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Nylon Trax the Brooklyn born Seattle-based label, lead by New Yorker Jaymz Nylon has returned to its vinyl roots with the release of a four track EP. "Archv 1" features interstellar tunes from the catacombs of Nylon Trax extensive catalogue

Featured talents on this EP are the vocalist Darrius Willrich, Leandro P. Feat. Anthony Poteat, DJ Qu, DJ Jus-Ed, Zulus At Work, M. Carporale and Nylon himself.

Traversing between all corners of the Nylon Trax diaspora, the club-ready "Archv 1"leaves no rock unturned. Proving the perfect introduction to those unfamiliar with the labels hyper-global sound, Nylon Trax return to vinyl is nothing short of timely.

Various Artists

DJ Mitsu The Beats - Solid Black

    In conjunction with Snow Dog Projects and Black Jazz Records, Jazzy Sport crew member DJ Mitsu The Beats has composed a seamless mix of tracks selected from the Black Jazz catalogue. Well known for his hip hop mixes, Mitsu takes a two-decade-veteran DJ’s perspective here, more often than not segueing complete tracks, as opposed to doubling and cutting breaks, for a 70-minute-plus trip through vintage 1970s spiritual jazz that a listener can easily lose themself in. Of course beats and breaks and funk abound here, but the emphasis of this mix lands on the Black Jazz label’s overall vibe, while highlighting the funkier edge to the catalogue, which has collectors chasing original vinyl copies to this day. Mitsu's selection respects the core essence of the tunes, yet also finds a way to make them flow beautifully into one another, in a 28 track blend of magical music that stands as a great testament to the soulful, spiritual depth of the Black Jazz catalogue. ‘Solid Black’ is one of a three-part series of mixes, alongside Gilles Peterson’s ‘Black Jazz Radio’ and a very special yet-to-be-revealed set compiled by a hugely popular deep house selector which will see the light of day early in 2003.

    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.

    Various Artists

    Bullet Dodge Records Compilation 4


      For BDR036, Bulletdodge release another fuel packed compilation. This time the compilation has a strong techno flavour featuring tracks by new school producers My Evil Twiin, Jan Cree, Wardy and Gavrom with remixes from heavyweights Space Djz, Orlando Voorn, Hardfloor and Detroit Grand Pubahs.

      First up is a track called Suspension of Disbelief by Bulletdodge veteran and label A & R executive Scott Johnston under his My Evil Twiin appellation. He delivers a driving stomper, that thunders out of the starting blocks with a wall of pounding hypnotic bass and radio frequency minimalism that immediately sets an aggressively dark tone.

      Remixing Suspension of Disbelief is the Space Djz, who deliver a typical Bulletdodge interpretation, keeping the synth stabs and relentless groove whilst bringing the bass right up front in an overstated, aggressive manner sure to keep everyone moving.

      Next up is producer Jan Cree who throws into the equation his minimal affliction, Tap Tu. This track pushes the release in an interesting direction. The off-kilter groove, stern percussion and precisely placed bleeps give the track a haunting feel whilst the pulsing bass and tech-house arrangement make this a potent dancefloor cut.

      Tap Tu is remixed by Orlando Voorn and perhaps conveys the most idiosyncratic Bulletdodge vibe of all the tracks on the compilation. Built upon a growling bass line, the dark and aggressive techno is intelligently contrasted with a light repetitive snare motif to give an effective sense of tension and release.

      Newcomer Wardy shows off his unique productions skills by delivering his track, Taking the Mick. The simple synth stabs and smooth brass hits are driven along by a wonderfully funky bass that shakes some air but never interferes with the warm, round sub pining the groove together. The track is rounded of by an infectious vocal that will be a sure fire hit on the dancefloor.

      Wardy also provides a dub mix along with a compelling remix from 303 legends Hardfloor. Hardfloor provide a tremendous take on the original. Bass heavy grooves and technoid percussion remain the order of the day but some interesting new elements are thrown into the mix and don’t forget their anthemic sweeps and signatory 303 acidic components that make this track a monster.

      Lastly on the compilation we have the illusive Gavrom, who indulges us with Twister, his detroit influenced work of techno wizardy. With a contagious bass line and minimal percussion it’s obvious that this track was intended for the darkest basements of underground clubs playing the deepest grooves.

      Detroit Grand Pubahs are on remix duty for Twister. Their rework is a blistering thrill from the offset, with a heavy pounding bassline and aggressive effects that allows this track to round the compilation off very nicely.

