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VARIOUS ARTISTS

Second in the „Bullets“ compilation series comes a selection of eerie dance music. 4 Track EP.. Limited Edition!
Jimmy Winkle, the wizard behind the imaginative soundscapes of the Torquay-based Greta Cottage Workshop Radio, wrings a track out of Ajukaja and Mart Avi’s lost collaboration. Watch out for more Winklemagic on our future pressings! Dima Disk, a rising duo from Tallinn, soothes your soul with some morning techno while „Dissapointed“ by Neuronphase aka Anti Aaver (pillar of Tartu’s underground music for the last 20 years) staggers down on soft pillows. The compilation ends with a revelation. Superstar & Star, a genius yet-to-be-recognized, is a home recording artist and the admin of the wonderful YouTube channel NEVILLE LAWRENCE. Originally from Trinidad & Tobago, he now spends his time in the steamy bars of Omaha, Nebraska. This is the first official release of his work. We are honored to showcase his stunning "Looking at the Stars and Heavens" with customized adjustments by the legendary Tallinn-via-London DJ Rhythm Doctor (Mutant Disco).

"Real narcotic late night juice..." Mosca.

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.

Belgian New Beat and trance influenced tracks by Betonkust, Innershades, Robert D and Deris. 'Familly Matters Vol.1 is a 5 track EP that counts as the start of a new series on the 9300 Records imprint. It's the proper result of combined forces by these trusted beat suppliers and freshman 'Deris'. Each of them delivered their own personal homage to the thriving Belgian nightlife in the late 80's and 90's, when clubs like Boccaccio and later Zillion acquired an almost legendary status. To this day, their iconic neon-signs are still etched in our collective memory. In a decade where serious scandals, that even involved bribery, lead to heavy political disputes and a huge health-crisis (the Dioxine crisis) predominated Belgian media, people were searching for a way to escape reality and these clubs helped them to leave this world behind through music and entertainment. At the end of 1999, a point of no return was reached for the federal government, but a musical legacy was built...

A1 Beard In Dust - At the Dawn
Is a tribal monster of a dance floor jammer. I have not heard a single second of a bad beat from the dude, and super psyched to have it channeled thru the Hamam dancefloor.

A2 Hidden Track
Psssst

B1 Tales of Voodoo - Sharky
Nu crew with the heart, art and the beats at the right place delivers an epic middle eastern disco jammer to take u on a journey tru time and space.

B2 Esen Gunduz - Deve Gucu
Mysterious nu cat comes with a psychedelic dancefloor disco workout . I'm still chasing the tail of who this might be... but for sure, my mind was blown with the craft on this piece.

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!

        American rhythm & blues fervour, boosted by a multitude of sound systems playing 78rpm records on increasingly larger sets, gripped Jamaica from the late forties onwards but, by the end of the decade, the American audience began to move towards a somewhat softer sound. The driving rhythm & blues beloved on the island became increasingly hard to find and the more progressive Jamaican sound system operators, realising that they now needed to make their own music, turned to Kingston's jazz and big band musicians to record one off custom cutã discs. These were not initially intended for commercial release but designed solely for sound system play on acetate. These 'specials' soon began to eclipse the popularity of American rhythm & blues and the demand for their locally produced music proved so great that the sound system operators began to release their music commercially.
        Clementã Coxsone' Dodd, Duke Reid 'The Trojan' and Prince Buster, who operated his Voice Of The People Sound System, were among the first to establish themselves in this new role and the nascent Jamaican recording industry went into overdrive.

        Federal Records was not only the place for the sound system men to record their music but it was also where they had their records manufactured and, consequently, the company enjoyed a near total monopoly on recording and record pressing in Kingston. In 1963 Federal founder Ken Khouri sold his one track board to Clement 'Coxsone' Dodd, who established Studio One, and Ken imported the first stereo equipment to Jamaica and Federal began making stereo records

        This essential album showcase’s an amazing selection of both hits, and not so well known rarities, from the vast Federal catalogue. All tracks have been transferred direct from the master tapes and assembled with the invaluable assistance of Ken Khouri's son, Paul Khouri, who generously gave Dub Store unlimited access to the Federal tape vaults. The extensive liner notes feature extracts from extensive interviews with Paul Khouri whose knowledgeable recollections of working on Marcus Garvey Drive, not only as a producer but as an engineer and musician, are illuminating and educational, presenting an insight into the birth and growth of Federal Records and the Jamaican recording industry as a whole.


        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).


        Over the course of the last few months a small coterie of DJs have been armed with specially encoded secret weapons. From clubs and festivals across the globe, COD3 QR 001 & 002 have been road tested, extensively scrutinized and passed fit for public intrigue…

        For now the artists are known only via their encrypted aliases. This is Music to Arouse Curiosity. Quite simply, Cod3 QR (Code QR) puts the music first. The who, the what, the where will be revealed over time on the label’s website but for now we venture into the…?

        The people behind the label remain in the shadows, curating for the curious, the seekers, the adventurers and the brave. Cod3 QR is about going back to basics. About that feeling of discovering hidden gems and long sought after oddities. Not knowing who made what. If it’s good, it’s good. The music is the message.

        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!

              Here it is finally Tone Dropout Vol 7. This is a anglo/french,italian/oz extravaganza, A TDO meets LHT Banger.

              This edition features four, yes FOUR new members to our family, ON side A we welcome fresh new talent in the guis of Daif , real name Antonin Hifda, hails from France and is the head honcho at the great Luminaere Records, Dj’s all over and has had releases on many labels,an amazing talent who we look forward to working with more. Ascot/WW, real name Matteo Pasini , comes from Milan Italy, and has played clubs such as Plastic,Rocket and the Dude Club. He has had releases on Ciao Records, and definitely a great addition to the Tone dropout family, and of course our main man Dawl , who needs no introduction,contributes to make up the TDO side.

              Then side B , we welcome Alphonse and Jamie Blanco from LHT as well as many other fine labels. Alphonse, whose real name i am not allowed to tell you, has had releases aon several labels including hypercolour and class wrecks and dj’s all over the world, currently been doing some gigs with sween - head honcho of Tone DropOut Records, at Houghton festival and in Croatia in 2019 and host parties called Dream Therapy, in London. Another great addition to our family. Then we have Jamie Blanco another real talent, who has been on the scene a long time with multiple releases and several guises with other labels and partners. Living in Melbourne, Australia at present, which shows how our sound has stretched across the world .

              side A.

              Track 1 - DAWL - Nebulon - Dawl kicks off this E.P with a Bleep tactic , bass driven break beat banger. typical dawl style now, that we all love and has made him such a star, at Tone Dropout Records.After the bleeps dawl adds some stabby warehouse synths , then kicks the driving bass back in with the breaks and bleeps, and a cheeky little sample from some obscure cartoon. not to be named ha ha . A real banger , in dawl tradition.

              Track 2 - Daif - Soberman - then goes our first top gun, Daif comes at ya with a mesmerising bass line that sets the tone for this dance floor filler. Then come the bleeps and the strings in and out , highlighted by a soaring break beat ,and fat basslines . this man is hot talent , watch out .

              Track 3 - Ascot/WW - Fifa98 - Here we go top gun number two, our new secret weapon Ascot/WW, offers ya a breakbeat and old rave synth , before breaking down with a rewind into a detroit bassline and haunting strings and bleeps, a real journey, and very cleverly produced another dance floor filler, and a man to watch out for.

              side B.

              Track 1 - Alphonse - Direct Transient - Alphonse kicks off with the sounds of the rain forsest , quickly backed up by a soaring james brown sampled break beat a real stomper, and some sweet strings, before banging into an amazing acid line with james brown stab rolling through.Ever changing ,with a great breakdown, really showing off his production skills.

              A real rolla, with amazing beats and an acid line to kill for ha ha . Great work from this established talent.

              Track 2 - Jamie Blanco - Acid Damage - Here the one and only Jamie Blanco gives us a straight up no messing in ya face acid banger. What more can i say, wicked 909 beats , big bass line and of course the acid going in and out up and down, ever changing and moving ,handclaps the lot, soaring high hats and snares , here we go .ACIEEEEEEEEED.

              Track 3 - Bonus Tones Breaks 3 - Tones Breaks 3 carries on our new tradition of a little 3 min track on each ep, lots of samples and fun.

              Tones 3 , kicks off with lots of scratching and a fierce break beat , and “GO” sample , before changing with a bubbling bassline, and ripping break beat , then the inevitable bleeps and four four over breaks , this 3 mins of pure break beat chaos, just how we love it .


              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.

                Various Artists

                COD3QR001

                  Over the course of the last few months a small coterie of DJs have been armed with specially encoded secret weapons. From clubs and festivals across the globe, COD3 QR 001 & 002 have been road tested, extensively scrutinized and passed fit for public intrigue…

                  For now the artists are known only via their encrypted aliases. This is Music to Arouse Curiosity. Quite simply, Cod3 QR (Code QR) puts the music first. The who, the what, the where will be revealed over time on the label’s website but for now we venture into the…?

