by the music then coming out of Philadelphia, aimed directly at New York’s dance-floors. Records like “Salsoul Hustle,” “Tangerine” and “You’re Just The Right Size” by The Salsoul Orchestra borrowed heavily from the beautifully orchestrated Philadelphia International records but added a more percussive, bass heavy depth that New York’s DJs loved. So what was so special about this particular single then? Double Exposure was, after all, just another band, “Ten Percent” just another song; one of many “disco” records released that week. First of all Salsoul became the first record label to make a twelve inch single available to Joe Public - the exotic format was previously only available to DJs as promotional items or bought under the counter at certain record stores. Not only that though, the extended version was created by Walter Gibbons, a DJ at New York’s Galaxy 21 who’d built his reputation making exclusive versions of tracks to play in his sets.

      In 1976 it was unheard of for a DJ to set foot in a recording studio, being seen as little more than living jukeboxes by the serious music industry. Recording studios were strictly the domain of recording artists and producers so Walter found himself in a unique position, gaining access to a world no DJ had been granted before.

      Or so we thought...
      The Men In The Glass Booth tells the full story. Featuring ground breaking re-edits and remixes by some of the Disco era's most influential DJs including Walter Gibbons, Bobby DJ Guttadaro, Tom Savarese, Jellybean Benitez, Tee Scott and John Luongo, this opulent release also includes a 40 page book which features exclusive photos and insights from some of the story's key figures.


      STAFF COMMENTS

      Patrick says: BBE answer the prayers of all us non-millionaire disco fans, taking us on a journey through the alternative 12" history via this exhaustive collection of acetates and DJ edits. Mega!

      FORMAT INFORMATION

      LP Box Set Info: Part 1 contains 40-page coffee table book telling the story of the DJ as remixer and featuring previously unseen vintage photographs.

      In 1978 Patrick Adams and Leroy Burgess released one of the all time classic underground disco albums under the alias Phreek. Joey Negro takes 2 songs from the album and using the original 24 track mastertape gives them both much extended and reworked versions.

      “Big Phreek” was a crazy, off kilter uptempo jam that was popular in Chicago at clubs like the Warehouse, with its chanting vocals and odd octave bassline under Adams' trademark soloing synth-work. JN strips things back a fair deal to make a very playable energetic leftfield disco cut.

      “Good Thing” is more soulful disco featuring plenty of previously unheard Burgess vocals and rich strings that weren’t on the original release. This new JN version clocks in at almost 13 mins.

      Massage Brain Cult VA1

      Written and produced by BOT1500, D'Arcangelo, Mause, Jessica Walrus, fxbip, Velum break

      Digital Mastering by Julian Tardo from Church Road Studios
      www.churchroad.net

      Vinyl Mastering and Cutting by Keith Tenniswood from Curve Pusher curvepusher.co.uk/engineer/keith-tenniswood/


      Massage Brain Cult 2019

      Frigio Records is consistently plumbing the depths to unearth exciting talent. Bartoszek has been corrupting and manipulating tracks to fit floors for years, editing and slicing past pieces to breath new life into them. The German artist has turned his hand, and scissors, to four tracks from a spread of musicians from far and wide for Frigio’s latest: Ecdisis Vol.2.

      The first port of call is Croatia with Denis & Denis. An earlier synth pop outfit, “Ti I Ja” was first released in 1984. This reinterpretation is a bubbling brew that cuts sweetened notes and brooding tones with a piercing snare for a devastating rework. Britain’s ever mischievous Portion Control follow. “Chew You To Bits”, from 1983, is not only extended but expanded. Guttural vocals are kept in check by thumping rhythms and squealing electro lines tainted with tin and toxins. The flip changes tact with Hunting Lodge’s “Tribal Warning Shot” (1985) being revisited a string of drum beats, clanks and clatters energise this finale as EBM demons and ghouls haunt the backdrop. Vangelis Katsoulis’s “Earth Beat” closes the journey. First released in 1988, this primal piece of percussive pound and punch is muscled up to the four minute mark while maintaining those dreamy rainforest echoes of the original.

      Batoszek takes us on a trip through obscurities of 1980s electronics, reviving the past and resurrecting forgotten short bursts from a bygone age. Tracks from more than thirty years ago beefed up and dusted down with brutal effect. Music that once again challenges ears and demands to be heard.

      FAKE #1 – THE ABSENCE
      The deaf noise of the socialmedialism thrills misery.
      The hate array, the dreams of profit spurt a modern ideology made of science and technology for a factory shaped city . The user worker. The content product. Login. All in.
      Proletarian Romance.
      Life in sharing. Love by the hour. Idealism motel. Sexual class conflict. Moral hierarchy. Fast Sci-Fi. Internet Overdose. Gourmet overexposition. Speed depression.
      Ethical inquisition. Wellness preservation. Right patrol. Afflicted soul.
      The information. The information. The information.
      Like. The new verbs of the power. To like. To be Liked. The followers. The swollowers. Mobile addiction.The window on the wall. The beginning of the century. Political correct. Business coma. Social Warming. Open Sea. Freedom breakdown. West civilization sunset. Block express. External Memory. Extra limb. Grim.
      Tough solutions required , the destruction of meaning.
      Emergency exit only.
      The Absence.

      FORMAT INFORMATION

      2xLP Info: 2LP gatefold sleeve, 180 grams vinyl and comes with 24 pages magazine designed by Jonathan Castro Alejo with 10 photo stories, 60 photos and 10 poems

      The Sofrito crew return with four more tropical bangers to heat up the dancefloor! For the label's fifth outing they join forces with Joining forces with the talented Tropical Treats outfit from Sweden, who you'll remember from the ace "Afrikan Rhythms" 12″ on GAMM in 2009. The "Tropical Soundclash EP" covers raw Afro-funk, heavy cumbia, Caribbean disco and hot carnival rhythms, perfect for your Tropical Discotheque! On side A "Rift Valley Groove" is a wicked piece of Afro-funk, while "Cumbia Colombiana" features a heavy percussive rhythm and blasting horns. Side B opens with the speedy carnival drumming and call-and-response vocal of "Ca Ca Yé" - perfect for a mood change on the dancefloor - with "Tabou For The People" bringing up the rear in Afro-disco style, all played live.




      FORMAT INFORMATION

      12" Info: Limited to 500 copies only.

      When Claremont 56’s first compilation series, “Originals”, came to an end in 2013, Paul “Mudd” Murphy decided not to replace it, choosing instead to pour his energy into promoting albums and singles from the label’s growing family of artists. Six successful years later, Murphy has had a change of heart and decided to inaugurate a brand new compilation series, “Claremont Editions”.



      This time round, the focus won’t be rare and obsure cuts selected by DJs, but rather new, unheard and overlooked recent material from label stalwarts, new artists and friends Murphy has made along the way. The first volume of “Claremont Editions” is naturally rather special, offering a vibrant and colourful trip through Claremont 56’s distinctively warm, sun-kissed and emotion rich sound. As befits a compilation that will be desired by DJs and sofa-bound listeners alike, Murphy has selected a mixture of dancefloor-friendly workouts and hazy, horizontal fare. The compilation kicks off with something rather special: a chugging, mind-altering late night cover of Eagles classic’ “These Shoes” by Angel Spells, an all-star collective featuring 40 Thieves’ Layne Fox on production, David Harks on vocals and Jack Cutter on guitar. The results are trippy, hypnotic, mind-altering and alluring: a 21st century West Coast voyage that never loses sight of its 1970s roots.



      It’s followed on side A by another stellar cover: a jazzy and breezy disco-reggae version of Hall & Oates’ classic “I Can’t Go For That” by HF International. The version here is Kaoru Inoue’s “disco dub”, which does a great job in showcasing the eyes-closed guitar solos provided by guest musician Kashif. Completing record one is an absolute epic from German krautrock combo Fursattl, who return to Claremont 56 after a seven-year hiatus. The Frank Mollena-helmed outfit offers up “Leerlauf”, an 11-minute journey through heavy punk-funk grooves, Stereolab synths, backwards guitars and constantly building percussive energy. Like their previous 12” on the label, it’s staggeringly good.



      Hear & Now kick off with record two with “Alba Sol”, an undeniably gorgeous, sun-baked trip that recalls the lazy, slow motion beauty of their 2018 debut album “Aurora Baleare”, before Murphy transports us back to Japan and the quirky trip-hop-pop of new signing Yamp Kolt’s languid and groovy “Fuyu No Ne”, featuring the blissful vocals of Karin Miyagi. To round things off on side four, Murphy has reached for previously unreleased cuts from the label’s vaults. First Essex trio Statues doff a cap to Pink Floyd on the lazy, multi-coloured trip that is “Heaven Fades” – nine minutes of softly spun grooves, dreamy vocals, toasty Rhodes riffs and David Gilmour guitars – before Murphy dusts down a previously unheard track by the late, great U-She and Holgar Czukay.



      The cut in question, “Longing”, offers a stunning – if poignant – conclusion. Low-slung, atmospheric, eccentric and lusciously string-laden, the track was recorded by the husband-and-wife duo some years ago and was intended to form part of an album called “Second Life Identity”; here it provides a stirring, breathtaking finale to the first installment of “Claremont Editions”. Given the quality of this collection, we can’t wait to hear volume two.

      FORMAT INFORMATION

      2xLP Info: Hand-numbered to 500 copies

      Various Artists

      C90

        THE LATEST IN THE HUGELY SUCCESSFUL ‘C’ SERIES, RIFFING ON THE ORIGINAL C86 CASSETTE.

        FOLLOWS PREVIOUS BEST-SELLING COLLECTIONS C86 (2014), C87 (2016), C88 (2017) AND C89 (2018)

        SIXTY-THREE TRACKS CHARTING THE RISE TO DOMINANCE OF THE INDEPENDENT MUSIC SCENE, AS ONCE SHOESTRING ARTISTS AND LABELS BEGAN TO FIND AN AUDIENCE BORDERING ON THE MAINSTREAM.

        INCLUDES MORE HOUSEHOLD NAMES THAN EVER – THE CHARLATANS, THE LA’S, OCEAN COLOUR SCENE, BOO RADLEYS, SPIRITUALIZED ETC – ALONGSIDE SCENE FRONTRUNNERS LIKE PARIS ANGELS, WORLD OF TWIST, NORTHSIDE, THE SUNDAYS, FLOWERED UP, NED’S ATOMIC DUSTBIN AND THE SARAH RECORDS ROSTER.

        ALSO DIGS DEEP INTO THE LESSER-KNOWN 1990 UNDERGROUND, REVEALING COUNTLESS HIDDEN GEMS AND EXCITING REDISCOVERIES.

        PRODUCED BY THE TEAM THAT BROUGHT YOU ‘SCARED TO GET HAPPY’, ‘STILL IN A DREAM’, ‘ANOTHER SPLASH OF COLOUR’, ‘LOSING TOUCH WITH MY MIND’, ‘ELECTRICAL LANGUAGE’ AND COUNTLESS OTHER HIT COMPILATIONS AND BOX SETS.

        Over a decade now since punk rocked the British musical scene to its foundations and caused an eruption of independently produced records, the scene and a new generation of figurehead artists began to let ambition in and head overground, playing to increasingly large crowds, working with bigger budgets and selling more copies, finding a footing in the UK’s Top Forty, venturing into the USA and, ultimately, creating a mainstream audience now primed for credible, guitar-tinged pop. Meanwhile, an underground revolution in clubland began to push towards the commercial same space, resulting in an inevitable fusion of songcraft and dancefloor aesthetics.

        “C90” captures perfectly the moment these tribes began to coalesce. From the opening, club-friendly rendition of The Charlatans’ ‘Polar Bear’ to The La’s knowingly backward looking ‘Timeless Melody’ and all in-between, this is the sound of a scene dropping the raincoats, dropping acid and aiming for domination. 1990 was the start of a new decade when the Indie scene was dominated by Madchester and the arrival of Shoegaze and with nods towards grunge and what would become known as Britpop, plus hints of a proto-laddism peering out from between the cracks in a post-Smiths aesthetic, the sound of 1990, it could be argued, set the tone for the remainder of the decade.

        “C90” is a snapshot of a unique moment in time. A piece of history. The sound of a country putting the hard-biting 1980s behind it, embracing the Daisy Age and looking to move forwards.

        For the first release of 2020 Banoffee Pies Records introduce "Black Label Series 04" while welcoming another selection of new artists to the fold with a collection of low slung moody tech house for mornings and dusted dance floors.

        Opening the releaseBernard Horn's "Ticket 2 Tomar" flaunts a Britney Spears sample to kick the mood off with a drum heavy broken beat full of fluttering synths and spooked out shivers. The A2 comes from friend of the label, and producer of the minute,Alec Falconer, with his tribute track "Hiero". A misted journey along the shore line or across the water showing a short taster of the more sub heavy productions he's known for seen across the likes of Entity or other Garage aliases with a clean 4/4 night drive.


        Following his outstanding contribution to Holding Hands Records at the end of 2019 in collaboration with Banoffee mainstay producer Gallegos, Baby Rollen kicks off the B side with an acid infused travel rhythm encompassing the Ecco and aquatic feel using sonar like underwater snippets in "Swimming With Dolphins". The last track comes from Tito Mazzetta and Isai with "Red Bali Tunnel" in true Black Label style. A moving house beat perfect for dusk or dawn creating some semblance of order to round off the dream like states delivered across the release. For slow moving and shaking. BP x

        Various Artists

        Cadence Revolution: Disques Debs International Vol. 2

          Strut present the second volume in a series of compilations taken from the archives of Disques Debs International, the longest-running and most prolific label of the French Caribbean. Set up by the late Henri Debs in the late ‘50s, the label has continued for over 50 years, releasing hundreds of records and playing a pivotal role in bringing the creole music of Guadeloupe and Martinique to a wider international audience.

          Volume 2 of the series focuses on the label’s ‘70s output and the development of the unique Cadence sound, pulling disparate influences into a Pan-Caribbean blend of rhythms, styles and languages that dominated the dancehalls, clubs and concerts of the decade.

          Based in a small but state-of-the-art studio on the first floor of Henri Debs’ Club 97-1, just outside Pointe-à-Pitre in the town of Gosier, the label hosted sessions from the cream of local and regional talent, hothousing ideas into over 100 LP and 45 releases over the decade that reflected an increasingly confident creole identity.

          Groups like Les Vikings, Super Combo and Typical Combo along with a host of lesser- known bands were in fierce but friendly competition in the bals, dances and concerts in Guadeloupe, across the region and into Metropolitan France. Haitian Compas, Congolese influences from le Ry-Co Jazz, cadence-lypso and reggae from Dominica and a heavy dose of jazz and Puerto Rican salsa were thrown into the mix alongside local biguine, quadrille and gwo ka to power an unrivalled recorded output.

          Compiled by Hugo Mendez (Sofrito) and Emile Omar (Roseaux), ‘Cadence Revolution’ is released in conjunction with Henri Debs et Fils and Air Caraibes. The package features previously unseen photos from the Debs archive with both formats featuring extensive liner notes and an interview with singer and trombonist Christian Zora (Les Maxel’s, Energy).