      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!

        Including tracks by Lucretio, Steve Murphy and DJ Octopus, Chevel, Caio and Madí Grein. 5 tracks of gritty house music by the members of the Riviera project, showcasing the suburban sound that has been flourishing from the muddy banks of the Brenta river. All the tracks have been arranged, mixed and produced with outdated agricultular machinery. Mastered by Frank Merritt at the Carvery (London).


        Juvenile Delinquent’s Jukebox gathers together tracks (91 on 3xCD / 36 on 2xLP) featured in the films of John Waters. “To me, bad taste is what entertainment is all about”, opines Waters. “If someone vomits watching one of my films, it’s like getting a standing ovation. But one must remember that there is such a thing as good bad taste and bad bad taste.” From as early as Mondo Trasho (1969), the American film director has made substantial use of the music of his youth, music that ranges from wholesome ’50s popular vocalists, to rhythm & blues, doo wop, rock & roll and the dance crazes of the early ’60s. Early pop authority Lucky Parker has compiled 91 examples for Juvenile Delinquent’s Jukebox, as well as providing a fascinating essay, which charts Waters’ formative years and his early experiments with short film, leading to notoriety with transgressive cult movies like Pink Flamingos and eventual mainstream success with Hairspray and Cry-Baby.

        Whether it be as film director, screenwriter, actor, author, stand-up comedian, visual artist or art collector, the perennially pencil-moustachioed John Waters has been pushing the boundaries of good taste and poking fun at America’s idealised image of itself for over fifty years. Given the furore which surrounded his notorious breakthrough feature, Pink Flamingos, it’s almost inconceivable that Waters has so seamlessly infiltrated mainstream pop culture - albeit unintentionally, with multi-million dollar-grossing movies such as the family friendly Hairspray - to become respectable. Drawing on seven of his celebrated movies, Juvenile Delinquent’s Jukebox serves as both a soundtrack to his extraordinary oeuvre, and also a rollercoaster ride through the popular music – at turns wholesome, rebellious and frivolous - of the ’50s and ’60s.


        Various Artists

        Cambodia Rock Spectacular!

          Recorded in raw, bare bones conditions, mostly live and with traditional Cambodian instruments finding their place alongside found keyboards or guitars, the music of the Khmer rock musicians transformed the nightlife of the Cambodian capital, Phnom Penh, and many years later seduced countless listeners around the world with their groovy sound. The rise to power of the anti-Western, fanatical Khmer Rouge in 1975 caused drastic and permanent changes for Cambodia. These years saw social upheaval in the form of massive famines, selective executions and a brutal campaign of genocide responsible for the deaths of an estimated two million Cambodians, many in the notorious “Killing Fields”.

          Even the most famous and beloved Khmer musicians could not escape. Sinn Sisamouth (“the Emperor of Khmer Music”), Ros Sereysothea (“The Golden Voice of the Royal Capital”), and Pan Ron met their deaths at the hands of the Khmer Rouge. The music of these honoured musicians and others live on in this exclusive collection, assembled with much love and respect for the artists who made the Khmer rock scene so thrilling. The music here is wild and anarchic, rhythmic and undulating, sometimes sweet and lyrical, but always moving.

          "Cambodia Rock Spectacular!" captures that deep soulfulness ingrained in the best music; and along with its soon-to-be-revealed sister album, "Cambodia Rock Intensified!", it is perhaps the most definitive collection of classic Cambodian rock music to appear on the scene to date.

          FORMAT INFORMATION

          CD Info: New deluxe CD version packaged in hardback book with 32 bound pages filled with rare photographs and extensive background information on the Khmer rock movement.

          Various Artists

          The Secret Museum Of Mankind: Central Asia Ethnic Music Classics: 1925-48

            • Originally released in 1995 on CD only, Outernational Records now reissues the Central Asia volume of the legendary The Secret Museum Of Mankind series on vinyl.
            • Deluxe 2LP gatefold presentation in a limited edition pressing of 1,000 copies.
            • Includes extensive sleeve notes and rare photos.
            • Produced by Hisham Mayet of Sublime Frequencies.
            • Compiled by archivist Pat Conte.
            • Remastered directly from the original 78s by Richard Nevins.
            • "No world music fan should be without these packages which are full of unadulterated, pre-Westernized exotic delights." --Jazz Times.