                  The people behind the label remain in the shadows, curating for the curious, the seekers, the adventurers and the brave. Cod3 QR is about going back to basics. About that feeling of discovering hidden gems and long sought after oddities. Not knowing who made what. If it’s good, it’s good. The music is the message.


                  CODE3 QR: label mission statement
                  Music is our sole driving force. Eclecticism, open-mindedness, divergence and non-conformity are the values we cherish. To achieve this, 3 or 4 artists from different musical backgrounds will come together on each release.

                  All of our artists, whether known or unknown, will work under a secret code name so that their true identities remain out of the public domain to avoid any preconceived ideas or a particular bias. By doing this, the music will always come first. Each release will be identified by a simple QR code, which, when flashed, will take you to a web page that will give, among other things, the artist's code name.

                  In the current market, most digital and vinyl sales occur over an average period of 2 months. Once this time period has elapsed, the true identity of each artist (if they wish) will finally be revealed on our web site. It is only then, two months after the release that the artists will be allowed to start communicating.

                  Contrary to the usual practice, COD3 QR will search out artists rather than the other way around, so it won't be possible to send us music. The founders of COD3 QR will also remain anonymous because their identities must not affect the image, expectations or perception of the label. To ensure anonymity, all of our artists will sign a contract agreeing to keep silent or be economical with the truth about the identity of those behind the label and the artists.

                  The music alone will be the reason why we sign an artist, and we want music to be the only reason for people to take an interest and engage with the label. For this to succeed, we must remain free of all expectations and all prejudices because only one thing counts: the music, The Music, THE MUSIC in every shape and form!

                  COD3 QR = MUSIC TO AROUSE CURIOSITY

                  Brothers from across the pond, Pontchartrain and ThatManMonkz, join forces to split a butter smooth ep of edits.

                  Don’t mistake the smoothness for mellow vibes, these are custom made to fill the floor.

                  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.

                      Emotional Response is delighted to present elsewhere LVI. The 4th of soFa's compilation series, this double LP takes us to the darker side of the elsewhere ouvre, via another 12 artist / 12 track travelogue.

                      With certain future-retro feelings, this is club music for the open minded. An album that roams from dreamy ambient territories to rhythmic patterns - internationalism for the adventurous DJ.

                      Rusty slow-mo bangers and post-industrial synth-wave kidnap the listener to a dystopic and shady wasteland. Elements of ethnic folk, vintage vocoders and Gamelan samples all united on one homogeneous selection.

                      With artists now known to welcoming new brethren, this is an audio trip to leave reality behind. Exotic, hypnotic, tactile, trance-inducing meditations, washed down with a spoonful of magick.

                      In The Red Vol. 2 (A Britfunk Selection by Saint-James) is released almost a year and a half after the first compilation. This second volume still focuses on the britfunk genre - or british jazz-funk - mainly produced in London between the end of the seventies and the eighties. It defines a unique mix of jazz-funk & disco including reggae & dub techniques from Afro-Caribbean communities who were at the heart of the movement.

                      Parisian DJ, activist and producer Saint-James has again selected the most exciting, rare and powerful tracks from that era (1981-1988). Included in this compilation are Stikki Stuff, Cruzial, Potion, The Breakfast Band, Yeow Band and Scratch (better known as Gonzalez). Expect powerful synth solos, crazy slap bass grooves and lovely vocals on the top when the horn section is not busy doing its funky thing.

                      Back in the days, these young musicians gave their music a unique British flavor and raw energy pushing the needle "In The Red". Almost four decades later these powerful tracks are again ready to burn up dancefloors.

                      ‘Buntús Rince’ translates from Irish as ‘basic rhythms’, and this new compilation explores how Irish musicians were influenced by strands of different genres of music from around the world, merging them to create their own unique sounds. The compilation features some of the most innovative and talented figures in the history of Irish music and includes rare Irish jazz, fusion and folk outliers from the 1970s and early 1980s from musicians relatively unknown outside of Ireland.

                      Often regarded as a musical backwater, the 1970s finally saw Ireland begin to make its mark on international music. The nature of this feat is all the more commendable, considering how isolated and conservative the country still was in the middle of the last century. The emergence of acts like Skid Row, Thin Lizzy and Van Morrison instilled in budding young Irish musicians the belief to dream big.

                      Unlike many other European countries, Ireland had not benefited from the cultural impact of immigration. Pioneering Irish musicians did not have access to the type of vibrant music scenes ubiquitous to most European cities at that time. With no talented players or even in some cases recordings of the music, they had to cultivate and invent their own small scenes.

                      A jazz scene had begun to blossom in Dublin in the late 1950s. Self-taught players like Noel Kelehan and Louis Stewart emerged as the Irish standard-bearers. Their level of musicianship saw them play with some of the world’s most renowned artists. The 1960s would see the emergence of the ‘beat’ scene in Ireland, with groups like Granny’s Intentions, Taste and Eire Apparent finally challenging the hegemony of Irish Showbands. Change was in the air.
                      The late 1960s also saw many Irish emigrants returning home, bringing with them inspiration from the new styles and sounds of London and further afield. The arrival in the late 1960s of pirate radio stations like Radio Caroline, new music magazines and the availability of music on vinyl meant that different genres were now becoming more accessible. The musical landscape of the country began to transform and evolve, influencing a new generation of musicians in the process.
                      The 1970s saw advancements in studio technology. 8-track studios began appearing in Dublin, offering more opportunities for groups to record singles and albums. Synthesizers and other instruments were also becoming easier to acquire as the younger generation turned to electric jazz and fusion music.
                      While the level of musicianship was high, the levels of opportunities in Ireland were still very limited. Many groups and solo musicians had to emigrate to try and succeed.
                      Thankfully for those who remained, this new emerging scene didn’t go totally unnoticed and local labels began to take a chance on more obscure Irish groups. Labels like Mulligan and also producers like John D’Ardis and Terri Hooley championed and documented music from the Irish underground of the 1970s.

                      Their valuable work is a common thread which connects many of the tracks on this compilation. From the soaring flute playing of Brian Dunning, to the swinging piano of Noel Kelehan and the sonic force of Jolyon Jackson’s synthesizers; ‘Buntús Rince’ lifts the lid on a vastly underappreciated period of Irish music history.
                      One for the collectors.

                      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.

                      Various Artists

                      Pay It All Back Volume 7

                        Long awaited release of Volume 7 of this legendary compilation series.

                        FORMAT INFORMATION

                        2xLP Info: Double LP in colour printed 5mm kraft board sleeve with 12" x 12" 8 page booklet + DL card.

                        Various Artists

                        Nigeria 70: No Wahala: Highlife, Afro-Funk & Juju 1973-1987

                          As part of their 20th Anniversary celebrations, Strut present the first new volume in their pioneering ‘Nigeria 70’ series for over 8 years, bringing together rare highlife, Afro-funk and juju from the ‘70s and early ‘80s. Compiled by collector and DJ Duncan Brooker, this new selection of tracks is receiving its first international release outside of Nigeria.

                          The compilation returns to a fertile heyday in Nigerian music when established styles like highlife and juju became infused with elements of Western jazz, soul and funk and musicians brought a proud new message post-independence. Brooker places the spotlight particularly on some of the incredible Ukwuani musicians from the Delta State region as guitarist Rogana Ottah and Steady Arobby’s International Brothers Band forged their own fluid brand of highlife and soulman Don Bruce drew on the US R&B greats for a series of great albums and explosive stage shows at his residency at Hilton Hotel in Abuja.

                          Elsewhere, the album explores the close connection between Nigeria and Benin’s music, most famously through Sir Victor Uwaifo, appearing here with a killer mid‘80s ekassa jam, as well as highlife hitmaker Osayamore Joseph on ‘Obonogbozu’ (Joseph made headlines in Nigeria for very different reasons in 2017, surviving a one month kidnapping ordeal).

                          Other tracks include ‘Sickness’ a 1979 lament on how all countries share troubles by Prince Nico Mbarga, the Nigerian / Camerounian star behind the smash hit ‘Sweet Mother’; reggae singer Felixson Ngasia switches to funk and disco for a heavy workout with potent lyrics around black identity; another major highlife great Etubom Rex Williams unleashes a punchy psych funk gem with ‘Psychedelic Shoes’ and Africa 70 member Pax Nicholas vocals a simmering Afrobeat groove from Jacob Lee’s Saxon Lee & The Shadows International Band.


                          Various Artists

                          DJ Kicks - Laurel Halo

                            The 68th edition of the DJ-Kicks mix series is another landmark one, with experimental producer Laurel Halo taking the reins. The American’s adventurous 28 track trip features seven exclusives, including two of her own plus those from Rrose, Machinewoman, FIT Siegel, Nick León and Ikonika.