          Various Artists

          American Folk Blues Festival Live In Manchester 1962

            Manchester Free Trade Hall was host to two concerts on Sunday October 21st 1962 that acted as a catalyst to the nascent British Blues & R&B boom, on the verge of breaking out of its suburban home in Ealing, West London. The shows were promoted by Stockport-based Paddy MacKiernan under the Jazz Unlimited banner and attracted a crowd of around two thousand enthusiasts, who saw the first major concert in Britain to feature American bluesmen. Manchester was the only UK date on the 1962 American Folk-Blues Festival tour and it was attended by blues fans from all over the country through what Paul Jones called ‘the bush telegraph’. With Jones were Alexis Korner and Macclesfield-born John Mayall, plus extraordinarily a contingent of younger fans who had made the trip in a clapped out van from London. Why extraordinary? Because the van contained some of the future superstars of the British scene: Mick Jagger, Keith Richards, Brian Jones and Jimmy Page. The Stones by this time had just a dozen gigs under their belts and Page had recently embarked on the first stage of his career as a session guitarist. David Williams dedicates a whole chapter to the road trip in his book The First Time We Met The Blues. “It must have been around early September 1962 when news filtered down the grapevine…We could hardly believe that real blues artists were going to appear here in our country…were regarded somewhat like mystic gods within our circle…(Jimmy Page) realised that he would not be able to make the journey with us as he was already booked to play a gig with Neil Christian on the Saturday night…it was agreed Jim would travel up by train on the Sunday and we would find space for him in the van for the journey back overnight…Graham (Ackers) was a pretty good driver and soon managed to find his way through Central London to a square ...where we picked up Mick, Keith and Brian.” Keith Richards remembers it differently, “Mick sometimes had the use of his parents’ Triumph Herald at the weekend and I remember we went to see a big blues show in Manchester.” Jimmy Page: “When David Williams told me of the impending visit of the initial American Folk-Blues Festival to England, I was keen to join the pilgrimage to Manchester. It was not only the first time that I would actually see artists like John Lee Hooker and T-Bone Walker perform, but it was also the first time I met Mick Jagger, Brian Jones and Keith Richards, who came with us on the trip. We were all like-minded enthusiasts and in those days we regarded the artists we were going to see as idols.” ABC TV filmed the second show and broadcast it in two parts for its Tempo programme. The recordings (from the Newby collection) are of excellent sound quality and were taken off air by direct line into a Tandberg reel to reel recorder. 

            Seven Wonders is a 14 track snapshot of the experimental Soul and Jazz scene burgeoning in Australia today.

            Recorded at Plug Seven Studios in Melbourne in collaboration with Wondercore Island, the compilations main aim was to capture spontaneous musical moments that reflect the diversity of sounds, and quality of musicianship in Australia today, with very little interference from microphone to tape to the record in your hands..

            Seven Wonders contains a super diverse cross section of artists, with well over 50 individuals putting in their time & creativity to bring this to life. It's a record that truly highlights the grass roots soul movement blowing up day to day in Australia.

            Recorded largely over two weeks, the majority of the tracks on Seven Wonders were captured in one take, bottling the raw energy and virtuosity of Melbourne's most accomplished, established and emerging players. There's an antipodean take on P-Funk from Laneous, characteristically enigmatic vocals from soul singer Allysha Joy and a free-flowing instrumental from Sampa the Great collaborator Dave Godriguez, aka GODTET. Several tracks include production and background instrumentation from Hiatus Kaiyote's rhythm section Perrin Moss and Paul Bender... and way way more.

            Various Artists

            AJX500: A Collection From Acid Jazz

              ‘AJX500’ celebrates a milestone in Acid Jazz’s catalogue and at the same time harks back to the earlier label collections released in the ‘Totally Wired’ series. This is carried through in both the choice of material - a mix of eight new tracks and one obscure oldie - and the glorious packaging with a sleeve designed by longtime label collaborators The Unknown and printed on a US style Tip On sleeve. The music is what makes this package, nine tracks never before released on vinyl showcasing Acid Jazz 2019 and what the future holds in 2020. There is an exclusive new track by Matt Berry which previews the direction for his long awaited follow up to his Top 40 album ‘TV Themes’. There are exclusive to vinyl remixes of the Brand New Heavies by FOUK, Laville by the Disco Freaks and Corduroy by their drummer Ben Addison.

              The album opens with two blistering debut releases: the afro-funky psychedelic bootyshake of ‘Theme’ by Lightning Orchestra and newly christened Soul Revivers with their Ethiopiques-meets-Kingston groove on ‘Harder’ which features 87 year old reggae legend Ernest Ranglin’s shimmering guitar hooks. Argentinian mega-producer Kevin Fingier takes time out of the Aggrotones to launch his soul / jazz Project and label friends at Unique in Germany lend the cosmic garage of Suzan Kötcher. The oldies are courtesy of UK producer Graham Dee and the Orchestre Picoby Band D’Abomey’s ‘Dahomy’, the latter with a 1970s funky stew from Benin previously only available on a rare 7” from the Albarika Stores label from Benin. Dee’s Sampaguita is a take on a song that the UK- based producer wrote for a Moacir Santos Blue Note album and is being released for the first time.

              Italo-Disco, (at times abbreviated as Italo) is a music genre which originated in Italy and was mainly produced from the late 1970s to the late 1980s. The origin strongly tied to marketing efforts of the ZYX record label, which began licensing and marketing the music outside Italy in 1982. The genre faded in the early 1990s. Italo disco evolved from the then-current dance music (including hi-NRG) and developed into a diverse genre. The genre employs drum machines, synthesizers, occasionally vocoders and usually sung in English. This compilation contains some of the long lost tracks of the genre restored for the first time on CD. Vivien Vee "Remember" and Capricorn "I Need Love," are early work by Italian pioneer Claudio Simonetti (Goblin). All tracks digitally remastered along with its booklet, the original artwork and the original recording and extended versions.

              Various Artists

              A Slight Disturbance In My Mind - The British Proto-Psychedelic Sounds Of 1966

                While the likes of “Rubber Soul”, ‘See My Friends’ and ‘Still I’m Sad’ had served notice in 1965 of British pop’s heightened level of ambition, 1966 would prove to be an even more tumultuous twelvemonth period as experimentation and innovation grew to new levels.

                The release that August of “Revolver” – whose cataclysmic closing track ‘Tomorrow Never Knows’ landed amongst the record-buying public like an impenetrable missile from outer space – brought the concept of psychedelic music out of the margins and into the mainstream.

                However, psychedelia – condemned by national newspaper The Sun as “the new and dangerous sound in pop music” – had been percolating throughout the year. The word was already in subterranean use in America, adapted by the likes of The 13th Floor Elevators and Hollywood hustler Kim Fowley, who in late 1965 had become the first person to promote a record with the term “psychedelic”.

                Arriving in London in March 1966, Fowley became a proselytising influence for the new sound, instructing bemused young British bands to “act psychedelically”. His sojourn coincided with the relocation of Californian band The Misunderstood, whose incendiary sound and stage act was a major influence on a new generation of British acts.

                Meanwhile, serial pioneers The Yardbirds were making increasingly audacious music, their new manager Simon Napier-Bell instructed the young John’s Children to become “the first psychedelic group”, while mod band The Creation developed an intriguing pop-art approach.

                Featuring 84 tracks, A Slight Disturbance In My Mind: The British Proto-Psychedelic Sounds Of 1966 examines the “experimental pop” element of the British music scene during that epochal twelvemonth period with a dizzying, dazzling mix of nascent psychedelia, introspective pop and what’s been retrospectively labelled freakbeat.

                We feature vital contributions from some of the era’s biggest names (The Kinks, The Yardbirds, The Hollies, The Animals etc), a bunch of highly collectable cult classics, a huge stash of unissued-at-thetime nuggets and early outings for such future legends as Bowie, Bolan, Slade and The Bee Gees.

                Housed in a clamshell box containing a 52-page booklet crammed with biographical information and priceless period photos and memorabilia, A Slight Disturbance In My Mind is a glorious snapshot of British pop storming the gates of a new, strange and wonderful dawn.

                Various Artists

                The Virtues: Television Series Soundtrack - Feat. Original Music By PJ Harvey

                  The soundtrack to Shane Meadows’ ‘The Virtues’, which screened on Channel 4 in May / June 2019, features six original pieces of music by PJ Harvey written for the series and includes tracks used throughout the series, including music by Aphex Twin, MONO, Lisa Hannigan and more.

                  “I am so happy to have provided the original music for this extraordinary and powerful new drama by a director I have admired and followed all my life. Shane has a unique directness and sensitivity to his work which I am drawn to and aspire to in my own work, so our collaboration was open and trusting. I sent Shane ideas as demos for him to try out as he edited and let him choose what he used and where to the greatest effect. In the end we both loved how the demos worked so left them as they were, adding to the raw beauty of the piece.” - PJ Harvey

                  FORMAT INFORMATION

                  2xLP Info: 180g black double vinyl.

                  Various Artists

                  Soul Jazz Records Present Apala: Apala Groups In Nigeria 1967-70

                    ‘Apala: Apala Groups in Nigeria 1967-70’ is the first ever collection of Apala music to be released outside of Nigeria. The album focusses on a wide selection of recordings made in Nigeria in the 1960s, a time when Apala music was at the height of its popularity. Apala is a deeply rhythmical, hypnotic and powerful musical style that combines the striking nasal-style vocals and traditions of Islamic music, the Agidigbo (thumb piano) and the equally powerful drumming and percussion rhythms and techniques of the Yoruba of Nigeria.

                    The most significant figure in Apala music is undoubtedly Haruna Ishola, who features throughout this album. Ishola holds an almost mythological status in his role as populariser of Apala music in Nigeria. Ishola’s singing was believed to be so powerful that, without proper restraint, it could kill the recipient of his music. Apala is a popular music that also functioned as a form of cultural resistance - Apala music involved no western instrumentation and is sung in the Yoruba language, its aesthetic an implicit cultural rejection of the British Empire’s colonial rule over Nigeria which lasted from 1901 until independence in 1960.

                    Apala music was popular and widely accepted in Nigeria due to its philosophical and profound lyrical content alongside the complex rhythmic patterns of this heavily percussive style, which highlighted many of the percussion instruments of south-west Nigeria. Apala is one of a number of popular urban styles of music that came out of Nigeria in the 20th Century and sits alongside the more well-known (in the West) styles of Fuji, Highlife, Juju and Afrobeat. Of these modern forms Apala remains perhaps the most ‘roots’ style (sometimes described as ‘neotraditional’) due to the authenticity of its sound. It has similar Islamic roots to other neo-traditional styles of Nigeria - including Waka and Sakara - examples of which are also included on this collection contextualising the music of Apala. These recordings were originally made and released locally by Decca and EMI Records as well as a variety of independent labe

                    Various Artists

                    Musax Background Music Library Vol. 1

                    For this first volume of Musax Background Music Library, Farfalla Records continues exploring the maze of the french library music through one of its most discreet and prolific representatives: Jacky Giordano and one of his many projects, the Musax label.

                    Farfalla Records carefully selected this tracklisting among LPs recorded between 1978 and 1979 of which the originals became particularly sought after by the collectors. Jacky Giordano who appears under his aliases Joachim Sherylee and José Pharos, is surrounded by qualified and renowned musicians such as Jean-Pierre Decerf, Jean-Claude Pierric, Serge Planchon, Patrick Petitbon, Gérard Gesina, Jean-Charles Capon, Daniel Humair and also a band composed of members from the legendary Crazy Horse cabaret, namely Pedro Perea, Claude Brisset, Bruno Bompard, Jean-Claude Guselli, Claude Thirifays, Vincent Momplet and Joseph Gatineau.

                    This selection mixing explosive jazz-funk, lascivious jazz and electronic music more spacey or experimental, which could also be the soundtrack for a TV show, a porn movie or a car chase between cops and gangsters in the bad neighbourhoods of Paris. A fascinating slice of the French music scene of the late 70 is brought to life before our very eyes. (Erwann Pacaud)


                    Mexico (Mufti and Colossio), France (Cornelius Doctor), and Germany (Sebastian Voigt) unite on the 10th Ombra International release.

                    Hammer hits glass. Glass goes smash. Thunder and lightning, return to the future.

                    Various Artists

                    Jazz – Timeless Classics From The Queens Of Jazz

                      Various Artists

                      TWIN PEAKS - Music From The Limited Event Series

                        Come join us on our final journey to the town of Twin Peaks, take a seat at the Roadhouse, grab a drink and witness some of the finest musical performances any dive bar in America has ever seen. This double LP features tracks by NIN, Eddie Vedder, The Chromatics, Otis Redding, Lissie and of course Julee Cruise and Angelo Badalamenti. An incredible dive into the musical mind of series creator David Lynch; this really is an incredible document of the artists that visited Twin Peaks during the Limited Event Series. Once again our release has been mastered by Mike Bozzi at Bernie Grundman Mastering, cut by Bernie Grundman himself with pressing duties being handled by QRP (Quality Record Pressings) in Kansas. Sounding superb, this is sure to transport you back to your favorite series. You can taste the whiskey and cigarette smoke the minute you drop the needle on the record.


                        Aww yes, ain’t that fresh! Dusty Donuts coming correct with another batch of dope edits that will no doubt be rocking dance floors and accelerating the art of moving butts if you know what we mean. The A side, “Just A Touch Of Faith (Naughty NMX x Marc Hype) gives you the best of that Bob James/ De La/ Slave edits for your ear hole by revisiting Slave’s Just A Touch Of Love and applying the same breakbeat leverage that De La Soul gave to their Slave sample on Keepin’ The Faith. On the flip, NMX, this time in the company of Doc Flex, applies the same process to RAMPs’s Daylight, famously sampled by ATCQ on Bonita Applebum thus continuing their services to DJs everywhere with a perfect set opener 

                        Various Artists

                        Dusty Donuts 17

                        To the Wesssstside! Side A is treated with heavy synth play by Doc Flex infused with a funky guitar lick to get everybody Lifted in the club from the Gin & Juice. It’s enough for George to change his surname to McDre. On the flip, Evelyn let’s us know the The Show Is Over and also How We Do It on a smooth soulful stroll down Crenshaw Blvd. Two G-Funk tracks that are cold as Ice Cubes. 

                        R&S Records team up with London-based label More Time Records for a four track compilation repping their signature sound of forward-thinking, percussion-driven dance music.

                        More Time is headed up by DJ/producers SNØW and Ahadadream, their releases reflect an international vision; marrying the sounds of Ghana, Trinidad, Saudi Arabia, The DRC and South Africa with a rugged UK edge that harmoniously circles bass, afrobeats, UK funky, grime and techno.

                        SNØW and Ahadadream both deliver club ready instrumentals that draw on their love of UK Funky, GQOM, Kuduro and Afrobeats. Bryte is one of the most exciting voices coming out of Ghana, his track 'Ice Cream' set's the tone for the EP. Produced by regular partner-in-crime, Mina and previous collaborator Tarquin (both from London) - it really summarises the cross contamination of sounds which More Time is a hub for.

                        Bala Bala Boyz are a group of rappers from London of Congolese descent. 'Sieta' notches up the tempo on a 808 heavy power soca riddim from Trinidad via Bristol production duo Jus Now (SNØW, Keshav Singh)

                        Since R&S relaunched it's supported new UK artists from its London base. More Time Records and the wider global percussive club music scene are releasing some of the freshest dance music in London so we're excited to showcase this sound on Volume 1 of this new collaboration.

                        More Time say of the collaboration:
                        "We're gassed to be joining forces with and learn from such a seminal label which we've been fans of for a long time. We really appreciate the love they have shown our movement and are really excited for their fans to discover the artists and sounds that we are so passionate about"

                        Rush Hour announces their second artist compilation Patchwork, curated by one of the label’s most loved family members, Sassy J. The Swiss DJ is the very embodiment of passion and long-standing dedication to the craft of the DJing, but also to the community surrounding the music that she lives and breathes. For the past fourteen years Sassy J has run the Patchwork night in her native Bern and in London, with guests ranging from Theo Parrish and Little Dragon to Floating Points and MF Doom invited to share their respective musical visions. Her collaborative approach stands out in a DJ world that is too often weighted in favour of promoting the individual. This compilation grows out that unique sensitivity, foregrounding a theory of curation that centres on long-term bonds, articulated through Sassy J’s personal relationships with the contributing artists.

                        Patchwork speaks to the grass roots values that Sassy J espouses, showcasing music by many of the artists that have joined her throughout the years in clubs, on the radio, and at home. It is an expression of Sassy J’s individual musical path that casts its gaze firmly in the future: Patchwork is made up almost entirely of new and unreleased songs that are exclusive to this collection. Patchwork captures a sound that has continued to evolve in its restless search for new musical directions. Across ten tracks we find forward thinking electronic music rubbing elbows with cosmic jazz and deep percussion workouts from Brazil and beyond.