            Outernational Records is pleased to announce the fourth volume of this legendary series, now available on vinyl. This series of archival 78 transfers was originally released in 1995 on CD only. This volume from Central Asia has to be one of the most revelatory volumes yet presented. Concentrating on a singular geographic region, this volume unearths some of the rarest recorded artifacts of music from the Central Asian countries of Mongolia, Uzbekistan, Kazakhstan, Kyrgyzstan, the Caucasus region, Tadjikistan, Azerbaijan and others. Of all the recent excavation projects inspired by our voracious musical culture, none is more fascinating than Pat Conte's Secret Museum series for Yazoo. Until now, a Western listener's familiarity with ethnic music from the distant past has depended on unsexy field recordings of relatively recent vintage, produced in a spirit of near-scientific inquiry by anthropologically-minded musicologists. When the commercial record business really began to expand in the late '20s however, just about every national style of music was sought out and captured for a growing marketplace.

            This was true "world music," dressed in its Sunday best perhaps as performed by ambitious locals, but still more vital than the academic, folklorist approach that followed. Just as Harry Smith compiled early commercial blues and country records for his monumentally influential Anthology Of American Folk Music, so Conte has gathered even rarer 78s from all over the globe. Thanks to excellent remastering, we can hear vividly how an ensemble sounded in India or Japan more than a half-century ago or a klezmer orchestra right before the Nazis destroyed that bit of local culture. It's like owning your own time machine.

            Gorgeous gatefold Stoughton tip-on sleeves with newly-discovered vintage color photos not available on the original CD issue. This is a limited edition one-time pressing of 1,000 copies.

            Something Cold was formed by Justin Carver in 2009, as an ongoing live showcase for minimal-synth, coldwave, and industrial sounds in Detroit. This compilation release showcases acts who have performed at Something Cold over the years, as well as friends and allies who are no strangers to the Something Cold dance floor. Tracks by local artists Autumus, Deastro, Especially Good, YOU., and Ze Dark Park reveal the sound of decadent nightlife easily found inside the empty corridors of Detroit. Meanwhile, North America's minimal DIY synth explosion is represented by bands from east coast to west, both well-known and completely unheard of. Each selection on this LP documents the sound of the coldest and most confusing social club of Detroit; this is Something Cold.

            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!

              For their fourth release, Rebel Intelligence bring you their Tetramer EP, a carefully crafted selection of tracks from JTC, Automatic Tasty, Elec Pt. 1 and Abraham Cowley. Don’t miss out on this eclectic mix of driving acid, deep house and addictive melodies. A great addition to any record box.


              Various Artists

              Justin Carter And Eamon Harkin - Weekends And Beginnings

                "When we talk about Mister Saturday Night and Mister Sunday, we tend to focus on the details. The seemingly little things like a friendly staff and a springy dancefloor make a big difference in how good a party is, but the main reason we pay attention to them is that we're trying to create the best environment forpeople to enjoy music.

                Before we're producers of parties and guys running a record label, we're DJs. Everything else we do with Mister Saturday Night comes from our desire to play records for people. That's what we're putting forward on Weekends and Beginnings.

                The mix was recorded live at Mister Sunday on August 24, 2014. Because of licensing and such, we had to do a few edits in the studio, but it's still a pretty accurate picture of us in our natural habitat – wobbly turntables, excited distortion, dusty records and all. We hope you enjoy it."

                - Eamon Harkin and Justin Carter

                **indicates a song that will only appear on the CD version of Weekends and Beginnings.

                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.

                The third chapter of Bossa Nova’s alt dance partnership with NYC “creative support group”,
                Sisterjam, features brand new heat via Slava (Software, Future Times), Max Mcferren (1080p,
                SciFi & Fantasy), Physical Therapy (Allergy Season), and M/M (1080p, Pacific Psychedelia
                Tapes).

                Slava’s “Shante” originally mesmerized the Viber community during a supernatural live set at
                Aurora Halal’s Mutual Dreaming series at 285 Kent in 2012 and has been sought out ever since.
                After a year or so of friendly reminders, Slava submitted the track and reawakened the genesis
                of the Kent Ave warehouse scene; a period when Brooklyn’s art kids, discovered, amongst other
                things, dance music. The track is foggy, bicurious and fun, all signatures of Slava’s hyper produced house sound with an added Chicago style organ solo to boot.