                            An electronic outlier, Halo hails from Ann Arbor, Michigan, but has been based in Berlin for a number of years. Landing on labels like Hyperdub, Honest Jon’s and Latency, Halo has released a body of work ranging in style, yet cohered by production and compositional tendencies that sound distinctly her own. Her studio work tends to be a multi-layered mix of the electronic and the acoustic, the organic and the synthetic. As a DJ, meanwhile, she lays down more floor focussed mixes of techno, bass and worldly drum rhythms, and her live sets are similarly visceral and direct.

                            Halo’s DJ-kicks packs a lot in to just 60 minutes. It kicks off with the first of two of her own exclusives, ‘Public Art’, a tactile piano loop that sets the melodic tone of the mix in focus. Crunchy drums soon take over and begin what is a blistering ride through electro, trippy minimalism and textures that range from icy and dubby to steel plated and sharp from the likes of Red Axes, Parris and an exclusive from Rrose.

                            Another exclusive, rough and ready cut from Machinewoman follows, before the mid section twists and turns on surging drum patterns, frantic industrial textures and spaced out gqom sounds from the likes of Griffit Vigo, Dario Zenker and Final Cut. This is a mix forever on the move: one minute its tightly coiled and kinetic, the next it’s loose and joyful before switching into more cerebral and insular passages that keep you intrigued.

                            Fusing together so many disparate sounds and textures is no mean feat, but like everything Halo does, here they all add up to something as thrilling and edgy as it is unpredictable and compelling.


                            Various Artists

                            Full Pupp Splits 004

                              Homegrown talent from the beautiful inland town of Hamar, surrounded by the beautiful Furuberget and lake Mjøsa. First collab with these former Skwee-stars on Full Pupp Splits
                              Prins Thomas, 25.2019


                              Various Artists

                              Escape From Synth City

                                Ten incredible albums culled from the deepest, weirdest co-op of record enthusiasts ever gathered under one banner. No expense was spared packaging these, pairing the idea of the Art of Compilation with living and breathing art, creating little fortune cookies baked in a factory of forgotten dreams. Video games, pyramids, trading cards, matchbooks, a working planisphere, mazes, lottery tickets, film canisters, yearbooks, and various other exercises in design absurdity.

                                The mini-verse is being kicked off by Escape From Synth City, a hero’s quest worth of staccato synths, crack house Casios, off-brand drum machines, minimal Morricone, four-track fantasia, and a variety of other speculations on what the 1980s thought the future would sound like. Packaged in a 12”x12” Nintendo Entertainment System-styled jacket, replete with game sticker, die-cut outer sleeve, debossed cartridge inner sleeve, and art from our first video game, playable from the comfort of your PC.


                                Various Artists

                                Take Us Home: Boston Roots Reggae From 1979-1988

                                  In the 1970s reggae music burst forth from its birthplace of Jamaica and took over the world. Who would have ever thought that one of the first outposts it captured on its way to global domination would be an unlikely city known mostly for its Brahmin heritage and blue¬collar brawlers as well as for violent racial polarization? Boston, Massachusetts was the first region in the US to really “get” reggae, adopting it as early as 1973 when the city’s huge student population turned the low¬budget Jamaican B¬flick The Harder They Come into a midnight cult classic.

                                  The city would gain a reputation as a key market for any international reggae act trying to gain a foothold in America. But besides being early enthusiasts and advocates for the music, Bostonians would also become bountiful producers of reggae as well, with a network of clubs, singers and musicians coalescing to form an organic Boston roots scene: A scene that would yield acts as varied as Zion Initation (a solid, spiritually¬inclined Rasta band), to the I Tones (an ambitious, multiracial group that set a new standard for pop success), and even reaching across New England to embrace the Vermont¬based Lambsbread (a latter¬day reggae reincarnation of the legendary African¬American proto¬punk trio Death, later made famous by 2013’s revivalist documentary A Band Called Death).

                                  Boston-based music journalists/historians Noah Schaffer and Uchenna Ikonne have teamed up with Cultures of Soul to compile an overview of some of the most crucial cuts to emerge from Boston during the height of the reggae boom in the 1980s. Formatted on CD or 2LP set both configurations come with a 28¬page book documenting the rich history of this music scene with in¬depth analyses and photos of the reggae artists involved. Almost all of this music is reissued for the very first time, including rare gems such as Danny Tucker’s “Our Father’s Land,” Zion Initation’s “Think About It,” I Tones’ “Love is a Pleasure” and Lambsbread’s “Two Minute Warning” are sure to delight both roots connoisseurs and newcomers to the genre, and open up a time tunnel to a little¬known golden age of American reggae, and an even less¬known scene that facilitated the expansion of the music into an international phenomenon. 

                                  Various Artists

                                  Weaponise Your Sound

                                    All proceeds go London based charity, Focus E15 which demands social housing, not social cleansing!

                                    Optimo Music is thrilled to present “Weaponise Your Sound”, which has been curated, conceived and designed by Kristina McCormick (Diet Clinic). Diet Clinic is an NTS radio show showcasing female DJs/artists.

                                    It is the first vinyl release on Diet Clinic’s newly-formed sub label of Optimo Music marking International Women’s Day 2019 and featuring brand new tracks from artists C.A.R, Cucina Povera, Fantastic Twins, Human Jones, Maral, Marika Underspreche, Odete, Penelope Trappes, Slime, Sue Zuki and Zoe McPherson.

                                    They may be scattered across the globe but their love, strength and support for their art and counterparts continue to inspire on a daily basis.

                                    All proceeds go London based charity, Focus E15 which demands social housing, not social cleansing!


                                    In 1988, on the eve of a two decade civil war, Somalia's authoritarian ruler Siad Barre launched punishing air strikes on the north of the country in response to agitations for independence. The bombing leveled the entire city. Barre targeted local radio station, Hargeisa to prevent any kind of central communication system that could organize a resistance.

                                    With the attack imminent, a few brave radio operators and vanguards of Somali culture knew the archives, containing over half a century of Somali music had to be preserved. Thousands upon thousands of cassette tapes and master reels were quickly removed and dispersed to neighboring countries and buried deep under the ground to withstand airstrikes.

                                    These audio artifacts were excavated and recalled from their foreign shelters only very recently. Some are now kept safe in the archive of the Red Sea Foundation, the largest collection of Somali cassettes in the world. 

                                    The archive offers a living window to the Mogadishu of the 1970s and 1980s, when the coastal capital glistened as the "Pearl of the Indian Ocean.
                                    Mogadishu's nightlife culture was rich and booming. Raucous rhythms, rugged horns, celestial synthesizers, and stalking baselines came alive alongside majestic voices like Mahmud "Jerry" Hussen and powerful and adored female singers like Faadumo Qaasim. Somali music of this era is set apart by its empowerment of women. Female singers, often more prolific than their male counterparts, are inseparable from its evolution. Half the compilation is sung by women, their voices often compared in Somali poetry to the sweetness of broken dates.

                                    This project took the Ostinato team from Mogadishu to Minnesota, tracking down the musicians and songwriters on the album.Their words and stories are revealed in a 15,000-word liner note booklet — the only document of its kind to cover this era of Somali music in depth.








                                    FORMAT INFORMATION

                                    CD Info: Deluxe CD + Booklet

                                    Various Artists

                                    Soul Jazz Records Presents ‘Bunny Lee: Dreads Enter The Gates With Praise’

                                      Soul Jazz Records presents this new collection featuring the heavy 70s roots reggae of Bunny Lee - a living legend, one of the last of the great Jamaican record producers who helped shape and define reggae music in the 1970s from a small island sound into an internationally successful musical genre.

                                      From teenage fan to young record plugger for Duke Reid, Sir Coxsone and other early pioneering Jamaican musical entrepreneurs, Lee has spent his whole professional life inside the Kingston music industry. In the 1970s he rose up to become one of the major record producers in Jamaica alongside Lee ‘Scratch’ Perry and the other ‘small axe’ producers who broke the dominance of the ‘big tree’ producers that had ruled Jamaican music in the 1960s.

                                      Featuring some of the heaviest Jamaican artists, including Johnny Clarke, King Tubby, Dillinger, Prince Jazzbo, Tommy McCook, The legendary Aggrovators (featuring Sly and Robbie), The Mighty Diamonds and more, the album is a rollercoaster ride of rare, deep and classic 1970s roots, dub and DJ sounds.

                                      During this era, ‘flying cymbals’, crashing reverbs, dark echoing thunderclap gunshots and other ‘implements of sound’ filled his record productions as Bunny Lee explored the outer limits of dub with his friend King Tubby in the mix on wild versions that accompanied any 45. A Bunny Lee record provides a creative and mysterious hidden guide to reggae music itself, a double-sided three-minute intangible history lesson etched in wax.

                                      Bunny Lee was one of the first Jamaican producers to travel to England in the late 1960s, at the beginning of the nascent British reggae music industry as record companies such as Trojan, Pama and others began licensing Jamaican music in the UK to supply the expanding West Indian communities living up and down England. Lee encouraged other Jamaican producers to do the same, including Lee Perry, Harry J and Niney The Observer and also became a conduit between the British music industry and numerous younger Island-based producers - a frequent flyer reggae ambassador, a musical courier exchanging tapes for royalties.