                        There are irresistible calls to the dancefloor: 2000 Black’s UK boogie, whilst the early rave of Nu Era and Aardvarck’s sub-rattling techno channel the grittier edges of the club experience. We find machine music imbued with humanity in Larry Heard’s deep house classic “Survivor” and in Ron Trent’s WARM project, whose gentle breeze points to a different side of the legendary producer. Patchwork also opens a more immersive listening space in which the radical indie soul of Georgia Anne Muldrow. Patchwork also includes Sassy J’s collaboration with veteran producer Alex Attias, marking her own place in a universe that is held together by her singular thread.

                        Patchwork is compiled by Sassy J and features ten exclusive tracks. It will be released on 2xLP, CD and digital formats on december 9th, on Rush Hour Records.

                        Not much is known about Philadelphia record producer / label owner Curtis R. Staten who sporadically operated the C.R.S. record label during the late 1960s throughout the early 1980s. During that time, C.R.S. released at least 15 singles and 2 albums of some of the finest R&B, funk, gospel recordings from the Philadephia area.

                        Fans of Northern Soul and Deepfunk will be pleased to see (and hear!) some very rare AND amazing songs by such artists as George Johnson Jr. & The Mondells, Bonnie Blanchard, Andy Aaron & The Mean Machine, The Zodiacs, Midnight Madness, Carl 'Sherlock' Holmes, and many more.

                        Key selling points:
                        - initial 300 LPs contain a bonus 7" of Bonnie Blanchard's ultra-rare northern soul classic
                        - incl. full album download code
                        - 12x12" insert with detailed liner notes and unseen photographs
                        - curated by Dave Louis from Funkadelphia Record Distribution

                        Returning for Volume 2 of the sought-after series, Glitterbox Jams is back with another red-hot delivery of dancefloor gems, ready to become a record box essential for all discerning disco DJs. Delivering two tracks previously unavailable on vinyl and a pair of previews from the imprint, Volume 2 opens with Mike Dunn’s irresistible ‘Natural High’. Featuring Mike’s unmistakable Windy City drawl, this stripped-back disco-house jam sees Mike flex his musical muscles with traditional analogue techniques. Up next, a silky-smooth disco number and exclusive first listen of enigmatic duo Body Music’s latest output, where pair team up with the ferocious voice of Amy Douglas. On the flip, another forthcoming Glitterbox release powers through, as French production maestro Yuksek turns his hand at remixing Risk Assessment’s ‘Remember Me’, featuring the mystical vocals of Jemeni G. Recounting tales of Studio 54, self-expression and long nights spent on the dancefloor, this exhilarating cut makes a perfect fit for Glitterbox’s ethos of acceptance and open mindedness. Finally, the unmistakable bounding bassline of Seamus Haji’s ‘Boogie 2nite’ delivers a dose of Saturday night fever, rounding off this sublime release from the Glitterbox camp.

                        Antinote and Dizonord present STUDIOLO - Belfiore, Veneto, 1447. Birth of the first "Studiolo" or cabinet of curiosities, these rooms where "rare, new, and singular things", often exotic, were stored and exhibited. A practice that would spread throughout Europe during the Renaissance.

                        Northeastern Italy, at the beginning of the 1980s, an entire local scene gathered around a handful of DJs who put their dancefloors in a trance to the sounds of "rare, new, and singular" music, under the strong influence of ethnic and world music. Mixes where German Kosmische clashes with space disco, along with the most experimental side of British new wave, industrial music, creepy funk, deviant rock and pop. All this mixed with Brazilian and Afro music, reggae, ragga, percussions and bhangra... A kind of mixing in total rupture with that of a dying disco for which it is intended as an alternative. A way of playing songs often at the wrong speeds, at 33RPM instead of 45RPM and vice versa, and always the obsession of a slow tempo, between 95 and 110 BPM, while the cruising speed of disco mixes goes up to 125/130 BPM... A haunting rhythm, accelerated or slowed down voices, with experimental and ethnic approaches... the sets by Moz-Art, Ebreo, Roberto Lodola, TBC, Meo, Fabrizio Fattori... are endowed with a baroque, quasi)mystical dimension. Without forgetting the enemy brothers, at the origin of this fusion of styles, Daniele Baldelli, resident of the Cosmic Club in Rimini, who called it Cosmic Style, and Beppe Loda, resident of the Typhoon in Gambara (a small town not far from Belfiore, unsurprisingly) and who referred to his mixing as "Afro Style". "Afro", the name that will be adopted by this scene and especially by its fans, recognizable by their post-hippy style, their Citroën DS or 2CV, with car radios fully powered by mixtape cassettes recorded in the clubs by these DJs, then sold in the parking lot of what was still called "the discotheque" at that time. This "Afro" wave mainly involved 3 regions in Italy (Lombardy, Emilia Romagna, and Veneto) and the young Austrians and Germans who would go there on holiday. Among them, Stefan Egger, a young DJ from Innsbruck, received a monumental shock while listening to a set by Daniele Baldelli during his holidays in Rimini. Therefore, he decided to make his Austrian dancefloor resonate to the sound of the Cosmic Style.

                        While the official history of underground dance music has very quickly and rightly retained the contribution of DJs from Chicago and New York, it was not until the early 2000s that interest in the Afro/Cosmic scene was finally shown. Since then, a lot has been said on this scene, its DJs, their completely crazy and obscure tracklists, while Daniele Baldelli and Beppe Loda are playing Boiler Room sets as well as Europan and Japanese gigs one after the other. But few have shown interest in the moment in time when, at the end of the 80s, these DJs became producers and started creating songs that sounded like their sets, where all their influences would collide, often naively, sometimes with genius, always without filters. Nor to how this scene changed at the beginning of the 90s with a marginal approach to trance and progressive house, when the Italian, Austrian and German DJs of this second Afro period played these trance and progressive records at 33+8, as their elders did with synth wave or post-punk records, always staying within this 100/110 BPM tempo. It is in this last period that this compilation will immerse you, through 8 tracks from the Italian, German and Austrian scenes.

                        Various Artists

                        Taiwan Disco

                          Due to its extremely complex history, Taiwan in the 70's saw the creation of some incredibly special music in which the sounds coming at the moment from the west collided with the special sensitivity of Taiwanese musicians, creating a delicious mixture you'll need to hear to believe.

                          "Taiwan Disco" shines a light on the music created by Taiwanese women during those years (70´s and early 80's) to present a mind-blowing collection of songs with sounds ranging from wild Funk to Space Glam, exotic Disco or fuzzed out Soul. Here's the ticket to some crazy Taiwan nights, get those dancing shoes ready, it's time to shake it!

                          Various Artists

                          Rough Trade Counter Culture 2019

                            The annual round up of what Rough Trade loved this year is packed with more hidden gems than a Cayman Islands bank account. For those that visit Rough Trade often, you will have heard them playing them on repeat. For those of you who don't, you are in for one hell of a treat. The under-appreciated, the fledglings and the household names feature throughout this double album. This is the quintessential guide to the best new music on the horizon.

                            Various Artists

                            OST: Ghost World

                              Cinema Paradiso is proud to present the Ghost World soundtrack, released on vinyl for the very first time, as a double gatefold LP.

                              A film adaptation of the popular Daniel Clowes comic of the same name, Ghost World starred Scarlett Johannson, Thora Birch and Steve Buscemi, becoming a critically acclaimed cult favourite immediately upon its release in 2001. As he did with Crumb, director Terry Zwigoff has created a soundtrack as eclectic and riveting as his movie subjects. The sounds of early jazz and blues play a crucial role in the events of Ghost World - the music heard here is some of the best ever recorded.

                              Skip James's classic "Devil Got My Woman" from 1931 may be the best-known work on this soundtrack, but it hardly steals the show. Three tracks from weird but riveting jazz-meets-calypso bandleader Lionel Belasco are included; the 70-year-old recordings are so original, they sound timeless. The same praise can be stated of film opener "Jaan Pehechaan Ho" a Bollywood rarity that has elements of surf music, funk, and garage rock. Of course, we also have to hear "Graduation Rap" and Blueshammer's "Pickin' Cotton Blues" two intentionally bad contemporary tracks that make the characters in the movie (and anyone listening to this soundtrack) feel out of place in today's pop culture.

                              Zwigoff wisely fills out the LP with tracks from his personal 78 record collection, a mix of '20s and '30s string band and blues tunes that are seldom found in compilations (including great cuts by the Dallas String Band, Joe Calicott, and McGee Bros). The haunting "Theme from Ghost World" composed by David Kitay, finishes off the second LP, perfectly capturing all the bittersweet moods found in the film.

                              Various Artists

                              Wild Chile!

                                A collection of rare and wild 60's Chilean Rock'n'Roll! Time to celebrate! Here we have a new installment of the Wild Series, focused on wild, untamed Latin American Rock'n'Roll from the sixties. This time we are lucky enough to visit the beautiful land of Chile for a rollercoaster of wild sounds and smashing and obscure hits. In Wild Chile you’ll find, of course, wild Rock’ n`Roll but also crazed out Twist, soul Stompers and a few fiery Instrumentals to boot. If you know the previous two volumes of this series you know what to expect: a record perfectly designed to make your next party explode, pure dynamite!

                                Various Artists

                                DJ Andy Smith Presents Reach Up – Disco Wonderland Vol. 2

                                  DJ Andy Smith returns to BBE Music with a second stunning installment of his compilation series ‘Reach Up – Disco Wonderland’.

                                  “Volume 2 takes the baton from Volume 1 and runs with it” says Andy. “It brings new Disco heat, with unreleased tracks & remixes by myself, Full Intention & Nick Reach Up, Crissy Kybosh and Bad Bikini vs Disco Circus. These fresh takes rub nicely alongside tried and tested original tracks from the golden age of Disco for all to enjoy.”

                                  In the two years since the first volume of ‘Reach Up - Disco Wonderland’ was issued, Andy’s ‘Reach Up’ DJ collective have been busy with performances at festivals such as Bestival, Festival No.6 and Eastern Electrics, as well as a host of club gigs from London to Lisbon and many spots in between. Their monthly South London Soul Train residency in Peckham, London is now in its third year, while their monthly Soho Radio show has been streamed and downloaded by thousands of Disco lovers Worldwide. Just like Volume 1 before it, Reach Up – Disco Wonderland Volume 2 takes in forgotten boogie, funk, dance-floor soul and early house gems from the 70s and 80s, as well as a few contemporary productions created with a nod to the classics. Ranging from obscure West Indian pop artists to Chicago Disco royalty, ‘Reach Up - Disco Wonderland Volume 2’ searches high and low to find the heaviest grooves and purest deep-down good vibes.

                                  FORMAT INFORMATION

                                  2xCD Info: An exclusive DJ mix is included on the CD version for maximum 'Reach Up' pleasure.

                                  A new decade, a new Cod3 QR, once again delivering a multi genre release covering Techno, Deep House, Electro & Electronica.

                                  With previous releases including tracks from the likes of Agents of Time, JoeFarr, Nicolas Bougaieff, and raising talent R.O.S.H; plus support from from Djs like Laurent Garnier, who licensed one of the previously released tracks to his Tsugi 'Electro' mix (Francois V ‘Electro’ taken from Cod3QR001) Cod3QR’s profile is steadily growing as a label releasing quality music.

                                  With music being the main focus you'll have to wait another 2 months to find out who is behind this latest release. The curiosity continues.

                                  Head to their Instagram page (ig: cod3qr) for clues to the artist identities of Cod3QR001, 002, 003 & 004!

                                  Various Artists

                                  Red Laser Records EP 10

                                  As we boldly enter a new decade, we cap off the pingin' naughties with another four bangers for your intergalactic nappers on this, the tenth instalment of our various artist EP series!

                                  Red Laser Corp. engage tractor beams once again and beam up an elite squadron of galactic firepower for another of their well-lauded V/A EPs. Featuring two new ascending space cadets, ready to prove their worth on the universal playing field, alongside well-decorated star commanders Ste Spandex and Franz Scala; this latest Manctalo mission is destined for undisputed interplanetary acclaim.

                                  First up, it's local interstellar fugitive, RL regular and black listed hardware abuser, Ste Spandex; whose titular tribute to one of dance music's most notorious labels is as fitting and arresting a piece of glistening, space disco-tek as its namesake deserves. Centered on triplet synth shards and a rugged acid line, Spandex-patented perx snap, crackle and pop as the track careers through the asteroid belts protected by a capacious force-field of electrostatic energy.

                                  New signing Baba & Ganoush deploy a sleek, Euro-disco themed energy ball named 'Stockholm'. It's epochal synth array referencing classic Italo disco whilst revealing a precision sign-writing maturity that belies the fact that this is indeed the duo's first release!
                                  Spurting tantalising synth solos and interlocking leads from its holographic sphere, you could easily been sent spiralling into the speaker stacks, eyes-wide-shut upon hearing this piece - note RLC will not be held liable for any injuries sustained!

                                  Next we enter the cockpit of Berlin-residing, Italo-maestro Franz Scala, who on his debut sortie for RLR, directs the mother ship towards an innocuous star cluster where Ka Zan’s 'Give Me Your Heart' is on permanent repeat. Scala utilises advanced time shift and audio defragmentation devices to re-engage its citizens with this hardcore cosmic climax, transforming it into an erupting supernova of Italo that blasts so far it's now detected across our own stratosphere.

                                  Ondata's Martin Lefteri and Szymek Lawik are two new rookies snapped up from London and whose 'Feel The Drive' parties have established an alliance with Red Laser Disco members nationwide. Delving perilously into deep space via some meticulously programmed sequences and a dark, cold synthesis method, the pair show a fearless exploration of the outer cosmos on this initial exercise for the label. .

                                  Various Artists

                                  Piccadilly Records Compilation 2019

                                    Do not adjust your sets / swap your reading specs, we’ve gone and done another record! After the success of last year’s inaugural Piccadilly vinyl, we’ve worked our magic once again to bring you another compilation LP, jam packed with musical magic from our top 20, as well as the gold medallists in the reissue and compilation categories. 

                                    Buckle up as we blast off into the sonic stratosphere with the ‘Piccadilly Records Compilation 2019’.

                                    W.H. Lung get things off to a flying start with the existential motorik and art pop perfection of ‘Second Death Of My Face’, a soaring combination of searing synthwork, sophisticated lyrics and propulsive rhythm which segues perfectly into the psychedelic throb and shoegaze shimmer of Lorelle Meets The Obsolete’s ‘Líneas En Hojas’. The tempo settles into a riverbank lilt for the haze of Vanishing Twin’s summertime serenade ‘Magician’s Success’, before coasting through the orchestral beauty of Prefab Sprout’s ‘Sleeping Rough’ and Shana Cleveland’s nuanced acid folk. Closing out the A-side perennial Piccadilly favourites Moon Duo take an arp out of Apta’s book and walk us through the cosmos with the optimistic space disco of ‘Stars Are The Light’.

                                    The spaced out synth tones remain for B-side opener ‘101FM’, a stomping coming of age cut from fierce MC Little Simz, who hands the baton to a lovelorn Cate Le Bon for her swooning ‘Daylight Matters’, a songwriting masterclass if ever I’ve heard one. Our own modular maestro Apta enters the fray next, working the filters for a beatific Balearic rework of Horsebeach’s ‘Trust’, before fellow knob-twiddler Andrew Wasylyk picks a path between Air (French band) and Air (Japanese Ambient imprint) with the evocative and pastoral beauty of ‘Journey To Inchcape’. Continuing the theme of cinematic and serene, Portico Quartet tug at each one of our heartstrings with the immersive electro-acoustic nocturne ‘Gradient’, a perfect precursor to Ghia’s end of night anthem ‘You Won’t Sleep On My Pillow’, a stand out track from the exceptional ‘Proper Sunburn’ compilation.


                                    FORMAT INFORMATION

                                    Ltd LP Info: Limited to 500 copies.

                                    New label Sublimate kicks off with a tasty V/A EP. Apart from Ali Berger all the artists are new on our radar, making this an exciting prospect for those who revel in novelty!