                Max McFerren’s track “Is Sinful” follows with deep driving bass and tight rolling hi hats; a
                menacing dark number to keep locked in your “heavy techno” rotation. For the past two years
                McFerren has been burning up dance floors worldwide, from hosting Worldwave with Sisterjam
                at Bossa Nova to rocking Seva Granik and Ladyfag’s Club†Shade†series. Physical Therapy’s throwback rave burner “Love Schranz” borders on the realm of digital hardcore. Creeping in as chaos distorted, the track levels out just before all memory of control is relinquished with overheated drums crushing a sinister vocal.

                Last but not least, M/M’s therapeutic and somber, “Sphere 3”, is a droning, twisting, melody that
                flaunts hazy synth chords and shakers programmed with care. His biweekly podcast/radio show, DEEP, on New Town Radio, has seen the likes of NYC’s finest emerging producer and DJ talents along with M/M’s own psychedelic mixes. “Sphere 3” was part of a series of songs recorded inside of a suspended geodesic sphere in British Columbia in 2015. After discovering the track featured in a Boiler Room mix by 1080p’s Richard McFarlane as unreleased, uncommitted material, it immediately filled the B2 slot of Volume 3, and thus concludes this chapter of the Bushwick is Melting series with a bang.

                Various Artists

                Shir Khan Presents Dancing & Romancing

                  Shir Khan’s Exploited Recordings has always stood out as a label with serious ambitions. From the consistent quality of its prolific output to its early championing of many a dance music star to its diverse array of sounds, it has felt like a highly accomplished offering even since its earliest days. Now one of house music’s biggest labels, it has come a long way since its humble beginnings in Berlin. Dancing & Romancing gives a snapshot of the imprint’s last five years, charting its story from contender to heavyweight in stunning fashion. Label boss Shir Khan’s excellent A&R skills proceed him by this point, but taking stock of just a fraction of what he’s signed along the way in these 30 tracks really drives his reputation home. From breaking Claptone as an unknown artist to helping him become one of the biggest-selling names in dance music to introducing the world to other major players like Adana Twins, Doctor Dru and Joyce Muniz, he has unearthed a staggering amount of talent in such a short space of time.

                  Browse through the label’s 150+ releases and you’ll also see an impressive plethora of acclaimed names from across the house, techno and disco sphere: Metronomy, Modeselektor, Siriusmo, Munk, Julio Bashmore, Michael Mayer, Fort Romeau, Untold, John Tejada, Phil Weeks, Riva Starr, Cosmin TRG, Freeform Five, DJ Sneak, Locked Groove, Deetron, Detroit Swindle, Acid Pauli, Ralph Lawson, Fred Falke… the list goes on and on.

                  Dancing & Romancing showcases some of the label’s high points from the last half decade, attempting to provide a summary of what Exploited is all about. From resolute club bangers to tracks that sound as good on your home stereo as they do on the dancefloor, it’s a compilation that reminds us that dance music is no longer simply the preserve of the clubs but something bigger and further-reaching than it’s ever been.

                  Big vocal anthems like Claptone feat. Jaw’s No Eyes and Murphy Jax feat. Mike Dunn’s Let’s Get To It sit alongside charismatic instrumentals such as dreamy Cocolores’ Vox and Urulu’s rolling 1991. Sample-heavy classics like Adana Twins’ Strange and Doctor Dru’s Voice Of Dru contrast with the cutting-edge freshness of Light Year’s Never Know and Sirens Of Lesbos’ 7 Years In Tibet. We’re reminded of the the number of excellent new vocalists who have graced the label, from Anabel Englund’s seductive tones alongside Human Life on El Diablo to Daudi Matsiko’s haunting delivery with Kyodai on Houston In The Blind.

                  From nu disco to acid to melodic techno to fist-pumping house, the breadth of the label’s output is neatly encapsulated in these 30 enduring tracks. 

                  Various Artists

                  The Hired Hands: A Tribute To Bruce Langhorne

                    Compiled by Dylan Golden Aycock, Loren Connors, and Suzanne Langille, The Hired Hands is an homage to one of the greatest and most infamous guitarists alive, Bruce Langhorne.

                    His music has influenced and touched a lot of lives over the years, either through his soundtrack work with Peter Fonda or his studio work in the 1960s as the go-to hired hand for Bob Dylan, Joan Baez, Richie Havens, Odetta, and many others. Browsing his wikipedia page, one is informed of the volume of work he accomplished throughout the ’50s, ’60s and ’70s.

                    Scissor Tail Editions was lucky enough to release Langhorne’s score to Peter Fonda’s 1971 anti-western The Hired Hand on vinyl in 2012. Artists were asked to cover or reinterpret a song of their choice from the soundtrack. No rules were made on whether the music should be derivative of a certain song — if the soundtrack inspired a mood, then the artist could use their intuition.