                                      Bunny Lee’s first recordings in the late 1960s were mainly rock steady but as the 70s approached the music soon began to mutate and slow down into ‘reggae’ as the sound became heavier, more rootsy and the sound itself began to change with the explosion of dub.

                                      Lee was at the forefront to this dramatic musical shift into roots reggae and by this time had become a major producer, capable of working with whoever he chose as world-famous singers, DJs and musicians lined up to work with the charismatic man. Lee also employed a fluid but stable set of crack session musicians who he named The Aggrovators.

                                      Most of the recordings featured here come from the mid 70s, a time when Bunny Lee was definitely in the zone, releasing heavyweight singles at an almost unstoppable rate. Bunny Lee’s career stretches over five decades and he has upwards of 2,000 production credits on vinyl.

                                      This album comes with extensive sleevenotes, an interview with Bunny Lee and exclusive photography.

                                      Various Artists

                                      3 X 4

                                        3 x 4 is a celebration of L.A.’s Paisley Underground scene of the mid-80s featuring four of the scene’s most notorious bands each covering the songs of the others - four bands covering three songs each - “3 x 4” get it?

                                        Various Artists

                                        Spiritual Jazz 9: Blue Notes, Part 1


                                        The Blue Note Record label needs little introduction. Musically, graphically and sonically iconic, the label created and defined the golden age of modern jazz on record. Founded in 1939 by German émigré Alfred Lion, the label's roster of artists is a litany of giants – Thelonious Monk, Sonny Rollins, Horace Silver, Lee Morgan, Art Blakey, Lee Morgan, Herbie Hancock and many more. With peerless musicians in the grooves, the legendary Rudy Van Gelder behind the boards, and graphic design genius Reid Miles creating emblematic artwork for every release, Blue Note – 'the Cadillac of the jazz lines' – was outstanding in every way.

                                        Volume 8 of Jazzman's Spiritual Jazz series takes a close look at the deeper side of Blue Note – from the experimental avant-garde explored by younger musicians such as Bobby Hutcherson, Joe Henderson and Pete La Roca, to the exciting new developments in modal sounds put forward by stalwarts Hank Mobley, Jackie McLean and Duke Pearson. The music we have selected shows how musicians working with the label responded to a period of dramatic social and sonic change, charting the route toward the esoteric and spiritualised sounds that would dominate the deepest jazz of the 1970s.

                                        As ever, Blue Note had lit the path, and this new Spiritual Jazz collection shows that the progressive and underground jazz sound of the 1960s was not only the preserve of obscure artists and private pressings. Blue spirits and heavy sounds on Blue Note – the finest in jazz since 1939, brought to you by Jazzman.

                                        Various Artists

                                        Spiritual Jazz 9: Blue Notes, Part 2


                                        The Blue Note Record label needs little introduction. Musically, graphically and sonically iconic, the label created and defined the golden age of modern jazz on record. Founded in 1939 by German émigré Alfred Lion, the label's roster of artists is a litany of giants – Thelonious Monk, Sonny Rollins, Horace Silver, Lee Morgan, Art Blakey, Lee Morgan, Herbie Hancock and many more. With peerless musicians in the grooves, the legendary Rudy Van Gelder behind the boards, and graphic design genius Reid Miles creating emblematic artwork for every release, Blue Note – 'the Cadillac of the jazz lines' – was outstanding in every way.

                                        Volume 8 of Jazzman's Spiritual Jazz series takes a close look at the deeper side of Blue Note – from the experimental avant-garde explored by younger musicians such as Bobby Hutcherson, Joe Henderson and Pete La Roca, to the exciting new developments in modal sounds put forward by stalwarts Hank Mobley, Jackie McLean and Duke Pearson. The music we have selected shows how musicians working with the label responded to a period of dramatic social and sonic change, charting the route toward the esoteric and spiritualised sounds that would dominate the deepest jazz of the 1970s.

                                        As ever, Blue Note had lit the path, and this new Spiritual Jazz collection shows that the progressive and underground jazz sound of the 1960s was not only the preserve of obscure artists and private pressings. Blue spirits and heavy sounds on Blue Note – the finest in jazz since 1939, brought to you by Jazzman.

                                        Various Artists

                                        Spiritual Jazz 9: Blue Notes Parts 1 & 2


                                        The Blue Note Record label needs little introduction. Musically, graphically and sonically iconic, the label created and defined the golden age of modern jazz on record. Founded in 1939 by German émigré Alfred Lion, the label's roster of artists is a litany of giants – Thelonious Monk, Sonny Rollins, Horace Silver, Lee Morgan, Art Blakey, Lee Morgan, Herbie Hancock and many more. With peerless musicians in the grooves, the legendary Rudy Van Gelder behind the boards, and graphic design genius Reid Miles creating emblematic artwork for every release, Blue Note – 'the Cadillac of the jazz lines' – was outstanding in every way.

                                        Volume 8 of Jazzman's Spiritual Jazz series takes a close look at the deeper side of Blue Note – from the experimental avant-garde explored by younger musicians such as Bobby Hutcherson, Joe Henderson and Pete La Roca, to the exciting new developments in modal sounds put forward by stalwarts Hank Mobley, Jackie McLean and Duke Pearson. The music we have selected shows how musicians working with the label responded to a period of dramatic social and sonic change, charting the route toward the esoteric and spiritualised sounds that would dominate the deepest jazz of the 1970s.

                                        As ever, Blue Note had lit the path, and this new Spiritual Jazz collection shows that the progressive and underground jazz sound of the 1960s was not only the preserve of obscure artists and private pressings. Blue spirits and heavy sounds on Blue Note – the finest in jazz since 1939, brought to you by Jazzman.

                                        Imagine if you could put together a dream line-up of MCs and producers from all four corners of the rap world? That’s what artist and illustrator Gangster Doodles set out to do when he put together a stellar collection of tracks by the rappers and talent that inspire his work.
                                        The all-star line-up features everyone from hotly-tipped emerging producers like Eets, Caleb Stone, Maze Mountain and LoVibe next to underground perennials like Onra, Mndsgn and Jon Wayne all the way up to top flight producer Kaytranada and established rap vets like Madlib, Oh No, Blu and Defari.
                                        This second collaboration between All City Records and Gangster Doodles is a jam-packed sonic adventure featuring 27 killer tracks from some of the finest creators out there. Doodles had the idea for a comp two years ago. Hyped after partnering with All City for Knxwledge’s "Wraptaypes" project back in 2015, they initially set out to put together an EP but as the tracks kept coming in it exploded into the sprawling double LP of low-slung grooves and bangers from the best in the business.
                                        With everyone on the record being a friend or friend of a friend, the comp just kept growing as GD went to work with the hustle he has learned from penning his post-it sketches day in day out for the last decade.
                                        Word spread fast and soon he was being sent beats from all over, even reaching behind the prison walls of Bergen County Jail, New Jersey and securing a track from former Dipset affiliate Max B.

                                        The last few years have been busy for Marlon "Gangster Doodles" Sassy. He released his acclaimed Gangster Doodles (The Book) alongside an ever-expanding array of prints, original works, apparel and exhibitions across the globe. Topping that off with animation projects, a graphic novel in the works and now, with this LP titled " Gang$ter Music Vol 1", he is about to debut his first ever music compilation.
                                        He says himself: “Every time a new track came in it was like running down the stairs on Christmas morning to open a present. What started as a slow trickle of work coming in soon turned into a tsunami with some of my heroes like Onra, House Shoes, Blu, Jeremiah Jae joining up with young guns Kojaque, Kean Kavanagh, Dream Panther and others to beef up the record”

                                        “When an email pinged through with a track from brothers Oh No and Madlib it felt like the final gift and Gang$ter Music Vol. 1 was complete.”

                                        STAFF COMMENTS

                                        Patrick says: Absurd tracklist! Illustrator Gangster Doodles fires up his imessage and invites the hottest underground producers, backpack legends and cats like MADLIB, KAYTRANADA and YOUR OWN DROOG to lend a track to his first ever comp. You wanna hear what hip hop sounds like in 2019? Listen to this!

                                        The Dusty Donuts crew are back at it again, and if ten releases weren’t enough, the eleventh, which features Jim Sharp is what we love to refer to as a certified banger. You see, this crew is deep with the digging knowledge, DJ experience, and the production skills to reinterpret classics for not just disc jocks but for the mainstream public to get up off of their seats and jam. Number eleven features two very prominent tracks, “Rising To The Top”, an eighties classic from Keni Burke blunted out to the max, as well as an edit of Rick James’“Mary Jane”with enough buddah funk in your trunk to get it moving. “Rising To The Top”in its original form is a feel good, get up out of your seat joint that makes you wake up your body and move it around. The bass line/ drums in this mix are so infectious, so damn good that if people can’t move to this relick, you might have to keep a doctor on hand to check pulses. Sharp’s edit of “Mary Jane”, one of the best tracks dedicated to weed in the history of weed songs, is completely on point. Like MJ, it’s not the type of track you can just tie, down, it likes to spread its love around.