                                    Love Letters gets the record underway in fine form. Packing rib-tickling kicks heavier than black matter, an agro perc section and some nice acidic bleeps and squarks, the track should appeal to lovers of that ruff UK acid sound a la Paranoid London, Alex Seidel, Ali Renault etc. Next up a live jam by Russell E.L. Butler & Indy Nyles resulting in some melanin heavy, electro heat. Liquid Asset continues to deliver excellent work with a warm acid drenched bubbler. Finally track-master Ali Berger pulled Turtle Bugg in his studio for a house beat and live take of THC induced shit talkin.

                                    Tasty tackle for the clurb from a new breed of noisemakers - TIP!


                                    STAFF COMMENTS

                                    Matt says: Collection of flavours from this cheeky burgeoning firm. If you like your dance music hard, wild and fun then this is definintely for you. Surely big in Glasgow right now!

                                    Various Artists

                                    Festival Compilation (Fuzz Club Eindhoven 2018)

                                      As With all Fuzz Club titles, this is for Indies Only. Fuzz Club Eindhoven 2018 - Festival Compilation. 

                                      Compilation album made especially for the Fuzz Club Eindhoven festival and includes lots of previously unreleased tracks, remixes and cover songs from bands that took part in the festival. Including Kikagaku Moyo, The Warlocks, Whispering Sons, The Telescopes, Snapped Ankles, Teeth Of The Sea and more. Triple record with 180g coloured vinyl in a heavy trifold sleeve and printed inner sleeves. This record is almost a kilo! Limited to 500 copies. 

                                      FORMAT INFORMATION

                                      3xLP Info: Available on 3x180 gram coloured vinyl.

                                      If you've a penchant for Belgium nu-beat, EBM and acid, then you can't go far wrong with Hiroshima 45 Chernobyl 86 Windows 95 - a fledging new label focusing on such subversive sounds.

                                      Undergoing somewhat of a renaissance at the moment, these dark n scuzzy body tracks are finding their way into the boxes of DJs who prefer to mine the undercurrents and black spots - think DJs like Vladimir Ivkovic, Jon K & Optimo.

                                      Raw Ambassador, a young reprobate with a fiery attitude, contributes his second release this week (see also: Wosto - "Das letzte Nasenhaar EP") and gets the record underway. "Satans Orgasm" displaying this machines agitator's love of distorted vox and menacing arpeggios across a beautifully evil EBM model.

                                      Fashion Flesh - the nom de plume of John Talaga - is an accomplished technician / audio mangler outta Bay City USA who uses self built and modified sound units to accomplish his sonic goals. "Please" sees frequencies shift and machines spit and growl over a primitive rhythm section and tons of electronic interference.

                                      First track for MPU54M, "Ueida Romance" creeping across taut electic tightropes whilst gleefully squeezing out a mutant crooner jam. Landing somewhere between Alan Vega, Poison Ivy and Ed DMX (!!!).

                                      Familiar UK stalwart Chris Moss Acid drops the EPs most polished and soundsystem ready track. "Townsend Acid" is high octane session acid with a nice full frequency rubdown to give the subs and tweeters a workout.

                                      Finally Juanpablo & Arcyniegas' "Tequendama" sees the EP collapse into a pit of sherm-fuelled inequity; a writhing mass of drugged out bodies fondling, grinding and thrashing out in some rabid sex dungeon deep underneath the city streets. 

                                      STAFF COMMENTS

                                      Matt says: Maleviolent machine abuse by a twisted bunch of knob fiddlers. See also: Raw Culture released this week

                                      A smorgasbord of fresh and upfront house music graces the forth record from UK stable No Fuss. Currently championed by MCR's Levi Love, this tasty four tracker easily shows off why the flamboyant Mancunian DJ digs their sound - terrace friendly in parts, deep and techy in others; feel good rite the way thru!

                                      Contributing spiritual offerings to the church of house music, all four acts here have got their toes on the pulse as they conjure up four highly danceable joints that should appeal to lovers of MCDE, Shir Khan, Acid Mondays and Kerri Chandler.

                                      There's big breakdowns, head-turning drops, bass to make your hips shake and melodies that'll raise your hands to the sky. It's the collective sound of the last 10 years of paradisiacal party music rolled into one succinct EP - and I for one am saying 'YES!'.



                                      COD3 QR, the killer mysterious techno label from last year, keep offering up more top drawer music from the underground. Garnering lots of support across the dance music global village, volume 6 sees another four anonymous artists ply their most hazardous wares on wax.

                                      A decidedly taut and tense selection greets side A, with "Fury" and "Antonov 004" both creating a sense of unease and forbodding as they delve into a dark, technoid electrofield.

                                      Flip the disc however and the mood is instantly elevating by the euphoric, endorphin rushing mini-anthem that is "Alma". It's been a while since we've heard pianos this big guys! Sure to cause a flurry of excitement and joy when this one plays out and loud....

                                      "Nacaduct" concludes and instantly flips the mood again. Delving right into the Earth's crust for a subterrainain rhythm rumbler with a hi-tek outlook and soundsystem damage in mind.

                                      Ready to blow minds and move bodies, one of the strongest on the label so far and in seriously short supply - move quick people!
                                       

                                      Various Artists

                                      The Hunter (Drama Suite) / Adventure Story (KPM)

                                      "The Hunter (Drama Suite) / Adventure Story" is a real library-head’s library album. We’re treated to some of the best works of no less than five different heavyweights of the genre: drummer Brian Bennett, guitarist Clive Hicks (of The Gentle Rain), saxophonist Duncan Lamont, rock bassist Dave Richmond and keyboard session giant Steve Gary! Something of a dream line-up, they each contributed stellar efforts to create one of the most sought-after of the legendary KPM albums.

                                      They Say: 'Composite themes and incidental cues for dramatic application'.

                                      We say: Well, it’s definitely dramatic. No wonder this LP was mined by a multitude of 70s and 80s crime shows. Much like "Beat Incidental", this true gem includes a raft of enjoyable sub-ten second incidental cues alongside satisfyingly stretched out, hard-knocking sleuth-funk.

                                      Both sides of this LP are dripping with insidious grooves and dramatic spy-score themes, bursting with heavy guitars, swirling flutes, creeping piano-funk and drum breaks galore. Originally released in 1975, it’s clear that these library heroes were heavily influenced by the tough funk and street soul sonics emerging from the cutting edge Blaxploitation soundtracks.

                                      Dave Richmond’s taut swagger and wah-wah guitar licks of “Nightwatch”, Steve Gray’s sleazy horn and clav-funk on the A-side opener “Theme For A Hunter” and Brian Bennett’s rolling strut of “The Investigator” are just three of the highlights here. That last one being sampled by Jeff Jank under his Captain Funkaho guise on “My 2600” for Stones Throw back in 1999.

                                      The audio for "The Hunter (Drama Suite) / Adventure Story" comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!


                                      Various Artists

                                      Breath Of Danger (Themes)

                                      "Breath Of Danger" was originally released in 1974, and rounded up a killer ensemble cast of library legends including Alan Hawkshaw, Brian Bennett, Alan Parker, David Lindup, Kenny Salmon, Barry Morgan and Ray Cooper.

                                      They Say: “A selection of suspense underscores and drama blackcloths which vary in intensity and cover a wide range of suspense and drama situations”.

                                      We say: A breaky, funky library great masquerading as a horror score. Oh, and the cover art is amazing.

                                      Lindup’s opener “Cold Sweat” sounds like hip-hop-friendly mode Axelrod and, indeed, was brilliantly sampled by Kool Keith for his Dr. Dooom project. Alan Hawkshaw and Brian Bennett’s “The Manipulator” sounds like it arrived straight out of the same sessions as their legendary Synthesizer & Percussion LP from the same year.

                                      Over on the B-side Alan Parker’s “Psychosis” is a moving and beautifully restrained funk-guitar/cello/harp workout. Stunning. Kenny Salmon’s “Flying Squad” is a sleazy, flute-enhanced gem and the album closes with “Voodoo”, a seventy second riot of sound and colour from the dynamic drumming-percussion duo of Barry Morgan and Ray Cooper.

                                      Sonically, there’s a widescreen vitality in all these tracks thanks to the driving rhythms, vibrant horn sections and blazing guitar work. It renders Breath Of Danger - 45 years old - truly ageless. The Themes series is known for having particularly striking sleeves, which was unusual for library records at the time, and Breath Of Danger’s scraps of comic-book crazy make for one of the most eye-catching.

                                      As with all of our other Themes re-issues, the audio for Breath Of Danger comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.


                                      Various Artists

                                      A Love That Never Dies 2

                                      A little mystery goes a long way, but it's fair to say the appetite for unearthing those secret tunes and lost classics has rarely been stronger... Those fine folks at A Love That Never Dies take another trawl through their shelves to turn out four illicit and anonymous floor fillers, which you'll struggle to find in their original form. Cartwheeling through the genres we get a folky funk bomb which could be Cajun, African or South American, an uptempo hit of disco drumming, a cosmic synth smasher and a robo-scat classic all pressed loud for your listening pleasure.


                                      “Paredo” presents new and exclusive works by three female japanese music producers: Kopy, Tentenko and Miki Yui who are based in Osaka, Tokyo and Düsseldorf respectively and a radical reinterpretation using elements of the featured works by Lena Willikens, the “Paredo Mega Mix”. All four contributions showcase their highly individual approaches to contemporary electronic dance music. “Paredo” is directly informed by multi-directional encounters of four musicians and their close observations of musical production and reception in practice.
                                      In 2017 Lena Willikens and TAL founder Stefan Schneider have both, though independently from one another, been invited to Japan under the auspices of the Goethe Institut. While Schneider researched electronic noise music cultures in Osaka, Lena Willikens and her artist partner Sarah Szczesny developed aspects of audio mix and filmed footage for their collaborative art project Phantom Kino Ballett while in residency at Villa Kamogawa in Kyoto. “While in Kyoto, we often went to Osaka or Tokyo to explore the diversity of the music subcultures there. It was fascinating to witness how Japanese underground cultures adopt influences from abroad and turn them into something original and very much their own. We also saw live performances by Kopy and Tentenko whom we quickly befriended.“
                                      Kopy is a consistent part of the vital electronic music scene from Osaka. Besides a few performances at Düsseldorfs famous Salon Des Amateurs, she has also been invited by Lena Willikens to her showcase at the Meakusma Festival in 2018.
                                      Tentenko begun to enter into the Japanese music scene with a steady flow of experimental cdr productions as well as collaborations with members of the legendary Japanese noise band Hijokaidan.
                                      Miki Yui originally from Tokyo has lived in Düsseldorf for more than two decades now. Besides albums of her solo work for Line (US), or more recently, for Cusp Editions (UK) she also collaborates with Carl Stone in the duo Realistic Monk (on the Meakusma label) and was a member of Klaus Dingers last band Japandorf (Grönland Records).


                                      STAFF COMMENTS

                                      Patrick says: Fans of electronic manipulation, superior sound design and alternative mindstates should delight at this compilation EP on TAL, which also includes a floor flaying techno oddity from Lena Wilikens, comprised entirely of elements from the other three tracks.

                                      Kashual Plastik 007 is more than just a double agent, it's a costume changing fifth columnist, destroying and reassessing how we could or should release music in this spoon-fed era.

                                      Established scholars Georgia, alongside freshers NAR, Paul Arambula and KC, mix drinks with F_ingers (a combo of Carla dal Forno, Tarquin Manek & Samuel Karmel (CS + Creme); A.K. Klosowski, the 80´s experimental tape artist from Hamburg, rubs shoulder pads with Brannten Schnüre fresh from their blinding album via Low Company; Nadine Byrne from Swedish noisesters Ectoplasm Girls; Andre Uhl, musician and futurologist - there's plenty of seats on top. The busload of creators on this anthology weave a psychedelic, dream-like state, with drones, opiated melodies and stellar visions.

                                      STAFF COMMENTS

                                      Patrick says: Though this isn't the weighty wonder of the wooden-box edition which dropped earlier in the year, a hand stitched, screen printed gatefold is still a worthy way to package this outstanding collection of experimental electronics, avant-garde lullabies and deepest ambient.

                                      FORMAT INFORMATION

                                      2xLP Info: Limited gatefold 2xLP + insert in screen-printed sleeve

                                      Duca Bianco are back with another hard rocking 12" of underground edit obscurities here from a crack team of digging royalty. Indovina Key kick the set off with a slick extension of a stuttering e-funk version of Demis' "I Dig You" with alternative non-English vocals. Next up Macadam MamBro Guillaume Des Bois treats us to a typically unheard heater in the form of "Sequence Fiction", which could well be a Belgian banger slowed down into nouvelle-cosmique territories. Turn the page and the ever-off his rocker Gareth Cherrystones chucks the cutlery in the blender for "Grunts Breakfast", a nuts and bolts cruncher with spacey synths for milk. Finally Maybe Tonight drop the tropical synth pop of "Tribuna Politica", a weird and warped bit of sampler funk which is sure to tickle your pickle. Happy days!

                                      STAFF COMMENTS

                                      Patrick says: Duca Bianco secure the services of four A-list diggers here, rewarding the listener with four total obscurities reflipped for wrongfooting the crowd. Electropop, Balearic, industrial and odd-ball funk are all on offer here.

                                      Various Artists

                                      Visual Impact (KPM)

                                      Originally released in 1976 but wonderfully timeless, Visual Impact is a rare example of a library record that’s genuinely great listen from start to finish. Just too good…

                                      We say: Arguably the single greatest album in KPM history. An ensemble piece of staggeringly heavy works from none other than Brian Bennett, John Scott, Steve Gray, Jim Lawless and Johnny Pearson.

                                      For our immense pleasure, Visual Impact includes the insanely ace “Nuplex” by Brian Bennett, a nagging, sweeping, punchy funk piece that exists in a world of its own. If you don’t know, get to know - the record’s worth getting for this track alone. The same goes for the beautifully paced, string-drenched, horn-fed LP opener “Canaveral Scape”, courtesy of John Scott. Truly sublime. Other highlights on the A-side include Bennett’s easy, bass-heavy jazz groover “Sequence Of Events” and the spare, building, undercover funk of Steve Gray’s aptly-named “Low Profile”.

                                      The B-side is straight-up fantastic. The percussive, vibey exotica of Jim Lawless’s “Keeping Pace” is followed by five tracks of slick, weighty funk breaks from Johnny Pearson. Check the pure groove of “Jaguar” with its head-nod drum break intro, the creeping piano-strings combo and… er… giant neck-snapping breaks of “Giant’s Causeway”, the speaker-smashing progressive bass groove of “Fugitive”, the tense "Rock Climb" and the sheer heft of "Heavy Load". Library largeness. If that isn’t enough, John Scott’s incessant “Flight Of The Phoenix” ends the session, brilliantly pilfered by M.O.P. for their much-loved “We Run New York”.

                                      As with all of our KPM re-issues, the audio for Visual Impact comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

                                      And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!


                                      Originally released in 1976, "The All American Powerhouse" is one of the very best of the Themes library releases. It’s killer. A feast of dramatic jazz, horizontal, melodic funk and bouncing sunshine-y West-Coast feels throughout, there also lurks an intense injection of the Blaxploitation sound. Understandable, given the subject matter and year it was released.

                                      They Say: 'Driving brass and sax ensemble over funky rhythm section, playing tracks of various feel and style'.

                                      We say: From the Lincoln Continental that memorably adorns the cover to the tranquil funk contained within, this glowing ode to the grooving force of 70s American soul music is ice cool all over. With brilliant contributions from the Three Key Alans™ (Hawkshaw, Parker, Tew) as well as Mike Moran, Les Hurdle and Keith Roberts, this is driving music for only the vibiest cats.

                                      Highlights include Alan Parker’s confident, horn-heavy wah-wah-fuelled album-opener “Sweeny Todd”, Hawkshaw’s graceful “Getaway” glide and dramatic, breathless “Speed Run”, Mike Moran’s loose, organ-driven propulsive B-Boy classic “The Pick-Up” and Keith Roberts’ percussive tour de force “Overide” that closes out the LP.

                                      Yet, perhaps the most significant track here is Les Hurdle’s long-adored “Soul Train”. A grooving, bass-heavy library classic, it’s all swirling strings, stabbing horns, heavy open drums and melodic funk-rock guitars. Add in the funky clavinet, and the combination works beautifully.