                    Langhorne has come on hard times in recent years, having suffered a stroke that prevents him from playing the guitar. A large percentage of the profits for this tribute go to Langhorne and his family.

                    Wicked aquatic electro and 90's Detroit influenced techno tracks
                    Limited to 100 copies

                    OTO Casa Discografica celebrates Italy’s hidden treasure and hometown: Bologna, the city that gave birth to the most creative italian cultural movements since the mid sixties.

                    Contemporary art, comics, design, music… You name it, we made it before, better and wilder!

                    Bologna host the greatest techno club in Italy, Link, where Angelo Sindaco (OTO boss label), Mayo (aka Abyssy) and Luca Ghini filled the dancefloor in the early nineties with a blend of Detroit techno, Chicago House, Electro and their own productions.

                    Skank Bloc Bologna is a serie of limited 12”s in the typical OTO fashion: each volume features four artists/producers from Bologna for a total of 3 issues.

                    SKANK BLOC BOLOGNA VOL. 01 features:
                    Sindaco and Carli Moretti’s OMBRA SILENZIOSA reworked by Pasta Boys honcho Uovo, Abissy (Mayo) with a pure analog Detroit style gem, a Luca Ghini’s typical techno funk lick and, last but not least, Paolo Iocca from RA-1 Records with a dark, powerful dance stomp. Packaging feature a tartan fabric cover (all different!) and an orange silver-screen printed cardboard poster. Limited edition of 100 pieces.

                    Just as the electro revival hits its transient peak, a conglomerate of reptilian high-frequency traders based in Geneva has decided to hijack the movement. From the caustic depths of obscure Swiss bank vaults, the Brainwaves Corporation is distracting attention from its various corruption scandals by investing heavily in acid bangers and perverse kicks.

                    Get your shares now.

                    New one from the Chez Emile gang.
                    Hot! Hot! Hot!

                    First volume of Ear Clips series curated by Chez Emile Records. A various artists compilation focus on dance and mind music. This one go dig into disco, synth pop and Krautrock with 4 artists from Lyon. Leo, Guillaume Des Bois, Caissard DJ and Abschaum.

                    The first of a new series of VA releases, Casting Shadows reimagines archival music through the eyes of our favourite DJs. Each volume is overseen by a different selector, inviting us to look through the peephole of their crates.

                    Cutting the ribbon, we invite German luminary Mick Wills. Active over 3 decades, a perennial influence and looming figure across the wave and techno scenes.
                    Wills refashions 3 of his favourites, giving them the trademark ‘Cut’ treatment for tender floors worldwide.

                    The first track sees a crucially overlooked Baby Red Torres number 7” fully expanded to 5 am percussive meltdown business.

                    Next up synth-botherer Paul Nagle sees his early tape emission‘The Mesomeric Effect’ re-cut by cool hand Mick, coming in hot & throbbing in all the right ways.

                    Closing on a dramatic note, Kehrschliefe’s Leonid Brezhnev (previously on Polytechnic Youth) is opened up, ripped apart and smartly re-dressed, oozing class and menace.

                    3 cuts your way from one of our favourite basement surgeons. Look out for the second volume of Casting Shadows, carefully compiled by an interplanetary presence .

                    Mastered by Alden Tyrell.

                    Various Artists

                    Geechie Goomie - R'n'B Gone Caribbean

                      50's Rhythm & Blues with an eye on Caribbean/Latin sound. Here is a collection of fine and long forgotten examples, but without the Pig Latin that Louis Jordan or Slim Gaillard were so famous for. We dug deep in the vaults, recorded from very good 78s or old shiny vinyl, that was as closest as possible to the original quality. - Hit dat Jive and dig it! 

                      FORMAT INFORMATION

                      10" LP Info: Limited edition of 500 copies.

                      Various Artists

                      Regulate / I Got 5 On It

                        Coming through with that street knowledge. Two stone cold ‘90s hip hop classics take either side of this 45, Warren G - 'Regulate' featuring Nate Dogg on one and Luniz - 'I Got 5 On It' on the other. Immortal rhythms and rhymes that took the world by storm.

                        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.

                        "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.


                        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.

                        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

                        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

                        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.

                          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

                            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!


                              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.