                                        Various Artists

                                        Fabric Presents - Bonobo

                                          Bonobo is an artist who explores elements of instrumental hip-hop, electronica and ambient with live instrumentation and enjoys an illustrious career with a sea of collaborators ranging from Erykah Badu and Andreya Triana to Rhye and Nick Murphy.

                                          is highly textural aesthetic translates into an ethos that looks to introduce a more open musical palette without losing sight of its past. His mix supports 10 exclusives or unreleased tracks, including 2 from himself and another from his rare pop-up alias Barakas. Employing the multi-instrumental arrangements of his own work in this 74 minutes of house, techno, electronica and breakbeat, each track exudes character and allows animated melodies to wander and develop, all the while grounded by an acute sense of harmonic progression and rhythmic precision.

                                          Various Artists

                                          Big Gold Dreams - A Story Of Scottish Independent Music 1977-1989

                                            Big Gold Dreams documents the vibrant independent music scene to emerge in Scotland across the late 70s and 80s. Initially ignited by punk, labels sprang up in Glasgow, Edinburgh and elsewhere to give a voice to the explosion of new acts across the country. Named after Fire Engines’ memorable single and Grant McPhee’s recent TV and DVD documentary,

                                            Big Gold Dreams includes many of the Scottish music scene’s most important names as well as countless obscurities. Includes landmark tracks by The Rezillos, Simple Minds, Altered Images, Skids, The Jesus And Mary Chain, Primal Scream, The Bluebells, The Waterboys, Cocteau Twins, Aztec Camera, The Soup Dragons, The Associates, Scars, Strawberry Switchblade, Josef K, BMX Bandits, Edwyn Collins, Del Amitri, The Vaselines, The Shamen, Goodbye Mr. Mackenzie and many others.

                                            Boasts lengthy essays and band histories by Grant McPhee, Neil Cooper and Tim Barr, within a lavishly illustrated 70-page booklet.

                                            Created by the same Cherry Red team behind such previous box sets as Scared To Get Happy, Still In A Dream, Action Time Vision, To The Outside Of Everything, Manchester North Of England, Revolutionary Spirit, etc. Big Gold Dreams also includes recordings from key labels such as Zoom, Postcard, 53rd & 3rd, Rational, Fast Product/Pop:Aural, Supreme International Editions, Creation, Egg, Sarah, etc. Pre-fame 45s by Johnny & The Self Abusers (later Simple Minds), Another Pretty Face (pre-The Waterboys), Fun 4 (pre-Orange Juice), as well as P.V.C.2 (post-Slik, featuring Midge Ure). Numerous tracks debut on CD, alongside a string of impressive debut 45s (e.g. Fini Tribe, Momus, The Wake, Win), plus classic indie tracks from The Pastels, Shop Assistants, The Vaselines and The Fizzbombs and many others.

                                            Various Artists

                                            Moodsetters : From The Amphonic & Soundstage Libraries

                                              From the archives of Syd Dale’s Amphonic & Sound Stage libraries, Moodsetters presents a stellar line-up of big-hitters from the world of British production music including members of the BBC Radiophonic Workshop & The Art Of Noise. Late 1970's & early 1980's electronics, funk, fusion, atmospheric sound beds & morYou like library music & lush, orchestral funk? With some pastoral radiophonics on the side? A dash of late 70s jazz fusion & early 80s electronica? Tribal percussion, easy / sleazy vibes with plenty of twang, slap bass & a dollop of sauce? And you recognise most, if not all, of these names?

                                              KEITH MANSFIELD / ALAN PARKER / PADDY KINGSLAND / ANNE DUDLEY / SYD DALE / FRANK RICOTTI / JIM LAWLESS / MONICA BEALE / ALEC GOULD / VIC FLICK

                                              Then you’re in for a treat. Culled from the archives of Syd Dale’s brilliant Amphonic & Soundstage library, Moodsetters presents a stellar line-up of players from the world of British production music including members of the BBC Radiophonic Workshop & The Art Of Noise.

                                              Various Artists

                                              Unlimited Love #18

                                              France's Unlimited Love ship over some more illicit produce just before we leave the EU at the end of next month. The team have kept it simple on this one. One track a side. Both of the heavy disco / soul variety. No track listing as usual but please do send in your answers to Pasta Paul our social media rep and he'll be sure to dish out maximum likes and positive emoticons onto your feed as you wish. Limited copies. Cop now or cry later.

                                              Various Artists

                                              Africa Airways Five (Brace Brace Boogie 1976 - 1982)


                                              It's that time again. The skies are calling and its time to board our trusty jet for the 5th outing of Africa Seven's premiere class compilation Africa Airways. For volume 5 its time to brace yourselves for 10 slices of Afro boogie goodness.

                                              We up the boogie time groove with The Black Bells Group (the first band of lead singer Sidney 'Patrick Duteil' who went on to become the godfather of French hip-hop and a well know TV presenter. Here the groove is swinging... the perfect opener. Next up is German-based Cameroonian musician and cousin of Manu Dibango, Charly Kingson with this bass-synth boogie stomper. Big brass and jazzy trumpets add layers of sparkle too.

                                              Next its time for some highlife inspired boogie from Ghanian Gyedu Blay Amboley. Highlife fused with reggae, disco, boogie and jazz just as the lyrics say.

                                              Next we pair up with Africa Seven friend Eko once more under his Dikalo guise. The Cameroonian master musician is on fine form with his heavy brass and deep percussion with a driving afro boogie groove. To round off Side A its off to Cameroon again to groove with Jean 'Mekongo President'. Think Bernard 'Chic' Edwards on the bass with some African style and you can see it's the bottom end groove and afrobeat drums that power this gem along.

                                              We open the second side slowly and purposefully with the highly sought after 'French Girl' from Fotso. Drippy bass synth grooves and a wondrous percussion and drum shuffle pair with piano riffs to make this a unique sounding track. Our friend Tala AM is next with the foot-stomping 'Sugar Lump'. JK Mandengue is next with most definitely the catchiest chorus you will hear today. Nigerian Jide Obe gets synth and clavinet rich with his doe to sensible dating advice 'Too Young'. We close off the album with a track from label good friend Jo Bisso under his Mulamba guise. Sounding like a long lost TV theme from a late night TV show circa 1977. Let's get down and boogie with the brand new dance in town folks... the Dashiki.

                                              Until Volume Six takes flight it is time to unbuckle those seat belts folks.

                                              Light In The Attic’s Japan Archival Series continues with Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990, an unprecedented overview of the country’s vital minimal, ambient, avant-garde, and New Age music – what can collectively be described as kankyō ongaku, or environmental music. The collection features internationally acclaimed artists such as Haruomi Hosono, Ryuichi Sakamoto and Joe Hisaishi, as well as other pioneers like Hiroshi Yoshimura, Yoshio Ojima and Satoshi Ashikawa, who deserve a place alongside the indisputable giants of these genres.

                                              In the 1970s, the concepts of Brian Eno’s “ambient” and Erik Satie’s “furniture music” began to take hold in the minds of artists and musicians around Tokyo. Emerging fields like soundscape design and architectural acoustics opened up new ways in which sound and music could be consumed. For artists like Yoshimura, Ojima and Ashikawa, these ideas became the foundation for their musical works, which were heard not only on records and in live performances, but also within public and private spaces where they intermingled with the sounds and environments of everyday life. The bubble economy of 1980s Japan also had a hand in the advancement of kankyō ongaku. In an attempt to cultivate an image of sophisticated lifestyle, corporations with expendable income bankrolled various art and music initiatives, which opened up new and unorthodox ways in which artists could integrate their avant-garde musical forms into everyday life: in-store music for Muji, promo LP for a Sanyo AC unit, a Seiko watch advert, among others that can be heard in this collection.

                                              Kankyō Ongaku is expertly compiled by Spencer Doran (Visible Cloaks) who, with a series of revelatory mixtapes as well as his label Empire of Signs (Music For Nine Postcards), has been instrumental in shepherding interest in this music outside of Japan. Together with Light In The Attic’s celebrated anthologies I Am The Center and The Microcosm, Kankyō Ongaku helps to broaden our understanding of this quietly profound music, regardless of the environment in which it’s heard.


                                              STAFF COMMENTS

                                              Patrick says: Now, while the Japanese ambient revival has been going on for some years (check out essential reissues on Palto Flats, WRWTFWW, 17853) Light In The Attic steal a march on their competitors with this sublime compilation of obscurities from the Land of the Rising Sun. Wonderfully packaged, presented and curated, "Kankyo Ongaku" is a fitting companion to "I Am The Center" and the "Microcosm", exploring the New Age and ambient sounds of 80s Japan. Minimal, relaxing and utterly beautiful, this music is almost heavenly.