                                      As with all of our other Themes re-issues, the audio for The All American Powerhouse comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.


                                      Various Artists

                                      Dreams To Fill The Vacuum – The Sound Of Sheffield 1978-1988

                                        Extensive 4CD/book set exploring the punk and post-punk sound of the ‘steel city’.

                                        Features classics, rarities, album tracks and TWELVE previously unreleased gems from The Human League, Pulp (and members thereof), Heaven 17, Thompson Twins, B.E.F., Artery, ABC, Clock DVA, Hula, The Danse Society, In The Nursery, Treebound Story and many more.

                                        4CD + hardback book format contains over 20,000 words of artists’ sleevenotes, essays and memoirs from key players in the city’s music scene.

                                        Curated and designed by the people who brought you Manchester – North Of England, Revolutionary Spirit – The Sound Of Liverpool, Silhouettes And Statues, Electrical Language, Scared To Get Happy, Still In A Dream and many more critically acclaimed box sets.

                                        Journey through the music of a generation in one of the UK’s most vibrant and creative cities.

                                        Sheffield in the 1970s…. a city in decline, its steel mills and factories closing and its vast housing estates beginning to crumble. Even the city’s two football teams were both experiencing the worst form in their long histories. An unlikely setting, then, for a musical revolution, but aren’t they always? As it transpired, in the aftermath of punk this industrial backdrop, alive with frustrated young talent and peppered with accessible and affordable rehearsal and performance spaces, became a hotbed of uniquely informed new bands that challenged both the constraints of genre and the dominance of music from London, Liverpool and Manchester.

                                        Dreams To Fill The Vacuum charts the revival of Sheffield and its music in the latter half of the 1970s and throughout the 1980s, from The Human League to Pulp, via Aardvark, Pax and Native Records, and onto the chart successes of Heaven 17, ABC, Thompson Twins and many others. Featuring cornerstone contributions from the city’s brightest stars – Oakey, Cocker, Ware, Marsh, Hawley, Newton and co – alongside many more lesser-known legends, this is a tale of a city and its people rediscovering itself.

                                        Packed with first-hand artist sleevenotes, insightful essays, revealing imagery and brilliant, essential music, Dreams To Fill The Vacuum offers a story in need of telling.

                                        Various Artists

                                        Killing Eve: Season One (Original Series Soundtrack)

                                          As post-episode surges towards song-seeking app Shazam testify, Holmes and music supervisor Catherine Grieves left no box unmarked with their BAFTA-winning music for Seasons 1 and 2 of BBC America’s Killing Eve. Adapted from Luke Jennings’ Codename Villanelle novellas by lead-writers Phoebe Waller-Bridge (S1) and Emerald Fennell (S2), the Emmy-winning spy series has established itself as a swaggering, slippery, playful and punchy thriller of cat/mouse obsession like no other. And it comes with killer soundtracks to match, modern classics of pick’n’mix curation cut from the cloth of cinematic style but tailored with a moody, mischievous vivacity of their own

                                          As Grieves tells the tale, it became clear during early talks that strong female voices, multiple artists and a great composer would be crucial ingredients of the show’s music. A music supervisor whose work has ranged from The Inbetweeners Movie to Lynne Ramsay’s You Were Never Really Here via various TV hits (Wolf Hall, Collateral, The Casual Vacancy and beyond), Grieves already knew of the Belfast-born Holmes’ formidable CV. In between his work as a DJ, rock’n’soul remix artist and band-leader, Holmes’ screen output has ranged from music movies (Good Vibrations) and sundry retro-cool Steven Soderbergh pics (Out of Sight, the Ocean’s Eleven/Twelve/Thirteen trilogy and more) to various stylish TV dramas, among them London Spy.

                                          FORMAT INFORMATION

                                          2xColoured LP Info: Initial pressing on clear vinyl with red splatter and die-cut sleeve. Gatefold sleeve with matt finish and spot gloss on “Killing Eve” logo.

                                          Various Artists

                                          Killing Eve: Season Two (Original Series Soundtrack)

                                            As post-episode surges towards song-seeking app Shazam testify, Holmes and music supervisor Catherine Grieves left no box unmarked with their BAFTA-winning music for Seasons 1 and 2 of BBC America’s Killing Eve. Adapted from Luke Jennings’ Codename Villanelle novellas by lead-writers Phoebe Waller-Bridge (S1) and Emerald Fennell (S2), the Emmy-winning spy series has established itself as a swaggering, slippery, playful and punchy thriller of cat/mouse obsession like no other. And it comes with killer soundtracks to match, modern classics of pick’n’mix curation cut from the cloth of cinematic style but tailored with a moody, mischievous vivacity of their own

                                            As Grieves tells the tale, it became clear during early talks that strong female voices, multiple artists and a great composer would be crucial ingredients of the show’s music. A music supervisor whose work has ranged from The Inbetweeners Movie to Lynne Ramsay’s You Were Never Really Here via various TV hits (Wolf Hall, Collateral, The Casual Vacancy and beyond), Grieves already knew of the Belfast-born Holmes’ formidable CV. In between his work as a DJ, rock’n’soul remix artist and band-leader, Holmes’ screen output has ranged from music movies (Good Vibrations) and sundry retro-cool Steven Soderbergh pics (Out of Sight, the Ocean’s Eleven/Twelve/Thirteen trilogy and more) to various stylish TV dramas, among them London Spy.

                                            FORMAT INFORMATION

                                            2xColoured LP Info: Initial pressing on red vinyl with black splatter and die-cut sleeve. Gatefold sleeve with matt finish and spot gloss on “Killing Eve” logo.

                                            Beyond Space And Time is the new record label from Japanese music festival, Rainbow Disco Club (RDC). RDC has been welcoming music loving people to Japan for over a decade. Throughout the festival's history, RDC have been fortunate to constantly encounter performers and DJs who've collaborated with them in establishing a beautiful dance floor year in, year out. These relationships have lead RDC to start their own label, and now gives them the opportunity to reveal one of the best-kept secrets: What is in a DJ's record bag?

                                            This time around, festival regular DJ Nobu kindly opens up his collection and shares the music he loves with us all. 

                                            ▼ DJ Nobu describes 10 tracks this way ▼

                                            A1. Laurent Garnier - Water Planet
                                            Highly respected French DJ/Producer Laurent Garnier has been releasing tracks for decades capturing the very essence of Detroit Techno and Breakbeat. He always manages to create something truly emotional. This is not his biggest hit, but it's my favorite.
                                            A2. Mono Junk - Beyond The Darkness
                                            This track represents the very early days of Techno with it's ravey atmosphere. It has a primitive feel, and the obscure mixdown sounds almost unbalanced. That said, this one really stands out when DJing. Very cool.
                                            B1. Psychick Warriors Ov Gaia - The Valley
                                            It was always my intention to include this track in a compilation if were I ever to do one. It has a fat underlying groove, with some indigenous spices thrown in. The whole thing is put together beautifully. No complaints!
                                            B2. Melody Boy 2000 - Plenty Of Love
                                            I wanted to include a track that had Jacking feel to it - that is my definition of dance music. This track mixes well in both Techno and House DJ sets.
                                            C1. Drax Ltd. II - Amphetamine
                                            This is my all time favorite track by Thomas P Heckman. It asks questions and strikes down all the boring 'wanna be cool' techno tracks. It is obviously a well known tune already, but I include it here because I'm often asked for it's track ID from new kids in the game. This is a classic that should be passed down.
                                            C2. Dan Curtin - 3rd From The Sun
                                            Curtin's refined synth grooves and bass lines make this a true timeless classic. It do not get tired of listening to his rhythms and melodies - he always gets it just right.
                                            C3. Front 242 - U-Men.
                                            The originator of Electric Body Music. Their husky vocals, hard rhythms and strong synth basslines made the group very popular at the time, and they are still to this present day. To me, this track represents what the Belgian New Beat scene is all about.
                                            D1. The Prince Of Dance Music - E3 E6 Roll On
                                            This is the track I played the most up until around 2006. It is a genuine house track that cuts through trends in music. A hidden floor killer.
                                            D2. Pan Sonic - Lähetys / Transmission
                                            Electronic music has existed for decades, and if you are to choose some of the best from all scattered & hidden places, Pan Sonic's 'Lähetys / Transmission' must be considered. The track emerges beautifully - breaking structures and transcending the past. Every layer of the piece is produced with such delicacy and care, that as a whole it magically drags you into the world of the unknown.
                                            D3. Burial - Archangel
                                            This track merges melancholic emotions with technological prowess at the highest level, and deeply impacted the dance music scene on it's release. I recently played this track at the end of my set at the forward thinking Terraforma Festival in Milan. It faded out to huge applause from the open minded crowd. A moment to be remembered.

                                            STAFF COMMENTS

                                            Patrick says: In the finest genre busting tradition, Nobu’s dancefloor is a broad church, covering emotional techno, progressive house, classic jack, Love Parade slammers, EBM, club psychedelia and even a classic from Burial!

                                            For Music For Dreams’ collector’s series, the Danish label aim to bring us something a little different, something a little out there. After eclectic contributions from Jan Schulte, Moonboots and most recently Basso, they now lend the slot to Belgian sonic globetrotter DJ soFa. As always, he’s been granted supreme curatorial sovereignty, and the man held them to that one. For "Elsewhere Jr I", soFa takes us on a trip to the alluring and magical reality of childhood - and a trip, it is. The double LP features both new and old compositions from a wide range of countries, all centered around the youngest citizens of planet earth. The compilation has been 2.5 years in the making, with soFa collecting obscure pieces from all over the world and inspiring young collaborators to produce new tracks mostly by means of analogue synthesizers and vintage drum machines. The result is a thematically and sonically homogenous collage of cosmic children’s music.

                                            soFa starts us off with Milo Kolarov’s exercise in sonic imagery ‘Analogue Beam’, a story about animal characters, presented to us as distinct motifs of bleeps and blitzes. Next up is the surreal jigsaw puzzle dub ‘Totti und Pippo’ by Jah Limonardi Und Die KleineGräfinDubski. Here, we come bouncing on giant, iridescent mushrooms, lulled deeper and deeper down the rabbit hole by incantations of a child’s voice. Throughout, the record is full of these synaesthetic properties, immersing the listener in creative ways, nudging you down hidden experiential pathways. On the surface, soFa’s selections are pleasantly engaging, often blooming with charming grooves and whimsical melody. But then occasionally something else creeps into picture, some alien trace imbuing the unassuming tunes with a spectral strangeness. Take for example ‘Der KleineRoboter’ by VolkersMusikspiele. Here we’ve got a classroom of children performing a cheerful verse about being little robots, suspended beneath the droning of an icy locomotive synth. Two layers, subverting and transmuting each other.

                                            On the B- and C-side, our host for the hour spins us into a 16-bit midi mania straight outta the 90’s Nintendo-sphere. PallaTemplouf’s ‘Ping enKeun’ evokes the ominous mood of unknown threats lurking behind every corner, while Jan Turkenburg’s ‘In Hyperspace’ takes us through uncharted galaxies searching for lost space-treasures. On the final side, we’ve gone through the chocolate factory and come out the other side a bit less dazed and a bit more habituated to the weirdness of it all. PM Production’s ‘Pêle-Mêle’ twists a non-sense nursery rhyme mantra around a trudging bassline, while Thomas Natschinksi’s ‘Robotertanz’ returns to the robot-theme in a 70’s-inspired, hypnagogic space-funk-ballad. One of the few songs on the compilation that actually sounds like something out of the vast rock-pop continuum we’re familiar with.

                                            Elsewhere Jr I is a record that simultaneously infuses your reality with harlequin mystique and reminds you of what goes lost in the integration into the adult society. It’s both hyperreal and magical, with important lessons for young and old alike in an increasingly disenchanted world. Definitely something you haven’t heard before. 


                                            STAFF COMMENTS

                                            Patrick says: MFD hand the controls over to DJ soFa for the latest instalment of their Collectors Series, and the Elsewhere man continues his search for strange synthwave and cosmic pop, but refines his focus on children's songs. Any chump out there writing this off as twee needs to check their attitude and the clips - might I suggest you start with the masterful "Robotertanz".

                                            Various Artists

                                            London Is The Place For Me 7 & 8

                                              The latest volumes in this highly acclaimed “London Is The Place For Me” series - Volume 7 & Volume 8 are presenting the music of the Windrush generation: the post-war, London recordings of West Indians and West Africans, in the first wave of modern migration to Britain. Volume 7 - Calypso, Palm-Wine, Mento, Joropo, Steel & Stringband overflows with diverse musical styles, including steel band, stringband, calypso, joropo and mento. Volume 8 - Lord Kitchener In England 1948-1962 is devoted to the great calypsonian Lord Kitchener.

                                              The latest volumes in this highly acclaimed “London Is The Place For Me” series - Volume 7 & Volume 8 are presenting the music of the Windrush generation: the post-war, London recordings of West Indians and West Africans, in the first wave of modern migration to Britain. Volume 7 - Calypso, Palm-Wine, Mento, Joropo, Steel & Stringband overflows with diverse musical styles, including steel band, stringband, calypso, joropo and mento.

                                              STAFF COMMENTS

                                              Millie says: Ranging from Marie Bryant, The Lion, Billy Sholanke, Trinidad Steel Band and a whole host of brilliant artists, Volume 7 is the next installation of music from the Windrush generation, this is vital listening.

                                              The latest volumes in this highly acclaimed “London Is The Place For Me” series - Volume 7 & Volume 8 are presenting the music of the Windrush generation: the post-war, London recordings of West Indians and West Africans, in the first wave of modern migration to Britain.  Volume 8 - Lord Kitchener In England 1948-1962 is devoted to the great calypsonian Lord Kitchener.

                                              STAFF COMMENTS

                                              Millie says: Volume 8 carries just as much great sounds in the series London Is The Place For Me, dedicated to Lord Kitchener, he’s been titled the greatest calypsonian of the post-war age, and rightly so!

                                              B Boy Records was a significant player in the development of hip-hop in the 1980s, but a very short lived label shrouded in mystery. This double LP selects the best of the independent label, from the beginning of the label to including past icons and future legends, hard-hitting drum programming, synthesize and sampled beats overlaid with fierce battle rap swagger. This is a snapshot of hip-hop history. The label is best known for issuing the hugely influential Boogie Down Productions LP "Criminal Minded", which features twice on this release with ‘The Bridge Is Over’ and ‘South Brox’. Other highlights include JVC Force’s enduring classic ‘Strong Island’, DJ Scott La Rock (founding member of BDP) & D-Nic and all-female rap Sparky D, 5 Star Moet.
                                              The double vinyl LP packs in 16 tracks, presented on 180g heavyweight classic black vinyl with printed inner sleeves

                                              The motor hasn’t had time to cool down and the belt drive is feeling the fatigue. But Charles Maurice is the kind of DJ who just can’t let a turntable rest. After steaming up the slipmat with three sexy compilations of French Boogie, Charles Maurice is back with Volume 4.

                                              In the late 70s and early 80s, while France was still firmly tuned into variety-show pop, a few enlightened ears and souls picked up the hypnotic beat of funk from across the Atlantic. These first warrior monks spread the good word in discotheques, jumped on newly available frequencies to fill the airwaves and, in some cases, took up instruments themselves to unabashedly build on the U.S. model.

                                              In a short decade stretching from the late 70s to the late 80s – just a blip on the scale of music history – they turned out material in abundance. Lush productions with colorful covers, groovy typeface and creative photo shoots…

                                              But first and foremost, they made music weaned on, spoon-fed and imbued with funk. Music defined by a groove with a robotic beat (Djeneba) that clearly hears hip-hop banging on the door, where layers of synthesizers, handclaps (Eric Chotteau), horns and African percussion line up and follow the all-powerful lead of the swelling slap bass (Cyrill). Music that tells everyday stories, both humorous and lovelorn (Serge Delisle), and often packed with pheromones just waiting to be released on the dance floor or sofa (Chris O’Hara). Shaped by synthetic textures, these productions are also spiced with Caribbean and Creole arrangements that reflect the West Indies’ critical contribution to French Boogie (Wai Kop, Acayouman).