                              Duca indeitro. Bianco returnez. Indovina Key chiiiiiiii? Guillaume Des Bois benvenuto Mambo fratello. Cherrystones tut u la laggenda. Grunt discoso. Finale con Banzi. Vecchio e nuovo. Duca presenta !!

                              Calypso enters a new adventure that will embark in a world journey showcasing the sounds of the cities that inspire the label the most. This adventure beggins in Tel Aviv, home of artists such as Red Axes or Autarkic. The first edition includes 4 tracks of new and old producers from this amazing city. Niv Ast, one of our favorites new comers delivers "Rainey Heart" a strong percussive track that is a dance floor garanty. Next we have Rina, another new talent that is making his way throught this amazing scene, delivering the peak time burner "Peppermint Bouquet". Opening the B side heavy weight Naduve gives us "Hex Mex" a track that was done during his special journey in Mexico. Finally, our good friend Middleskyboom closes the EP with a fantastic and mind bending track called "Marbel Arch" with a psychadelic flute that will take you to the jungle.


                              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. 

                                  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

                                  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.

                                      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.

                                        As with all of our KPM re-issues, 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. 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!


                                        Various Artists

                                        The All American Powerhouse (Themes)

                                          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

                                          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.


                                            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"

                                            Various Artists

                                            Elsewhere Junior I – A Collection Of Cosmic Children’s Songs

                                              For Music For Dreams’ collector’s series, we aim to bring you something a little different, something a little out there. After eclectic contributions from Jan Schulte, Moonboots and most recently Basso, we’ve lent the slot to Belgian sonic globetrotter DJ soFa. As always, he’s been granted supreme curatorial sovereignty, and trust us, he held us to our word on 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. 


                                              Various Artists

                                              Mogadisco - Dancing Mogadishu

                                                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. 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

                                                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.

                                                  Various Artists

                                                  London Is The Place For Me 7

                                                    Calypso, Palm-Wine, Mento, Joropo, Steel & Stringband overflows with diverse musical styles, including steel band, stringband, calypso, joropo and mento.

                                                    Various Artists

                                                    London Is The Place For Me 8

                                                      Volume 8 of London Is The Place For Me is titled Lord Kitchener In England 1948-1962 and is devoted to the great calypsonian Lord Kitchener.

                                                      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

                                                      Synth ambiences, acoustic landscapes, deep songwriting and subtle candombe percussions combine in most of the musical output released in Uruguay during the 80s. A very unique sound was developed within the narrow boundaries of Montevideo by just a small group of very talented artists. These sounds reverberated in singer-songwriting, jazz fusion approximations, experimental music and the work of musicians at the intersections of these worlds.

                                                      In “América Invertida”, ethereal vocal arrangements and acoustic guitars cohabit with synthesizers and drum machines; Candombe and Latin American music form a fellowship with new wave and dream pop.

                                                      "América Invertida" is presented with obi strip, deluxe artwork finishing and insert including extensive liner notes and previously unseen photos. Most of the tracks are reissued here for the first time.

                                                      This compilation is the fruitful output of a collaboration with Montevideo based label Little Butterfly, the first of many to come

                                                      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!

                                                      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

                                                        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! 

                                                          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!

                                                          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.

                                                          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.

                                                            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...


                                                              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

                                                                  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

                                                                    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.

                                                                          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.

                                                                          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!

                                                                            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.

                                                                              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

                                                                              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

                                                                                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.


                                                                                  Jazzman Records bring us the sound of the unsung musicians who – in the midst of the Vietnam War and the fallout of the Civil Rights struggle – created some of the most beautiful Spiritual and meditative music of the era. Sometimes funky, sometimes mellow, but always trying to say something about the world in which we live.

                                                                                  Existing completely under the critical radar and largely ignored or unknown by music fans and critics alike, most of the musicians featured in this album won't be familiar to even the most seasoned aficionado. Their records, frequently turned down by distributors and record stores, saw little attention when first released - and have seen even less since. But in this era of musical apathy, where so many music junkies look to the past for their musical fix, we have re-discovered hidden, obscure and esoteric jazz musicians who looked to the four corners of the earth - and beyond - for inspiration. Here we evaluate Spiritual Jazz – music that is a snapshot of the era after Coltrane, a time which saw the evolution of an underground jazz that spoke about the reform of the soul, the reform of the spirit, and the reform of society: a music which was local and international at once, which was a personal journey and a political statement, and which was religious and secular in one non-contradictory breath.