                                              FORMAT INFORMATION

                                              2xDeluxe CD Info: 2xCD housed in a custom 7”x 7” hardbound book.

                                              3xLP Box Set Info: Triple black vinyl LP with deluxe Stoughton “tip-on” jackets and slipcase.

                                              James Ruskin and Blueprint are two names synonymous with British techno. Ruskin has never really put into words what makes a Blueprint record, but the label has one the most distinctive catalogues of its era. Aside from the music's excellent production quality and propensity for detailed sound design, a defining characteristic might be the creeping tension in many of its releases, or the visceral head trip they guarantee.

                                              Blueprint has maintained its identity through a few phases. There were the '96-'99 years, when Ruskin and Richard Polson were releasing as Outline and Oliver Ho's funky tribal sound was emerging, and then the '00s, when Polson left Ruskin's deep and driving style to crystallise. Polson's sudden departure in '06 caused both Blueprint and its owner to take a break, but since 2009 they've returned with a clear sense of purpose. The label's most recent chapter has abandoned its exclusivity in order to widen its purview, bringing on board artists like Lakker, Sigha and Samuel Kerridge. Blueprint has also become a place for old friends like Surgeon and Oliver Ho, and a platform for Ruskin's collaborations with Regis (as O/V/R) and Mark Broom to bloom.

                                              Cue "Structures & Solutions: 1996-2016". Not only does this compilation see the current roster (Lakker, Makaton, The Fear Ratio, Rommek, Rumah & Progression) hitting their strides, but it also includes a track from Steve Bicknell, whose Lost club nights, says Ruskin, were highly influential to Blueprint - and a relentless solo production from Regis. Some of the non-affiliated artists make an effort to colour within the lines, albeit without compromising their own sound. Take Tessela's funky tribal "Rub": it's still a bit ravey, but with a dose of early Oliver Ho about it. Blawan's "Passer By" is submerged, dreamy and mesmerizing in its own way. Randomer's "Sheen" and Truss's "Wonastow" form "Structures & Solutions" destructive side.

                                              For a chilly groove check Ruskin & DVS1's "Page 1"; for classic Blueprint with a twist, Luke Slater's "Pull" does a great job. Bicknell's "Disguise of Beings" could kill or save a dancefloor, and is one of the best inclusions for it. Play Ruskin's "6teenth" for nostalgia and Oliver Ho's "The Serpent Devours Itself" for a Broken English Club-style view of the future. 20 years on and Blueprint are as significant as ever, and this compilation is proof that they're not going anywhere.


                                              Various Artists

                                              Cuneiform For Pumapunku

                                                ** NEW LIGHT SOUNDS DARK!!! - Act now or cry later! 

                                                Keeping with their theme of late, it's a minimalistic, ambient, drone-like curation of none-hits that plunge deep into wormhole, scrap up all the interstella detritus and cough it back up through a phlegmy, alien oesophagus.

                                                Two sides of wacked-out, voodoo discharge, electrostatic ambience and general creeping sense of doom. Like watching Event Horizon on your own on 4aco powder - incredibly terrifying but certain to re-programm your synapses. 

                                                SERIOUSLY limited quants on this one folks so don't dilly dally! 

                                                For some time now in the continual hunt for new DJ material to play in the jazz scene we have been coming across great tracks by current artists that are often only available on digital or CD format, and have been cutting dubplates so we can play them in Jazz Dance gigs. "Modern Jazz Dance Classics" aims to provide DJs with this new music on vinyl and thus inject new music into the jazz dance scene. If you are a DJ we hope you will find some of these tracks indispensible in your set, and if you are a collector we hope you will find this a great listen and addition to your collection. There are tracks from all over the world carefully selected to make a great set and selection.

                                                Various Artists

                                                Trashcan Records Vol 2: Midnight

                                                  Welcome to the second volume of Trashcan Records, a new compilation series on Stag-O-Lee, devoted to obscure and forgotten vinyl treasures from the 1950s and early 1960s. Compiled by Fedor, an Amsterdam-based record hound, whose huge collection mostly comes from flipping through thousands of used record boxes at Amsterdam flea markets for the last 25 years. Volume 2 - Midnight - features twelve very strange and very moody vinyl jewels from Fedor’s box.

                                                  Various Artists

                                                  Trashcan Records Vol 1: Wild Safari

                                                    Welcome to the first volumes of Trashcan Records, a new compilation series on Stag-O-Lee, devoted to obscure and forgotten vinyl treasures from the 1950’s and early 1960’s. Compiled by Fedor, an Amsterdam-based record hound, whose huge collection mostly comes from flipping through thousands of used record boxes at Amsterdam flea markets for the last 25 years. For Wild Safari - the first volume - Fedor has selected 12 first-rate exotic rarities that have never been comped before.

                                                    The first part of various artists samplers featuring numerous gems from the Big Shot archives.

                                                    From the vaults of seminal Canadian house label Big Shot we're proud to present a fully legitimate and remastered selection of classics and obscurities from the labels enviable catalogue and the masterful crew of Nick Fiorucci, Komix & co. Leaning on the late 80's and early 90's output of the label and featuring cuts from some of the first releases. Amy Jackson, whose sultry 1989 jam 'Let Me Loose' is a class example of the deepest vocal House done right kicks off proceedings, followed by Jillian Mendez's classic 'Don't Know What You're Missing', another '89 vocal burner punctuated by classic piano's and synth lines. These tracks are the real deal! On the b-side we are treated to In-Dex's classic 'Give Me A Sign', a perfect blend of Freestyle attitude and early House atmosphere that hits the spot just right. Finishing this essential collection of tracks is Dionne's tough and classy 'Come Get My Lovin', another classic Komix production that rolls nice with stepping drum machines and smooth organ riffs. All in all - this EP is an old school House heads dream right here, essential cuts from end to end.

                                                    Keep an eye out for more high quality Big Shot reissues, all remastered from the original source materials and with the full involvement of the rights holders. A collaboration between Above Board distribution and Big Shot records, Canada. Remastered by Optimum Mastering, Bristol UK. 2018.

                                                    STAFF COMMENTS

                                                    Sil says: Beautiful and soothing proto house by Amy House and a more dancefloor oriented offering by Julian Mendez, In-Dex and Dionne. The sound quality is superb and it is always nice to see the artists getting their fair share of copyrights. A very well-rounded first instalment in this new reissue series.

                                                    Founded in 1951 by independent record store owner and radio show promoter Ernie Young, Nashville, TN’s Nashboro Records recorded some of the most potent and forceful gospel music of the time period. Although initially begun in response to overwhelming demand for gospel locally, Nashboro quickly became nationally applauded for its curatorial prowess (under the guidance of Rev. Dr. Morgan Babb of the gospel group, The Radio Four) and signature production style. The lightly-reverbed, clear sound of a Nashboro record is unmistakable. The Morning Echoes, led by Willie “Slim” Ayers, formed in the late ‘40s, released their first record in 1951 and moved to Detroit in 1952. They started regularly broadcasting over radio station WJLB and became a part of the Nashboro Records family several years later. Echoes Of The Gospel was originally released in 1967 and was the first Long Playing record from these Motor City favorites. The Morning Echoes remained active in and around Detroit throughout the 1960s, ‘70s and ‘80s. The project officially came to a close when leader Willie “Slim” Ayers passed on September 17, 2013. This Third Man re-issue came into our world when TMR artist and friend Kelley Stoltz sent a well loved copy of Echoes Of The Gospel in gratitude for having him play the Third Man Pressing Grand Opening Party. His note read “Thanks for the fantastic experience! This one is a spirit lifter, In The Garden Of Eden does it for me. XO Kelley”. Third Man is now proud to cast a broader light on the beautiful Echoes of the Gospel and the Detroit-Nashville connection that it embodies. It is transferred with reverence directly from the original 1967 stereo mixes and remastered by Warren Defever.



                                                    They called it “the greatest little Soul Club in the land” and, as history tells us, it bridged the gap between the R&B of the Twisted Wheel and the “adrenalin” soul of the Golden Torch. It was an integral part of the rare soul movement and set the template for what became known as Northern Soul! This stunning vinyl album is compiled in association with the club’s founding DJ, Carl Dene, and celebrates its 50th Anniversary.

                                                    FORMAT INFORMATION

                                                    LP Info: 180g heavyweight vinyl.

                                                    Various Artists

                                                    Italo Funk

                                                      Italo and Funk! A long standing relationship that goes back to American R&B artists connecting with the Italian audience in the 60's. At that time the Italian music market was still influential on a global scale and you could find an artist like Wilson Pickett singing in Italian (with a quite puzzling accent!) at the Sanremo Festival in 1968. The song he performed, "Un'Avventura", was written by Ludo Battisti the biggest Italian pop star of all time, a lover of all black American music, who has recently been re-discovered by global diggers, for his psychedelic, latin, funky period of the mid to late 70's. But the market was ready for that real funk: in 1971 James Brown performed "Sex Machine" live on national TV.