                                              With his immaculate tailoring, slicked back hair and clipped moustache, Charles Maurice has once again transformed himself into a HiFi stylus to explore the groove traced by this specifically French musical style. From 45 to 33 rpm, he has traveled the black spiral to bring us a new selection that proudly features a number of rarely heard pieces and even an unreleased track by Marco Attali. True to form, Monsieur Charles carefully crafted this fourth volume from his personal collection of impeccably restored and mastered vinyl recordings.

                                              Charles Maurice, where French elegance meets uncompromising musical taste.

                                              STAFF COMMENTS

                                              Millie says: French Disco Boogie Sounds Vol.4 brings us some of the best tracks yet, from Dwight Druick to Cyrill there’s no holding back on Volume 4 with full blasts of disco groove and funk for all.

                                              "Attack the Dancefloor Vol.15" features four new remixes from the people's champion Joey Negro.

                                              First up is his thunderous rework of the O’Jays boogie classic "Put Our Heads Together" done from the original multitracks in RWL style. The 2020 update of Doug Willis "Dancin" features rattling percussion and full live disco sound.

                                              Sunkids soulful house staple featuring Aretha soundalike Chance receives a powerful bassline driven remix. Whilst the much sampled '"Everyman" by Double Exposure (as heard in Salsoul Nugget) has been give a more up-tempo make over that emphasizes the familiar sections of the instrumentation whilst still using the full vocal.

                                              An Essential 12 Inch that's for sure.


                                              Ever-reliable edit stable The Very Polish Cut Outs have already successfully branched out Soviet and Yugoslavian territories, and now head honcho Zambon casts his net across the whole of Eastern Europe, returning with a brand new EP of off-grid disco, Balearic, electro and funk. All 4 cuts have been re-edited by well-known and long-term label associates such as Old Spice, Beard In Dust (aka Lipelis), Kompleks and Krjuk. Their reworks give brand new life to the original tracks that come from Czechoslovakia, Yugoslavia and the USSR. Czech disco? Check! Serbian Punk funk? Check! Russian electro? Check! Estonian balearic house? Check! This is without a doubt a versatile 4 tracker, that you will spin 4 times at 1 party at different hours of your set. Eastern Europe might not be the future but the edits surely are excellent.

                                              STAFF COMMENTS

                                              Patrick says: Those Very Polish peeps cast the net across the whole of Eastern Europe on their latest 12", serving us four fully under the radar heaters, retreated for dance floor success. Big new wave disco on the A1, sleazy and slow-jamming e-funk on the A2, punk funk power on your B1 and body popping bizzness to close - all killer, no filler folks!

                                              LA Club Resource enlist Chicago house legend Emanuel Pippin for a compilation of early Trax output taken from the embryonic period of Chicago house. Unreleased and rare tracks from Ron Hardy, Armando, Sean Hardonson, Paul Johnson and more.

                                              Kicking the record off with Sean Hardonson's "Crash". "Video Clash" is a house music standard, made popular by Lil Louis in 1989 on Dance Mania Records, although in circulation well before that. Hardonson's "Crash" is said to be the mythical version that started it all, finding its first time on wax here.

                                              To round out side one Pippin presents the original version of the house classic "House Nation" by Nick Non Stop and also fresh from the archives is the much sought after cult mix show cut the Martin Luther King Eulogy track by the late great Armando - "Gallop".

                                              On The B-side the spirit of legend Ron Hardy is alive and well in "Hardy Feet" a never before released straight to tape track made by the man himself thats sits somewhere between "Magic Feet" and "Video Clash"

                                              To finish out the record Paul Johnson and Emanuel Pippin join forces on this unique version of Chip E's "Its House" set to make the club go crazy.

                                              A must have for all Chicago House collectors and fanatics. Limited to 300 worldwide.



                                              12 Bombazos Bailables budget sampler album compiling 12 take-no-prisoners dancefloor tracks from the Discos Fuentes vast catalogue that turns 85 this year. Cumbia, hard salsa, descarga and more. A perfect introduction to the Discos Fuentes reissue series and a very convenient DJ tool, every track is a winner! Featuring names such as Los Supremos, Conjunto Miramar, Michi Sarmiento Y Su Combo Bravo, Fruko Y Sus Tesos, Peregoyo Y Su Combo Vacana, Adolfo Echeverria Y Su Orquesta.

                                              After being blown away by a few tunes - probably just as you will be after listening to this - Samy Ben Redjeb travelled to the infamous capital city of Somalia in November of 2016, making Analog Africa the first music label to set foot in Mogadishu (Not sure Afro 7 would agree - Ed). On his arrival in Somalia Samy began rifling through piles of cassettes and listening to reel-to-reel tapes in the dusty archives of Radio Mogadishu, looking for music that ‘swam against the current’. The stars were aligned: an uncovered and unmarked pile of discarded recordings was discovered in a cluttered corner of the building. Colonel Abshir - the senior employee and protector of Radio Mogadishu’s archives - clarified that the pile consisted mostly of music nobody had manage to identify, or music he described as being ‘mainly instrumental and strange music’. At the words ‘strange music’ Samy was hooked, the return flight to Tunisia was cancelled.

                                              The pile turned out to be a cornucopia of different sounds: radio jingles, background music and interludes for radio programmes, television shows and theatre plays. There were also a good number of disco tunes, some had been stripped of their lyrics, the interesting parts had been recorded multiple times then cut, taped together and spliced into a long groovy instrumental loop. Like everywhere in Africa during the 1970s, both men and women sported huge afros, bell-bottom trousers and platform shoes. James Brown, Stevie Wonder, Marvin Gaye and The Temptations’ funk were the talk of the town. In 1977, Iftin Band were invited to perform at the Festac festival in Lagos where they represented Somalia at the Second World Black and African Festival of Arts and Culture. Not only did they come back with an award but they also returned with Afrobeat. While Fela Kuti’s ‘Shakara’ had taken over the continent and was spreading like wildfire throughout Latin America, it was the track ‘Lady’ that would become the hit in Mogadishu.

                                              Mogadisco was not Analog Africa’s easiest project. Tracking down the musicians - often in exile in the diaspora - to interview them and gather anecdotes of golden-era Mogadishu has been an undertaking that took three years. Tales of Dur-Dur Band’s kidnapping, movie soundtracks recorded in the basements of hotels, musicians getting electrocuted on stage, others jumping from one band to another under dramatic circumstances, and soul singers competing against each other, are all stories included in the massive booklet that accompanies the compilation - adorned with no less then 50 pictures from the ‘70s and ‘80s. As Colonel Abshir Hashi Ali, chief don at the Radio Mogadishu archive - someone who once wrestled a bomber wielding an unpinned hand-grenade to the floor - put it: ‘I have dedicated my life to this place. I’m doing this so it can get to the next generation; so that the culture, the heritage and the songs of Somalia don’t disappear.’

                                              FORMAT INFORMATION

                                              2xLP Info: Includes a 16 page lp sized booklet.

                                              2xLP includes MP3 Download Code.

                                              Various Artists

                                              Sin City Jukebox - Volume Two

                                                When I visited New Orleans in 2004 in struck a friendship with a cab driver named Herb H. Franklin. He showed me great record shops and restaurants and told me his interesting life story. Herb was born in 1930 in Wiggins, Mississippi, and he moved down to the coast town of Biloxi with his parents at the age of 10. He later trained to be an auto mechanic, but as he hated getting grease under his fingernails, he opted to do what he did best – hang out in bars. So in 1950 he took a bartending job at The Smithwick's – a watering hole in Biloxi, just off Beach Boulevard. When his boss retired in 1955, Herb H. Franklin became the new owner of the bar. A month of renovation followed and the place reopened in Fall 1955 as Sin City, an unofficial name, as the sign outside the bar just said "Liquor." Herb said it was a long, rectangular room with a bar on the left, chairs and tables to the right, and a stage for live music at the end. The pool tables were relocated to a side room to make "plenty of space for sinning," according to Herb. There were rockin' bands on the weekends, sweaty dancers every night, and a jukebox that was wired to the house sound system so it could be heard over the general ruckus of the bar. And that jukebox did its work until the mid-1960s, when Herb closed the place. Amazingly, however, every 45 that ever graced the Sin City jukebox remained in Herb's possession. Whenever the jukebox operator came to bring in the new tunes, Herb gave him some small change to keep the replaced ones. As a result, 15 years of serious record collecting took place, without Herb even giving it a second thought. And here are some of his tunes...

                                                Various Artists

                                                Tim Burgess & Bob Stanley Present Tim Peaks

                                                  The Pacific North West and the English North West are damp, mossy, riddled with steep, unexpected valleys, dotted with abandoned mills, and frequently cloaked in mist. Most of the year you’d be wise to wear waterproofs. David Lynch set Twin Peaks in the former; it’s not a great leap to imagine it being re-cast and set in the latter. As for the soundtrack? Well, that’s what this album is about.

                                                  • Charlatans singer Tim Burgess and Saint Etienne’s Bob Stanley have known each for three decades now. Aside from a shared love of Factory Records and the Fall, they both consider Twin Peaks to be the greatest TV show ever. They also share a love of cafes, but Tim has gone the extra mile and set up the Tim Peaks Diner, a huge draw at festivals, combining tea, coffee and music. This, then, is a soundtrack for the Tim Peaks Diner after dusk – put a couple of quid in the jukebox and the plangent guitars of Durutti Column, Dean McPhee & Galaxie 500 colour the air.

                                                  • Included here are rare recordings on Factory Records (Stockholm Monsters, the Royal Family & The Poor), and groups that appeared in the wake of the Fall (Blue Orchids, the Fates); from South Wales there are minimal miniatures by Young Marble Giants and the Gist, as well as Gwenno’s ice crystal electronica. Not that the music needs to originate from Britain at all – there are tracks here from Sweden (El Perro Del Mar), New Zealand (the Chills) and the US, too (Chastity Belt).

                                                  • Compiled by Tim Burgess and Bob Stanley, this is the soundtrack to the Tim Peaks Diner after the sun’s gone down, and it contains some of the most beautiful and atmospheric independent music made in the last 40 years. Outside, the mists are rising and the rain is falling; inside, the coffee is hot and the music perfectly matches the mood...


                                                  First compilation from huge stable of new sounds, the US based, Big Crown. This is something of a highlight reel for what has been released in the three years since the label's inception. Some of our artists are world famous at this point while some of them are still under the radar. Even though not all BC artists can be found in the same aisle of our shop, after listening to "Crown Jewels Vol. 1", it should be clear how they all fit on the same record label. A label defined by taste and not genre, you'll find the languid but fiery soul of Lee Fields nestled right up to the exotic funk of Bacao Rhythm & Steel Band whilst The Shacks and 79.5 career through psyche and disco flavours respectably. However the cohesion and sequencing mean that you're never left disorientated or confused. Instead "Crown Jewels Vol. 1" places the listener on a journey into sunshine soul decadence. It's like you're on a 3-day road trip down highway 101 with the roof off, the sun blazing and loaded on nothing but good times. A great snapshot of this incredibly tasteful and exemplary label. Recommended.

                                                  Legend has it that Brian Eno’s concept of ambient music came to him while laid up in a hospital bed after an automobile accident in the ‘70s. A friend brought him some records, playing them too low to be properly heard, and Eno couldn’t get out of bed to adjust the volume. While the record spun softly, Eno’s idea for music you could ignore as easily as you could give it your full attention, like a sort of sonic wallpaper, was born. It’s in that spirit of quiet isolation that Ghostly International, in association with Adult Swim, shares "Ghostly Swim 2", our way of giving listeners a space to get away from the manic bustle of the festive period.

                                                  For those keeping track at home, Ghostly is wrapping up its 15th anniversary as an Ann Arbor/Brooklyn-based indie. 2014 has seen the company soundtracking video games (Playstation’s Hohokum), collaborating with awesome companies like Warby Parker and VOID watches, and clearing 300 releases of forward-thinking music with records from Tycho, Com Truise, and HTRK. What better way to end this banner year than to revisit one of our favorite partnerships from the past decade and a half?

                                                  Released in 2008, "Ghostly Swim" was praised for its adventurous survey of exploratory dance and pop music. Our curatorial focus has shifted this time around, moving further inward (spiritually) and outward (as far as our roster goes) to reflect the electronic underground in all of its hazy and vibrant experimentalism. 


                                                  Various Artists

                                                  Buzzsaw Joint Cuts 5 & 6

                                                    Buzzsaw Joint was born of a club offering Londoners the chance to revel in the sounds of good ol’ trashy rock’n’roll in all its vintage vinyl forms. Club top-cat, Fritz, then took the primitive Buzzsaw sounds online with a series of savage Mixcloud mixes created by record fiends from all over the globe. Now, the high-octane energy of Buzzsaw Joint has manifested into the physical form with a run of compilations on Stag-O-Lee. Get your ears around the wild’n’weird sounds of the extraordinary and inimitable Buzzsaw Joint! mixcloud.com/BuzzsawJoint.

                                                    As usual with Stag-O-Lee we compile two vinyl volumes on one CD into 73 minute/32 track monster! The first 16 tracks come courtesy of Sophisticated Savage from Sweden. Dusty Stylus, an Australian native, offers another 16 track trip from mesmerizing Blues to moody Popcorn.

                                                    Using the platforms of fabric and FABRICLIVE that the London club has nurtured over the past 20 years, fabric Records presents the past and future with 20 artists across 20 original tracks made especially for this release, for the 20th Anniversary celebration of the beating heart of EC1.

                                                    fabric is widely acknowledged to have long supported the underground London house and techno scene. The breadth of talent here displays the far-reaching arms of the night that includes the the melodic techno of Nina Kraviz, the shuddering electro of Steffi and evolving experimental house of Margaret Dygas. New resident IMOGEN drives darko techno whilst Marcel Dettmann’s is a classic late-night sound. Houndstooth’s Call Super takes things down a deep melodic notch and Maya Jane Coles steps up with a playful slice of house. British dance music pioneer Sasha closes out on a euphoric high with layers of building vocal and melody.

                                                    FABRICLIVE represents the finest in dubstep, drum n bass, jungle, breaks and experimental beats. Houndstooth’s Special Request opens in trademark jungle style leading on to drum & bass luminaries Source Direct and J Majik. Shackleton and Pinch & Trim started playing the club during the birth of the UK dubstep scene and give a taste of the evolution of bass music. Daniel Avery and B.Traits show off their dancefloor versatility, while Rupture founder Mantra plants a flag for London’s vibrant musical future. Closing are two of the club’s longest associates Groove Armada and original resident James Lavelle as UNKLE.

                                                    FORMAT INFORMATION

                                                    2xLP 1 Info: LP1 is the 'Fabric' compilation.

                                                    2xLP 2 Info: LP2 is the 'Fabriclive' compilation.

                                                    Various Artists

                                                    Odyssey: The Sound Of Ivor Raymonde Vol II

                                                      ‘Odyssey: The Sound Of Ivor Raymonde Vol II’ is Bella Union’s follow-up to the critically acclaimed ‘Paradise: The Sound Of Ivor Raymonde’.

                                                      This new compilation is a further celebration of the great British arranger, musical director, producer and songwriter Ivor Raymonde, who died at age 63 in 1990. Bella Union, the label behind both releases, is run by Ivor’s son Simon Raymonde.

                                                      Like ‘Paradise’, ‘Odyssey’ has been compiled by Simon with author, journalist and music historian Kieron Tyler. Simon explains that: “The research Kieron and I did for Paradise showed us that there was still an extremely rich seam of his music to be uncovered. A follow-up volume was increasingly inevitable.”

                                                      ‘Paradise’ told the story of a British musical great for the first time. Classic Sixties hits like Billy Fury’s ‘Halfway To Paradise’, Dusty Springfield’s ‘I Only Want To Be With You’ (co-written by Ivor) and The Walker Brothers’ ‘Make It Easy On Yourself’ were collected. All were arranged or produced by Ivor and heard alongside just-asfantastic tracks by David Bowie, Sonny Childe, Cindy Cole, Tom Jones, Los Bravos and Helen Shapiro. ‘Odyssey’ is additional confirmation of the seemingly limitless scope of Ivor’s talents. More hits are featured: the Alan Price Set’s irresistible Top Five interpretation of Randy Newman’s ‘Simon Smith And The Amazing Dancing Bear’, Dusty Springfield’s kinetic ‘Little By Little’, Frankie Vaughan’s epic chart topper ‘Tower Of Strength’ and the aural drama of Marty Wilde And His Wildcats’ ‘Endless Sleep’.