                                                                                  The music on this album reflects the social and historical forces at work during the closedown of the '60s dream; music made by close-knit collectives and individual visionaries, by prisoners and eccentrics, by mystics and political radicals. It includes music by acknowledged masters, and moments of brilliance by unsung figures known to us from just one or two recordings. It is the jazz music of America in the age of civil rights, brutal repression, political assassination and war; a music that would guarantee the survival of the spiritual dimension in a society that was angry and traumatized, but nevertheless had seen hope of better days to come. Soul jazz; Black jazz; Spiritual jazz.

                                                                                  STAFF COMMENTS

                                                                                  Matt says: Repress of this iconic record that kickstarted this legendary series...Buy now or cry later!

                                                                                  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.

                                                                                  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. 

                                                                                  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! 


                                                                                  In typical Multi Culti fashion, another fierce and gender bending challenge for the cultivated listener. Inigo Vontier gets a one side and Thomass Jackson is on the flip. Vontier goes hybrid with a bit of esoteric tribal on ‘Jubile Is Ok’ providing dancefloor vibes all over this beauty that includes a catchy vocal sample that keeps you pumped for hours.

                                                                                   'Masicka' on the other hand is a cut throat dancefloor twister with its superb trumpet sample and involving darkness and tribal drums. A corker and essential in your bag for those early morning hours when you need to inject some serious adrenalin to your punters.

                                                                                   The flip belongs to Jackson who slows the beat a tinsy bit but stills waves the Multi Culti flag well high. Accessible darkness would be a way to describe this psychedelic trip of a track.

                                                                                   The closing number slows things even more. It leaves the dancefloor behind and takes you to a comfy sofa with the sky as a ceiling. Plenty of stars to discover with this mind twister as a soundtrack.




                                                                                  STAFF COMMENTS

                                                                                  Sil says: Multi Culti is fresh air to me with that perfect mix of esoterism, drums-heavy and accesssible darkness that good records come with. This is the perfect example. Give it a listen now!

                                                                                  ‘Shapes: Diamonds’ is the latest in Tru Thoughts’ series of essential label compilations put together by A&R, label co-founder and renowned DJ Robert Luis. After 20 years of independently releasing music, the ‘Shapes’ LPs continue to encompass the best of the Brighton-based label’s wide-ranging and international roster and feature the finest of Tru Thoughts’ classic cuts, recent releases and inspired remixes.

                                                                                  FORMAT INFORMATION

                                                                                  Coloured LP Info: Indies exclusive orange vinyl.

                                                                                  Coloured LP includes MP3 Download Code.

                                                                                  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

                                                                                  2xIndies Exclusive LP Info: Comes with bonus 7".

                                                                                  2xIndies Exclusive LP 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.


                                                                                  Various Artists

                                                                                  Two Tone 7" Treasures

                                                                                    TWO TONE RECORDS was created in 1979 by The Specials founder Jerry Dammers. The label spawned a youth movement and a number of well-known artists and singles through the its tenure including the aforementioned Specials with key singles ‘Gangsters’, the UK Number 1 singles ‘Too Much Too Young’ and ‘Ghost Town’.

                                                                                    They also helped launch the careers of Madness with ‘The Prince’, The Beat with ‘Tears of A Clown’, The Selecter with ‘On My Radio’ and The Bodysnatchers with ‘Let’s Do Rock Steady’. The label ended its chart run of singles with ‘Nelson Mandela’ by The Special AKA.

                                                                                    This 40th Anniversary 7” collection has been curated by Jerry Dammers, selecting his favourite 12 singles released on the label between 1979 and 1984.



                                                                                    FORMAT INFORMATION

                                                                                    Box set Info: 12 x 7" Box Set, Presented with their original sleeve designs in a bespoke 1960’s style carry case along with a Two Tone 7” slipmat and an art card signed by Jerry Dammers

                                                                                    FREE SHIPPING This item has FREE UK shipping!