                                                      Then Umbria Jazz festival opened for business in 1973 bringing the likes of Weather Report and Horace Silverto the more intellectual side of listeners. While the mainstream crowd was grooving in cinema theaters to the orchestral funk of masters like Piero Umiliani, Piero Piccioni and Armando Trovajoli and their soundtracks of the 'Poliziotteschi' B-Movies. With the 70's giving us the Mediterranean soul-funk of Napoli Centrale, directly influenced by the nearby NATO American base dwellers, the picture was complete: it was time for the Disco revolution! From Moroder to Mauro Boncaldi the list of Italian pioneers that molded dance music into a new hybrid of electronic basslines and over the top melodies is endless. The enormous international success of Italo Disco created a market of independent labels and distributions that were the basis of the next mutation of funky dance music: House. Italo Disco influenced the birth of House in America and then House came back to Italy and gave a new generation of producers the kick in the ass to start their own thing. 

                                                      First to take the reins of the DJ-Kicks mix series in 2019 will be ever evolving UK artist, Leon Vynehall. His 26-track mix features new material from the man himself, as well as exclusives by Hessle Audio and Timedance affiliate, Ploy, rising newcomer Peach, and Pavilion, plus a number of gems that will be available digitally for the first time ever.

                                                      In a short space of time, Leon Vynehall has established himself as a DJ and producer with real craft. He brings a much wider than usual array of skills and influences to electronic music, and is always as likely to talk about minimalism, post-punk, or hip-hop as he is house and techno. This comprehensive approach to was confirmed by his spellbinding debut album Nothing Is Still on Ninja Tune in June 2018. An imagined soundtrack to his grandparents' emigration from the UK to New York throughout the 1960s, it told a distinctive story that unfolded into a resonant narrative; a richly layered affair filled with curveballs and a wealth of adventurous ideas that Vynehall pulled off with confidence and style.

                                                      It’s the same story with his DJs sets, and particularly this DJ-Kicks mix, which goes from 79-169bpm in fluid fashion. Always interesting and distinctly diverse both in genre and tempo, the mix works in a range of settings, as was the artist’s aim.

                                                      'I wanted to approach this more like a compilation than a stand-alone ‘mix,'' he says. 'To me, compiling a DJ-Kicks is a significant statement of intent and representation, so with that in mind, I thought more about the selection than the mix. Being given the responsibility to select work from artists I admire, some of which have only ever been released on their first vinyl presses many years ago, was a task I didn’t take lightly.'


                                                      STAFF COMMENTS

                                                      Matt says: What a rise to stardom we've witnessed from this equisitive producer / DJ. From his early beginning in 2012, we've seen a multifaceted produce drop house, techno and ambient. Now, for a well-overdue DJ Kicks comp, we get to explore his major influences and musical landmarks from boy to man. Yes boss!

                                                      Trans-Atlantic techno from one of the early firms! The first EVER retrospective from this ridiculous Dutch label. Responsible for releasing some very archetypal underground dance music throughout the 90s, Djax-Up-Beats had a very definitive sound - blending esoteric, ambient sounds, with staunchly fierce and energetic electronic rhythms. It defined the beginning of an era that never went away - with the label being prolific right through the golden years of house, techno and warehouse music.

                                                      An eight track tour through some early highlights here then; from Ismistik's rattley punisher "Flow Charts" to a very early appearance from Felix Da Housecat. There's dreamy and sublime moments too, provided via Hexagone's "Float Baby" and that patented Chi-town wiggle n bump on Glenn Underground's "101 Dolmation". A solid and imperative addition to any dance music collection and surely an essential for any of the younger lot looking to inject some bad-ass filth into their DJ sets. Massive!


                                                      It feels like it's been a while since ol' Shir Khan's powered up his Black Jukebox for more hot house adventures on wax, but here we are at the beginning on y2k19 with a brand new jam!

                                                      Based in Colombia’s capital, Bogota, Felipe Gordon is one of the new champions of the Colombian movement, effortlessly fusing the natural instruments and rhythms of his native area to the globally celebrated phenomenon we know as house.

                                                      Eyes-down and jazzy, the four cuts on offer here will find a natural home in backrooms & basements with low ceilings and dull lights. It's a perfectly realized exercise in proper deep house, combining passages and inspiration from Columbian music and jazz whilst keeping things forward propelled and lively. Excellent stuff!


                                                      STAFF COMMENTS

                                                      Matt says: Friendly face around these parts Shir Khan. Always on hand to drop off some feel-good house music. Felipe Gordon, his latest signing, brings some quality Brazilian-tinged beats to the label and it's bangin'!

                                                      Favorite Recordings and Charles Maurice deliver the 4th edition of the "AOR Global Sounds" compilations series: 14 rare and hidden tracks, produced between 1977 and 1986 in various parts of the world. Started in 2015, the AOR Global Sounds series was born from the will of Charles Maurice (aka Pascal Rioux) to share his longtime love for the AOR and West Coast movement and highlight its influence for many artists in the late 70s and early 80s. In this 4th volume, he selected again highly forgotten productions, deeply infused with Disco and Soul flavors.
                                                      Half of the compilation’s tracklist is naturally coming from the US, homeland of this music style, but the other half is made of productions from all over the globe, from France, Belgium, Italy, to Mexico. And for most of these beautiful songs, it came from artists and bands rather unknown and often released as private press.
                                                      As an example, “Come Back” is the result of a music talent competition won by a student band named Parenthèse, gaining a full recording session in a professional studio and the production of a limited promotional 7inch vinyl, which still completely obscure til now. “Mellow Out” comes from the only album by Pacific Dreams, which was fully self-produced and released by its leader Tommy Sweet. Fernando Toussaint, however having quite a solid career and discography as a drummer and with his brother forming the Mexican Jazz-Funk band Sacbé, had solely one solo album released in very limited quantities on Discos Alebrije, a label directed by Alain Derbez. As for “Never Was Love” by Russ Long, despite becoming quite famous when recorded and sang by Judy Roberts, it’s still surprisingly undiscovered in its original version, taken from Russ’ beautiful album from 1982, Long On Jazz In Kansas City.
                                                      And we could detail stories like this for each of the titles included in AOR Global Sounds Vol.4, but our guessing is the best way to learn more about all these gems is to listen to it, fully remastered from originals, and whether your preference is for vinyl or CD formats.

                                                      Black Label no. 3 from established Bristol firm Banoffee Pies who have cut out a truly unique and sincere pattern from the house, disco and downbeat clothes of today.

                                                      New signing Monotronique delivers a 118bpm, sample heavy bopper in the form of "Baggage With A Secret". Peppered with loose breaks and reverb-heavy brass, it possesses a dark, cinematic mood whilst ensuring enough dancefloor focus through its sub-heavy kicks and sharp snare hits.

                                                      Freerotation resident Tom Ellis contributes a sublime almost-micro-house offering. Utilizing those Akufen-esque vocal chops, a skitty, swung house beat and warm Rhodes it recalls the golden years of glitch whilst keeping up to date with the current players. Mega!

                                                      Filip Szostak drops a beautifully eyes-down dnb flavoured roller with subtle touches of footwork and electrofunk thrown in for good measure.

                                                      Finally the firm invite Lyssna Records own Flord King with another micro-inspired gem for the head bopping late nights on “Shanti”; which should tickle the fancy of fans of Jan Jelinek and vintage Matthew Herbert. Another sterling set of sizzlers from Banoffee Pies!


                                                      STAFF COMMENTS

                                                      Matt says: It's almost getting tiresome how frequenty these cats are appearing in our ROTW lists. But you can't ignore good talent; and these four producers offer exactly that.

                                                      Various Artists

                                                      Life & Death On The New York Dance Floor 1980-1983 - Vinyl Edition Part 2

                                                      For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London’s dance scene, from where it has ricocheted around the world. Having conducted the first set of major interviews with David Mancuso, Lawrence started to put on Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In early 2004 he published Love Saves the Day: A History of American Dance Music Culture, 1970-79, which tracked the influence of the Loft on the wider New York DJ, dance and disco scene. In 2009 his biography of the iconic musician Arthur Russell became the first book to map the wider downtown music scene. These beautifully written and politically insightful histories have educated, inspired and celebrated the previously overlooked foundations of contemporary dance music.

                                                      Lawrence’s most recent publication, Life & Death On The New York Dancefloor, 1980 – 1983, published in late 2016, shines a light on 'one of the most dynamic and creative periods in the history of New York City'. Falling between the more regularly celebrated sounds of disco, house and techno, the period produced a uniquely hybrid series of sounds that never acquired a settled name. This led them to be largely ignored by historians and even DJs, yet the power of the period’s music and the scenes it birthed, Lawrence argues, remains undeniable. Met with a rapturous response, Life and Death On The New York Dance Floor saw Lawrence on the road for most of the next year as he spread the word about the characters, the records, the clubs and the bands that shaped the post-disco, post-punk, and burgeoning hip-hop landscapes of New York City during the early 1980 - a period when freedom still ruled.