                                                      There are also lesser-known tracks by best-sellers: Los Bravos’ Raymonde-composed soul stomper ‘Brand New Baby’, Cat Stevens’ moody ‘Blackness Of The Night’ and the extraordinary 1966 Walker Brothers’ album track ‘Where’s The Girl’, which pointed to where the solo Scott Walker would soon be heading.

                                                      Although Ivor Raymonde was a back-room figure, he made the Top 30 in early 1963 as the clandestine vocalist with The Chucks – a studio demo had been made with no intention of it ending up in record shops. Then, it was issued and a band name needed. Ivor plumped for The Chucks and ‘Loo-Be-Loo’ began rising up the charts. On Odyssey, it is at last given its context.

                                                      Going into the reasons for a follow-up to ‘Paradise’, Simon adds “I knew there was more but even a serial curator, late-night trawler like me, at some point thinks ‘the best stuff must now surely be all discovered.’ But finding tracks like Christopher Colt’s ‘Girl In The Mirror’ is like unearthing a rare Donovan track produced by Ray Davies. Probably my favourite discovery was The Martells’ ‘Time To Say Goodnight’ which Ivor produced when he worked at Decca Records. They only released one seven-inch single which sells for over £200, so it’s quite a rarity and more importantly a banger of a track.”

                                                      Instead of Ivor, the cover image of ‘Odyssey’ is of Ivor’s wife Nita.

                                                      FORMAT INFORMATION

                                                      2xLP includes MP3 Download Code.

                                                      Various Artists

                                                      Buzzsaw Joint Cut 6 - Dusty Stylus

                                                        Buzzsaw Joint was born of a club offering Londoners the chance to revel in the sounds of good ol’ trashy rock’n’roll in all its vintage vinyl forms. Club top-cat, Fritz, then took the primitive Buzzsaw sounds online with a series of savage Mixcloud mixes created by record fiends from all over the globe. Now, the high-octane energy of Buzzsaw Joint has manifested into the physical form with a run of compilations on Stag-O-Lee. Get your ears around the wild’n’weird sounds of the extraordinary and inimitable Buzzsaw Joint! Dusty Stylus is a music junkie who lives in the country, a hundred kilometers north of Melbourne, Australia. He spent the late 80s drumming in 60s garage bands and now mainly gets his buzz from collecting post war blues, R B, and good old Aussie garage rock. He hosts a couple of nights, including the ever greasy Bacon Fat, and is often on the DJ bill at the phenomenal Slow Grind Fever. For the sixth Buzzsaw Joint cut, Dustys dusted off a purely top shelf selection of his rare 45 and 78 rpm records. Take the edge off with a hit of this gear here.

                                                        Various Artists

                                                        Hoochie Koo Volume II

                                                          Here you are! A second batch with essential tunes from the hallowed nights of the Hoochie Koo. To us, this is dance floor material. Some of these versions you won't find anywhere else. The Hoochie Koo is a high octane extravaganza inspired by the risqué Rock ‘N’ Roll lifestyle of the early days, delivering an explosive mix of rare 50s/60s tunes, a live - Soundsystem for the dancefloor, Gogo dancing - and the raunchiest Burlesque in town. We’d like to thank all the Queens & Cowboys, frenetic musicians, sultry showgirls and self acclaimed dancing kings. A big shout to the collaborating venues for helping us set a benchmark. And the almighty Bassy Club, that will stay in our hearts forever...

                                                          The music: Crazy Lover sets the mood. Thunder is tweaked a bit to kindle the floor, followed by the Earthshaker featuring the crazy honking of our Sax-player, Florent. Rock-a-Chika is an homage to the leader of our GoGo team, because her name is Chika ! Bassy Boogaloo had been recorded years ago at one of our wild nights at the infamous Bassy Club (R.I.P) Snacky is the soundtrack for the quirkiest Burlesque performer we ever had: Snacky The Drag King!

                                                          Furthermore: a hiccup rock, the Nabout dance, atmospheric surf and a French Mambo version of the all-time classic Istanbul.

                                                          Various Artists

                                                          Jamiila Songs From A Somali City

                                                          As you'd expect from its position and history, the eastern African nation of Somalia is rich in cultural influences. Wrapped part way around Ethiopia, it forms the sea coast of the Horn of Africa. Kenya borders it to the south, and its north coast faces the southern shore of the Arabian peninsula, only a couple of hundred miles away.

                                                          Unsurprisingly, given this last fact, Somalia was one of the first African countries converted to Islam, in the 8th and 9th centuries. During the 18th and 19th century, the Somali ports were controlled by Arabs and by the Ottoman Empire. During the European colonial period, the north was a British, and the south an Italian, colony. Independent Somalia still shows varying effects of these influences (Arabic, English and Italian are all used for teaching). Musically speaking, Somalia forms part of an eastern African Islamic continuum that includes the coast of Kenya and Tanzania as well as Sudan, and is more loosely linked with North and Muslim West Africa. (Kismayu, in the south of Somalia, is in fact the most northerly frontier of the Swahili music called 'taarab' or 'tarabu'). But like all the other idioms in this general Afro-Islamic nexus, Somalia's music retains a quite individual flavor.

                                                          The main traditional instrument of Somalia is the 'ud', imported from Egypt or Lebanon and known locally as the 'kaban'. Another common instrument is the 'taruumbo', or flute. The one heard on several of these tracks was a homemade, end-blown version cut from a piece of plastic tubing.

                                                          As is true for the whole of Africa, the standard six-string acoustic guitar has been taken over by Somali musicians and played in a wide range of styles. Small keyboard instruments have also long been a feature of East African coastal music. In the old days, portable harmoniums were popular. These were presumably imported from India, where they are very popular. In Somalia, the market has been captured by Japanese-made organs with built-in rhythm, like the one heard on four tracks here.

                                                          The music on this album was all recorded in one town, Baraawe (usually called Brava on the maps). Baraawe, which is on the Somali coast about 120 miles south of the capital, Mogadishu, has a population of around 10,000. Like all African towns of any size it is something of a melting pot. The original inhabitants, like the Swahili to their south, are of mixed Arab and Bantu African heritage, and speak a Bantu language called Chimina. Somalis from various other areas, speaking standard Somali and several dialects of it, also live in Baraawe.

                                                          The musicians heard here play regularly together in various combinations. Like almost all African musicians, they are part-timers. Some are shoemakers. Two are soldiers (Africa has long had an amazing number of fine dance bands made up of police or army personnel). All the pieces they perform on this recording are love songs.

                                                          Various Artists

                                                          Mind Destruction - Maximum Garage Psych Vol. 1

                                                            Mind Destruction is pleased to present the first of 6 volumes of mega rare and incredibly sought after US garage and garage psych 45s contained in a full colour collectors box

                                                            It’s more than 50 years since these fantastic 7 inches were issued in miniscule quantities and despite the various online resources that make finding rare records much easier, the singles contained in this box set turn up infrequently and even when they do, they’re often in less than acceptable condition. If an intrepid collector was actually fortunate enough to track down these records, the cost of buying them would easily exceed $2500!

                                                            Included here is The Beautiful Daze’s City Jungle Prt 1, which is a much longer and more interesting version than City Jungle Prt 2 which was later to feature on RPR’s release as well as Black Suit by The Iguana (later to become The Iguanas) and My Door by Zakary Thak, both of which are ranked amongst the elite of Texas garage singles.

                                                            All are mastered from the original records to ensure the best possible sound quality.

                                                            Various Artists

                                                            Speedy Wunderground: Year 4

                                                              For Speedy Wunderground, 2019 has been a vital and pivotal year. As well as label boss Dan Carey having produced an array of critically-acclaimed albums including regular collaborator Kate Tempest’s ‘The Book Of Traps And Lessons’ (alongside Rick Rubin), as well as the two Mercury Prize-nominated offerings from Black Midi (‘Schlagenheim’) and Fontaines D.C. (‘Dogrel’) - the 7” imprint he runs alongside Alexis Smith and Pierre Hall has been developing and growing and is fast-becoming recognised as one of the most exciting new labels in the country, culminating in an AIM Award nomination for Best Small Label, hitting their landmark 30th single release and putting out their very first non 7” / compilation releases.

                                                              Among those artists / tracks involved in this collection are: the Krautrock assault-on-the-senses of Scottibrains (Speedy house band featuring Dan Carey and Boxed In’s Oli Bayston and Liam Hutton), mixed by Orla Carey, the 13 year old daughter of the producer; ‘bmbmbm’ (7” single version), the first ever official release from London’s enigmatic genre-defying black midi (who Carey recently performed this track with at The Mercury Prize show, in which guitarist Matt Kelvin unleashed an awe-aspiring forward flip straight after running into a piano).

                                                              There’s also Squid’s LCD-meets-Television punk-disco workout ‘The Dial’; the twisting and turning art-rock of Black Country, New Road’s ‘Athen’s, France’ and in the label’s strong tradition of new / unlikely collaborations the skittering post-punk jam of All We Are & Alex Karpranos’ ‘Heart Attack’ - Carey having worked with the former on their self-titled debut and the latter on their third long-player ‘Tonight:Franz Ferdinand’.

                                                              Also present is the blistering jangle-drenched pop of newcomers Tiña; the acerbic existential lyricism of Leeds’ Treeboy & Arc and the powerful post-punk poetry of Ireland’s Sinead O’Brien.

                                                              “This definitely feels like a definitive collection for us” say label corunner / A&R Pierre Hall, “we love all the compilations, but this just feels like a real snapshot in time, all the bands and artists involved - despite being separate releases - all feel really connected.”

                                                              FORMAT INFORMATION

                                                              LP includes MP3 Download Code.

                                                              Various Artists

                                                              Afro Exotique - Adventures In The Leftfield, Africa 1972-82

                                                              The influence of traditional and contemporary African music on Funk and Disco, from the late 60's to the early 80's, has rightly become ever more widely recognised and acknowledged over the last 30 years.

                                                              Africa Seven as a label has been lucky enough to be able to explore some of the best music that West Africa produced during that period via a whole host of label catalogues, but Afro-Exotique (Vol 1) seeks to looks beyond Afrobeat, Funk and Disco, exploring some of the gaps in between, and a good few areas well outside of these established genres, often involving lesser known name and less familiar formats, but with the spirit of Africa ever present.

                                                              We wish had more info regarding the LP opener 'Black Reggae's "My Girl", but other than us discovering it on French - African label Fiesta's 1975 "Bols Brandy Presents Black Reggae" compilation, we don't.... so just sit back and enjoy the warm, lolloping, instrumental rocksteady cover of the Temptations' classic.

                                                              South African emigre, Apartheid dissident, and eventual partner of the Black Panthers' Stokely Carmichael, Miriam Makeba needs little introduction, but the elegant 1974 swing of "L'Enfant Et La Gazelle" has to figure pretty high in any "top anti war lounge songs of the 70's involving heartrending animal metaphors" list.

                                                              Benin studio owner Nel Oliver's "Let My Music Take You" (1976 ) boasts exuberant horns, shuffly shaker and a late arriving squelchy Moog. Whilst Cameroonian musician, sculptor, and writer Frances Bebey's "The Coffee Cola Song"(1982) is based around a traditional pygmy flute and local guitars, but with added fizzing drum machine percussion alongside prominent synths, all nodding to emergent Western pop of the day.

                                                              Switching gears a bit, Cameroonian Uta Bella's "Eben Reggae" is more quietly instrumental 70's cocktail reggae: lighter on the bottom end, heavier on the Hammond organs, easy on the ear.

                                                              Keeping it breezy, the infectious bossa nova groove of Togolese favourite Yta Jourais' 1977 "Pesse Mi Buntare" wanders off on a pleasing jazz sax excursion mid song, while Amara Toure' and Orchestre Masako's "Lamento Cubano" combines solid grooves and free form guitar solos with the plaintive lament.

                                                              Veering off on another late tangent, we get the heavy, leftfield, psyche funk of "On My Way" from Nigeria's shortlived but kinda explosive Aura (Aspiritual Emanation) outfit (1976), before Chakachas "Soledad" rounds things off in mellifluous style with it's gentle cosmic lounge vibes.

                                                              Various Artists

                                                              Factory Communications: 1978-92

                                                                Originally released as a limited edition four CD collection in 2009, Factory Communications: 1978-92 is a tribute to the label as well as a dedication to the founder, the late Tony Wilson.

                                                                Making its debut on vinyl, the project celebrates arguably the most important label in UK pop history, collating rare and obscure tracks from a diverse range of acts. It features 63 tracks including cuts from New Order, Joy Division, The Durutti Column, Happy Mondays, Electronic, A Certain Ratio, Section 25 and many others and includes sleeve notes written by Paul Morley.

                                                                Factory records was founded in 1978 when former Granada TV presenter Tony Wilson teamed up with Alan Erasmus, soon to be joined by maverick producer Martin Hannett. The Factory name was first used for a club featuring local bands including The Durutti Column, Cabaret Voltaire and Joy Division. The founding members of the label decided to release an EP of music by the acts who had performed there; “A Factory Sample” - and Factory Records was born.

                                                                Factory was however much more than just it’s headline acts. “Factory Communications: 1978-92” celebrates the label from the first release through an extremely diverse roster of acts from the cutting edge post punk of A Certain Ratio, Cabaret Voltaire, The Railway Children, OMD, James and Joy Division to obscurities such as Section 25, Biting Tongues, Crispy Ambulance, Miaow and Swamp Children via early dance culture - ESG and 52nd Street, to the full flowering of the ‘Madchester scene’, ending fittingly with the last Factory release, “Sunshine and Love” by Happy Mondays. Sleeve notes written by Paul Morley.


                                                                FORMAT INFORMATION

                                                                LP Box Set Info: 8 LP black vinyl box set.

                                                                FREE SHIPPING This item has FREE UK shipping!

                                                                The clouds pile up in the Dresden's autumn sky, but Uncanny Valley still sees a little bit of blue on the horizon. And why not looking on the bright side of life for a change? It's appropriate. At least if you have five killer tracks in your bag. Anyway, the collaboration with the Leipzig graphic designer Doppeldenk proved to be very fruitful and has now produced the fourth of seven children. So, after "Pink", "Red" and "Orange", here is "Blue". May life be good to you. The record opens with the aptly titled, Chicago-inspired "Mind Trip" by Credit 00, the Aldous Huxley from your neighborhood. The Leipziger takes you on a journey on your own nerve pathway with occasional stops at the hottest spots in your body. Local buddy Gnista is piling up layer by layer for the UK meets Electro affair that is "Playtime Worktime". It's an atmospheric monster that needs to be climbed first. But as soon as this is done, a fresh breeze blows around your nose. In "Brecht Hat Er", the mysterious Dresden underground formation AGB spreads wisdom in staccato mode, accompanied by Cold Wave-like music, which could also have been created in the shadows of the Berlin Wall. After a long time of hiatus, there is also a sign of life again from Uncanny Valley's Break SL, who proves with "Bye Bye 627" that he still masters the art of producing House music that is as edgy as it is catchy. In similar veines comes "In Transit" from Qnete who channels the ghosts in his machines into an emotional and powerful house track.

                                                                STAFF COMMENTS

                                                                Patrick says: Another killer outing for Uncanny Valley here, who enlist a quintet of underground all-stars for this V/A 12". Credit 00 drops a technicolour jacker which redraws Chicago acid in cartoon form, Gnista fuses a 93 warehouse rave with e-e-e-lectro, Break SL and Qnete are on house duty and AGB steal the show with the NNDW/Cold Wave jam "Brecht Hat Er".