                                                                                    In the 1950s, a few young men, known as Badius, embarked on a nearly 2,500-mile (4000 km) journey from the northern rural interior of Cabo Verde’s Santiago Island to the island of São Tomé off the Atlantic coast of central Africa. They made the arduous journey and worked for years not to earn a better living or send money back home — but to simply buy an accordion, locally known as a gaita. Returning home, they slowly formed an elite class of self-taught gaita players. The gaita became the maximum expression of Badiu identity, one defined over centuries by a persistent culture of revolt and rebellion against domination and injustice. In a land lacking electricity, the acoustic instrument is king. Mastery of a hard-won instrument gave birth to raw Funaná music, undoubtedly a sibling of Cumbia. Hypnotic notes on aged accordions tuned and flavored in ways found nowhere but Santiago infused with inviting baselines, raucous rhythms, blade-on-iron percussion, and the bubbling lyricism and lament of the island’s finest ambassadors. Their music was outlawed under colonial rule, with strict curfews to prevent large, potentially subversive gatherings since Funaná was dance music meant for large crowds, centered on one of the many star gaiteiros. Yet, naturally defiant, Badiu Funaná continued unfazed at the risk of arrest and detention. Funaná remained an isolated style, largely an affair for Badiu ears only. This compilation distills eight tracks from a short period in the late ‘90s when cherished pioneers, who risked everything give their proud culture a sound, got their one chance in a recording studio. Pour yourself a grog, Cabo Verde’s local moonshine made from sugarcane crushed by bulls, imbibe responsibly, listen carefully, and dance recklessly.


                                                                                    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 holiday bustle.

                                                                                    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. Ghostly Swim 2 is a document of textured ambient zone-outs and woozy, granular house and techno that will help you find some downtime away from The Most Wonderful Time of the Year. So sit back, lower the volume, and enjoy our selections. 


                                                                                    For two decades, Ghostly International has functioned at the joints of genre, distinctly connecting many, demarcated by none. Among the more curious throughlines in the label's stylistic architecture is its use of the tag SMM. Launched discreetly in 2003, the undefined acronym has designated calm, slow-moving music that straddles the synthetic/organic divide in surprising ways. 2011 compilation SMM: Context pieced together landscapes imagined by the likes of Leyland Kirby and Christina Vantzou. 2013 follow-up SMM: Opiate proposed the evocative possibilities of sound with artists such as Noveller and A Winged Victory for the Sullen. In 2019, alongside the label's 20-year milestone, Ghostly extends Thousands of Eyes in the Dark, a collection celebrating international talent with an outward gaze. Ten original works of contemporary melodic and incidental electronics — fragments, moods, vignettes — sequenced as one continuous suite, a pairing of personal expression with wide angle vision.

                                                                                    Submissions stretch far beyond Ghostly’s roster and roots. Tracing the tracklist on a map, we begin in the Netherlands with Suzanne Kraft operating under his SK U Kno alias. Stabs of guitar mingle with washes of restless sound design on “Cut and Faze,” a gripping, asymmetric opener. Pan over to Los Angeles next, where emerging modular synth practitioner Emily Sprague patches “Mesa,” lightly coiling the tonal hymn skyward. The third track, “This Was Us,” belongs to Berlin-based Dutch-Italian composer Aimée Portioli aka Grand River. She says the tender, strolling piece references the dissolution of a relationship and was improvised on a Yamaha DX7 following a night with friends; “I just sat with the instrument and started to play. I kind of needed a moment to myself.” Back in Ann Arbor, Ghostly’s first home, label mainstay Tadd Mullinix renders an oscillating study of sensations titled as a nod to the film Woman in the Dunes. Closing side A is Canadian composer Sarah Davachi, who drafted her cathedral-filling drone for Mellotron and Hammond organ.

                                                                                    The entry point to Side B hazily stirs and crackles in the care of Orcas, the collaboration between veterans Rafael Anton Irisarri (The Sight Below) and Thomas Meluch (Benoit Pioulard). They cite a lineage of classic ambient inspirations: Mark Hollis, Pieter Nooten & Michael Brook, Fennesz & David Sylvian. Vancouver producer and recent signee Khotin provides one of the series’ sweetest moments yet, “Angel Epicenter,” his signature dream-like climes anchored by a steady pulse. Immediately following is its twangiest, “Shepherd Canyon” by Saariselka, the meditations of Oakland, California composers Marielle Jakobsons (Fender Rhodes, organ, synthesizers) and Chuck Johnson (pedal steel guitar and treatments). That pastoral terrain is left to linger a moment before into turning to concrete, courtesy of Manchester duo Space Afrika, known for their vast, disintegrating urban dubscapes. Thousands of Eyes in the Dark finishes its first cycle in Japan, as producer and field recordist Yosi Horikawa leads listeners through a lush forest of sound, outlining every step with melancholic piano phrasings, inching into the sublime. Designed for repeat play-through, these ten tracks from some of the world’s finest sound artists double as a worthy metaphor for Ghostly’s 20-year run with SMM: a discerning set keeping us engrossed and guessing. 



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