                                                                Various Artists

                                                                Joey Negro’s 2019 Essentials

                                                                  Z Records' 2019 Essentials is in many respects a similar proposition to the successful Remixed with Love series, be it slightly more housey in places. This double CD contains 4 exclusive new JN remixes of disco classics from Double Exposure, The O’Jays, Tamiko Jones and Delia Renee. Along with these are a selection of the best Joey Negro remixes from what has been a great year musically including his reworks of CeCe Peniston, Horse Meat Disco feat Kathy Sledge and Sunkids. JN also originated some new music in 2019 under the aliases of Mistura, Doug Willis and Lakeshore Commission which are also included. Add to this remixes of ZR classics from Grant Nelson, Crakazat and Dr Packer. Only 1 of the 19 songs has been available on CD before.


                                                                  Various Artists

                                                                  Spiritual Jazz 10: Prestige

                                                                  'Esoteric, modal and deep jazz from Prestige Records, 1961-73'
                                                                  The tenth edition of our Spiritual Jazz series takes a closer look at the music Prestige was recording at the start of the 1960s. This was the period when the modal jazz sound pioneered by Miles and Coltrane was starting to percolate through the jazz underground.

                                                                  In its heyday, Prestige was the only jazz label that could hold a candle to Blue Note. Prestige was always quick off the mark to record new artists, and in the years after Kind of Blue the label was quick to release some of the most innovative early explorers of the new style.

                                                                  Founded as New Jazz in 1949 by 20-year old jazz fan and entrepreneur Bob Weinstock, Prestige was the only other imprint besides Blue Note to capture the iconic jazz sounds of the 1950s, and like its rival it grew to be an icon itself.

                                                                  If Blue Note documented the sound of hard bop in its most carefully crafted and beautifully presented form, the low-key, jam-session approach that Weinstock preferred meant that the music captured by Prestige has a tough, unfiltered energy that was a lot closer to way it was being played live, night after night, by New York's most prominent jazz musicians.

                                                                  Featuring Afro-Eastern visions from Yusef Lateef and Ahmed Abdul-Malik, deep modal excursions from Mal Waldron and Walt Dickerson, and essential spiritual jazz grooves from Gary Bartz and Idris Muhammed, Spiritual Jazz vol. 10 documents the sound of modal jazz in full flight, unabashed and authentic from the pioneers!

                                                                  STAFF COMMENTS

                                                                  Matt says: This momental series turns its spotlight onto the Prestige label, and more specifically their 1961-73 output. If you like your jazz deep, modal and esoteric, then this is for you!

                                                                  Various Artists

                                                                  The Rough Guide To Country Blues

                                                                    From sublime bottleneck guitar and upbeat rags to classic songster tunes and hokum, this Rough Guide highlights the many different facets of country blues, with tracks by blues legends including Blind Lemon Jefferson, Charley Patton, Skip James and many more. This LP is a perfect overview of the many different styles and key performers of country blues on one album and is an incredibly diverse selection of tracks including bottleneck guitar playing, upbeat rags and classic songster tunes. It traces the development of country blues during its 1920s/1930s heyday and has been lovingly remastered using pioneering restoration techniques.

                                                                    Various Artists

                                                                    Rhythm Showcase Vol. 1

                                                                      Daptone Records is ready to wrap you in a sonic embrace of soulful sounds from across the seven seas. Introducing: The Daptone Rhythm Showcase. Sink your teeth into this bakerʼs dozen of tantalizing, previously unreleased songs by Antibalas (Ìyàmi Àjé), Menahan Street Band. (Dancers' Mood), Innov Gnawa (El Bouhala - from their forthcoming debut full-length Lila), as well as other deep cuts and diasporic dialogues from across space and time. Get ready to move to this exquisite collection of sultry sounds stretching from the five boroughs of New York to the bustling megacities of West Africa, the deserts of Morocco, the sacred and psychedelic landscapes of the Native American West and beyond. Buckle up for this multi-continental rhapsody of rhythm and groove. Musical medicine for the body, mind and soul: once again Daptone delivers.

                                                                      Should you find yourself taking a Thames-side stroll in the shadow of the City of London, keep an eye out for the headphone-clad figure of Ilan Pdahtzur. While be-suited bankers and frustrated office workers scurry home to their families, Ilan can frequently be found casting admiring glances towards the blinking lights of towering skyscrapers while filling his ears with the synthesizer-driven sounds of lesser-known 1980s dance music.
                                                                      Ilan, an avid but little-known record collector best known for sharing the artwork of obscure and under-appreciated early-to-mid ’80s club cuts on his popular Instagram feed, has been digging for vibrant, kaleidoscopic records since his teens. Now, thanks to Spacetalk, he’s been given a chance to offer a glimpse into his neon-lit nocturnal musical world.
                                                                      The result is Night City Life, a killer collection of 1980s synthesizer songs inspired by Ilan’s admiration for the glow of London’s late night skyline. Over the course of 13 essential tunes, Ilan escorts us on a vibrant sprint through rare Italo-disco, steamy South African synth-boogie, fizzing American freestyle, oddball Austrian electrofunk and so much more.
                                                                      There are naturally a fair few sought-after cuts present, but also a fine selection of under-appreciated gems that for one reason or other have been all but ignored since they were released three and a half decades ago. In fact, some selections are so obscure that barely any information exists about them online.
                                                                      Check for example Preludio’s “Mysterious Nights”, an evocative fusion of slow electronic grooves, dreamy chords and twinkling piano motifs previously buried on a lesser-known album of unremarkable German synth-pop, or the dollar-bin brilliance of Fragile’s sweet synth-pop gem “We’ve Got Tonight, Boy”, a cut that Ilan says is capable of “wrapping itself like tendrils around your soul”. He’s not wrong.
                                                                      At the other end of the scale you’ll find the ultra-rare Italo-disco breeziness of Friend of Mine’s incredible “Just Your Pride” and Mac & Monica’s soulful 1986 South African synth-boogie cut “You’re So Good To Me”, copies of which regularly change hands for hundreds of pounds online. Ilan originally reached out to the men behind the record last year to tell them how one of their other forgotten gems had been played on a Boiler Room session; naturally, they were thrilled.
                                                                      There’s plenty to admire elsewhere on the compilation, too, from the waves of analogue synths, bubbly melodies and bobbing beats of the instrumental dub version of Brian Tatcher’s “Hot Love” – a cold-war era cut inspired by the idea of love blossoming in the midst of a nuclear meltdown – to the Bobby Orlando-esque freestyle bustle of Janelle’s “Don’t Be Shy (Dub)” and the sparkling post-boogie brilliance of Jarmaz’s “Night City Life (Disco Remix)”, a track Ilan has listened to countless times while admiring the midnight skyline of his home city.


                                                                      STAFF COMMENTS

                                                                      Sil says: Covering an ample part of the interdimensional disco spectrum, this comp is going to keep crate diggers asking for a volume 2 pronto! A future classic.

                                                                      20 years of Pop Ambient. Already? One didn’t notice. It’s an anniversary which comes quietly. An anniversary with quiet tones.In the spirit of the special restraint of pop-elegance, it has no reason to drawn attention to itself with a big „Tam-Tam“. Or better: „Bum-Bum“. The bass drum stays outside. Nevertheless, in fast-paced, overstimulated times of moving forward, it’s a joyful occasion to look back.What strikes most by putting or listening to 20 years of pop ambient in a row is the central theme that holds together the dense aesthetic concept like the pearls of a necklace.Floral beauty for digital naturalists. Music like flowers, that don’t wilt. Timeless. Ageless.

                                                                      But with all of the conceptual unity and resolution, Pop Ambient would not be Kompakt without the break, the friction, the expansion of musical boundaries in between tradition and innovation, in between conspiracy and the openness of the discourse.Aestheticism, escapism, acting in the spirit of „nevertheless“. Swans drifting by, clouds pass over, everything is floating and: „Boredom is a stylistic device“ (Andy Warhol).

                                                                      Pop Ambient Music is medicine against illnesses, that you don’t even suffer from. It’s giving everything, demanding nothing.Musical lotus leafs, off which the virtual wastewater of our time is rolling like the reality is dripping off the matrix.

                                                                      In this sense, we’re happy about the pop-ambient anniversary greetings from new and old companions like Thore Pfeiffer, Max Würden, Yui Onodera, Jörg Burger, Thomas Fehlmann, Morgen Wurde, Leandro Fresco aswell as contributions from T.Raumschmiere, Andrew Thomas and, after a long break, from friends from early days like Joachim Spieth, Markus Guentner und Klimek. Breath in. Breath out. Thank you.



                                                                      FORMAT INFORMATION

                                                                      2xLP includes MP3 Download Code.

                                                                      "I can only bear intimacy, really, and after that formality and servility. The horrible thing is familiarity." And so we come to the end...a new vinyl-only compilation from Blackest Ever Black, consisting of all-new recordings unavailable elsewhere, plus a pair of tracks - Carla dal Forno's much-loved cover of The Kiwi Animal's 'Blue Morning', and Scythe's zero gravity blues 'Flower, Drop' - appearing on this format for the first time. Jonas Tiljander (Brainbombs, Bremen) dons his solo Brainman guise for the corrosive synth-scaping of ‘Kilonova’; Ian Martin, whose SEER radio broadcasts were a significant early influence on the label, manifests the pure astral melancholia of ‘Missing Realism’; Hypnotic Sleep and associated band The Fulmars offer two iterations of bittersweet Low-German DIY pop, and Unchained a gorgeous, evergreen-dazed guitar instrumental in ‘Gray d’Aboukir'. 'Dawn Swoop', a suspenseful miniature from Jam Money (Spillage Fete), might just be one the most perfect two minutes in the label's catalogue.There are contributions too from two superheroes in the BEB universe: Bobby Wratten (The Field Mice), withthe gorgeous, tremulous ‘The Munich Post’ from his current project Lightning In A Twilight Hour, and Bridget Hayden, who gives us the heart-stopping, elegiac drowned-folk of 'Solace'. 

                                                                      STAFF COMMENTS

                                                                      Barry says: A fittingly beautiful and diverse requiem for a killer label, 'A Short Illness...' features a host of superb electronic acts, burning ambience and gloom abound. Unmissable, much like the rest of their considerable catalog.

                                                                      'There is little hope for the new generation of Polish house music producers these days in Poland as the scene has fallen into total obscurity in the last few years. With almost no labels, no venues that host non-techno parties and most importantly no listeners and supporters, the scene looks grimmer than ever. The term 'music for nobody', coined some time ago on social media, describes the situation in a fitting and ironic way. Nonetheless the Polish house music flagship Transatlantyk is back for 2019 with this new various artists EP that showcases some of the best hidden musical talents the country has to offer.'

                                                                      Breezy analogue electro from Dextre, packing plenty of crunch and with nice gentle phaze as if recorded hot onto tape this is emotive and uplifting as hell. K-Hole Trax drop "Shout Out To Keith Haring" which sounds like summat Ron Hardy or Jamal Moss might utilize in a pitch black nightclub around 4AM. Dirty, dark & gritty, and straddling a kinda electro-punk / new wave boundary with a filthy swagger.

                                                                      1992 open side B with "Emphasis"; a deep, expansive and hallucinatory effort with ascending pads, fluttering atmos and rugged drums. Slightly proggy and rushing with endorphins, if it was pitched up to +8 I could easily see big room techno DJs like Svan Vath or CJ Bolland warming up their sets with it!

                                                                      Finally Aheloy complete the collection with the slightly discombobulated wheel barrel of "Anvil". With ricocheting synth shards and a beat that fills like it's collapsing in on itself, technoid bleeps and enveloping pad sweeps meet alien synth-brass and a generally quite gnarly palette of outer space sounds somehow coaxed into a groove by Aheloy! Interesting stuff indeed.

                                                                      Limited to 200 copies, a nice snapshot of both label and the under-represented Polish house scene. It sounds like they need all the support they need right now! 


                                                                      Amidst her jam-packed touring schedule, Amelie Lens runs the hugely popular Exhale party series and her own record label, Lenske. She also makes time to interact with her hundreds of thousands of die-hard fans who shower her with love at gigs and on social media.

                                                                      For her Fabric presents mix Lens has pulled together 74 minutes of unreleased and all exclusive music from some of her favourite acts, many of whom are breakthrough techno artists. While Lens is known for her full throttle DJ sets, the mix is a more nuanced affair. Opening with atmospheric snippets, it moves on to bangers and hi-energy synths. There are a few more pummelling contributions before the mix is brought to a spectral, deeply satisfying close.

                                                                      STAFF COMMENTS

                                                                      Matt says: New on our radars and hot to trot, Amelie Lens' quick ascention up the techno ranks has been bolstered by a well-respected firm of supporters - Richie Hawtin, Adam Beyer and pretty much the entire Antwerp scene are behind her. It's no wonder as she alludes at a maturity and depth in techno that belies her reletively short spell in the limelight. One to watch for sure...

                                                                      FORMAT INFORMATION

                                                                      2xLP includes MP3 Download Code.

                                                                      Various Artists

                                                                      Soul Jazz Records Presents Space Funk: Afro-Futurist Electro Funk In Space 1976-84

                                                                      ‘Space Funk’ is a lovingly compiled collection of superb, rare and off-the-wall space funk and electro, mostly released on small independent labels in the late 1970s and 1980s. Features music by Jamie Jupitor, Solaris, Robotron 4, Juju & the Space Rangers and many more intergalactic space warriors.

                                                                      STAFF COMMENTS

                                                                      Sil says: Let crate diggers do the hard work and Soul Jazz to deliver another superb compilation of rare electro and funky space funk. Which such striking cover and great selection how can you say no to this. My compilation of the week without a doubt.

                                                                      FORMAT INFORMATION

                                                                      2xLP includes MP3 Download Code.

                                                                      Random Numbers continue to deliver the weapons grade machine music with their fourteenth release, a four track sampler of the skewed and psychedelic. BXP open the set in lysergic fashion, locking into the slo-mo techno chug and spacey pads of "Tripla", before Carcass Identity balance whomping bass tones, bubbling solder and off kilter stabs into the k-hole chaos of "Helical Filament". On the flipside Wang INC pop the life jacket and descend through the bubbles into an aquatic land of imposing technoid chug while UVB76 bring down the curtain with the cinematic and serrated "Hyojin", a industro-tribal anthem for uncertain times.

                                                                      Repress of this groundbreaking V/A EP from emergent Vancouver stable, Pacific Rhythm. Featuring Lnrdcroy, Cloud Face and Memory Man, who've previously graced Firecracker and Mood Hut respectively, it's a perfect snapshot of this label's sonic playing field - nocturnal, slightly opiated house music with a VHS-hue and rose-tinted outlook.

                                                                      RIYL: Mood Hut, Crow Castle Cuts, Firecracker, Peacefrog, All Caps, Temple etc.



                                                                      Third installment of this amazing Pacific Rhythm showcase series. "Rhythms Of The Paicifc Volume 3" contains tracks by Khotin, Slim Media Player and Electric Sound Broadcast and further cements the label's tape-fried, THC-soaked deep house aesthetic perfectly. Utilizing vintage gear and concentrating on groove, mood and texture, the three artists featured here have grasped this label's direction perfectly. 

                                                                      RIYL: Mood Hut, Crow Castle Cuts, Firecracker, Peacefrog, All Caps, Temple etc.


                                                                      There’s a new musical wind blowing through Germany - and especially in Berlin. After years of having been the techno capital of the world, the city now is embracing a much wider musical palette. Attracting a new generation of sonic adventurists, international jazz musicians as well as German talents.

                                                                      These highly skilled performers are searching for something new, merging different styles and influences. It’s a fact: jazz no longer ‘smells funny’. And after London and L.A., Berlin is on its way to becoming a new hotspot for the next generation of jazz-influenced musicians.

                                                                      Thanks to its free hedonistic spirit as well as a blossoming scene of new live clubs, festivals and happenings. This compilation showcases some of the most interesting artists on the new German scene to date.

                                                                      Yet while other new jazz movements are more influenced by hip hop and R&B, these young German ‘jazz’ musicians have audibly steeped themselves in their own heritage: Krautrock and electronic music.

                                                                      The majority of the tracks on this compilation were composed exclusively for this release or have only seen a limited release via the artists’ own channels. A few have already been released in 2018/19 on small labels. 


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