                                                      This, the second of a 2-part sonic tribute to the 1980 – 1983 era as well as a musical companion piece to Life & Death On The New York Dance Floor, sees recognised classics (such as "Don’t Make Me Wait" and "Din Daa Daa") nestle up alongside the belatedly recognised (including the August Darnell remix of "Contort Yourself" and Mark Kamins remix of "Love Tempo") and the downright obscure ("Vena Cava" and the B-side of the "Pop Your Funk" 7” promo). Capturing the range and the mayhem, Material’s under-appreciated "Bustin’ Out" features Nona Hendryx delivering lyrics inspired by Black Panther George Jackson’s prison letters plus a music track featuring dance beats combined with a heavy electric guita - a combination proposed by Michael Zilkha after the ZE label head rejected Bill Laswell’s first effort. The mix comes courtesy of Better Days resident DJ Tee Scott. Everyone, it seemed, was open to everything.

                                                      Lovingly curated across 2 slabs of vinyl, the album introduces listeners to a stunning array of sounds, styles, vibes and feelings that encapsulate this most fertile and forward-thinking era, when music, fashion, sound system innovations, leaps in music technology, a DIY attitude and a freedom from corporate politics combined with extraordinary expressivity. All music contained within this album has been hand-picked and programmed by Tim Lawrence. It represents a selective yet rich introduction to one of the most extraordinary periods in New York City’s epic musical history.

                                                      This is the first release on Reappearing Records, a label led by Tim Lawrence and distributed worldwide by Above Board distribution. Licensing courtesy of Tracksuit Music. Mastering by Optimum Mastering, Bristol UK. Artwork & design courtesy of Atelier Superplus. 2018.

                                                      Named after the rough and ready bars where labourers gathered to drink and dance, barrelhouse was a raucous form of piano blues that got the juke joints swinging. From early pioneers such as Cow Cow Davenport and Speckled Red to the boogie-woogie legends Pete Johnson and Albert Ammons, this collection charts the rise and incredible influence of this good-time blues. A classic collection of up-beat piano blues originating from the ‘juke joints’ of the rural Southern States featuring many legendary blues pianists including Leroy Carr, Cripple Clarence Lofton and Montana Taylor.

                                                      FORMAT INFORMATION

                                                      LP includes MP3 Download Code.

                                                      The second part of various artists samplers featuring numerous gems from the Big Shot archives.

                                                      Part 2 is yet another treat and fresh selection of Big Shot sure-shots. Following on from the initial sampler this one is chock full of classics from the label, every house (head) should have one! Mr & Mrs Dale's all-time anthem 'It's You' kicks things off in fine style, this one truly is a classic and those opening bass notes tell you all you need to! Strap yourself in. Also featured is How II House's 'Time To Feel The Rhythm' - some killer piano driven House moves courtesy of the man Ron Allen from way back in '89, showing that Canada was bringing the heat too! Over on the flipside How II House appear again with the 'Acid' mix of 'Unlock The House', another spoken word jammer that does damage. Jillian Mendez appears again, rounding things out, with her 'EZ Mix' of 'Get up' from 1988, another slick piece of Freestyle driven vocal House, perfect minimal production frames Jillian's vocals perfectly and will keep the dancefloor moving! Top notch business all over here!

                                                      Keep an eye out for more high quality Big Shot reissues, all remastered from the original source materials and with the full involvement of the rights holders. A collaboration between Above Board distribution and Big Shot records, Canada. Remastered by Optimum Mastering, Bristol UK. 2018.

                                                      STAFF COMMENTS

                                                      Sil says: 'It's You' is a sublime piece of early house filled with variety and an infectious bassline. Perhaps the most chilled of these four beauties. How II House and Jillian Mendez are proper dancefloor material. Few times I say there are no fillers here. This is one of those occasions. Buy on sight.

                                                      New "Battle Break" comp from those crazy PRR! PRR! cats.... bonkers, batshit and brilliant! Don't fob this off as 'novelty dance' - these are jugular biting, body shaking cuts that inject humor and artistic fun into a scene that can often take itself far too seriously.

                                                      Based outta Belgium, PRR!PRR! have shunned any traditional, hype-generating dance music convention and instead chose to release whatever the fuck their mates are digging at the present time, which seems to be a totally unique and invigorating pot of gabba, rave, après ski anthems from Austria, the odd bit of Euro-pop and a bucket full of acapelas. The result is a heady sound that the label can totally call their own.

                                                      This new 'comp' (ahem) features eleven tracks that perfectly showcase the PRR!PRR! ethos - wild, unrestrained, not afraid of a hook but at the same time not afraid to blow yer fuckin' balls off either motherfuckeerrrs! Recommended!
                                                       

                                                      STAFF COMMENTS

                                                      Matt says: Maverick music for the true rave gremlins and techno zombies. It might not be for everyone, but that's why it bites so hard!

                                                      This is the latest installment of Soul Jazz Records’ on-going collection of Rastafarian music at Studio One, featuring classic material from legendary roots and culture artists The Gladiators, Horace Andy, Freddie McGregor, Sugar Minott and the Wailing Souls, alongside a superb selection of rarities from Sir Coxsone’s musical empire made up of one-off and practically unknown Rastafarian artists who recorded on myriad Studio One off-shoot labels in the 1970s - The Manchesters, Mellodies, The Nightingales and others.

                                                      In this new collection, we see that once again the prescient Clement Dodd was a man who saw the wider picture. In the 1960s it was Sir Coxsone who identified the creative potential of The Wailers, Toots and the Maytals, Heptones, Burning Spear and many, many others. In the 1970s Studio One released an untouchable selection of the finest as styles moved from reggae to deejay to dub and, in the latter half, the emergence of dancehall.

                                                      What is also clear is that throughout this era Studio One released an incredible amount of roots music and not just the most commercially obvious. For alongside the career-building catalogues of Burning Spear, The Wailing Souls, The Gladiators and so on, one needs to be an ardent Studio One collector to know some of the truly raw Rastafarian music featured here. Groups such as The Manchesters or The Nightingales feel as if they were recorded straight out of the churchical chants of the mansions.

                                                      Black Man’s Pride explains the links between the ideology of Clement Dodd at Studio One and the Rastafarian faith, which was the creation of Afro-Jamaicans and concerned above all else with a black consciousness and empowerment, a rediscovering of the personal and racial identity of black people. The movement began in the 1930s and, in tandem with this black consciousness, called for a rejection of the British imperial culture that dominated Jamaica, while creating an identity based on a re-appropriation of an African heritage.

                                                      The Rastafari movement was like a pivot, bringing together and balancing many vectors of ideologies. Marcus Garvey’s Back to Africa movement, trades union discourse, anti-colonialism and nation independence, maroon self-definition and independence, the spirit of African rebellion in the Caribbean. For Clement Dodd, a black man and producer growing up in Kingston in this era, Rastafari was simply a part of his everyday world - from witnessing Count Ossie’s grounations to the faith of many Jamaican artists at Studio One - from the Skatalites onwards.

                                                      Featured here alongside these classic and rare tracks from Studio One are new and extensive sleeve notes with track-by-track notes by Rob Chapman, author of the acclaimed Downbeat Special and Never Grow Old Studio One books.

                                                      The iconic compilation series "Back to Mine" returns in 2019, to mark its 20th anniversary, with the indomitable Nightmares on Wax, to share his personal collection of music for after hours grooving. The series was renowned for its eclectic selection and selectors which includes some of the biggest names in electronic and pop music, from the likes of Faithless to Pet Shop Boys, Groove Armada to New Order.

                                                      The collection includes three exclusive tracks, one new track from Nightmares on Wax, along with a remix from the man himself of seminal band Fat Freddy’s Drop and brand new project Creative Principle. The album is impeccably mixed and blended, as you’d expect from a DJ and collector of George’s pedigree. His selection includes a strong representation from his roots in Northern England. Opening with respected Manchester soul duo Children of Zeus, Hull’s Steve Cobby provides his own "Lefthanded Books" featuring Crazy P’s Danielle Moore and also introduces his chuggy-disco project Chieftain. There’s also room for the recent Nightmares on Wax recent single "Look Up". Moving internationally; there’s Greek producer Dim Zach who doffs a cap to Imagination on the synth-heavy "Innocence", US-born / Colombian based Afro / Latin / disco / funk producer Bosq, Italy’s Massimo Vanoni with the slo-mo funk "Exciting Groove", the deep and jazzy "Gotta Have It" by Berlin’s SoulPhiction side project SBM and two tracks by New Zealander Ladi6.

                                                      This first re-installment of "Back to Mine" is a triumphant return for the iconic and music loved series. Nightmares on Wax delivers an incredible selection of tracks that gives the listener a real insight into the artists personal and extensive taste. 'I always hoped that when the time was right I would be asked to do a Back To Mine release and so when the call came there was absolutely no hesitation'. - Nightmares on Wax.


                                                      FORMAT INFORMATION

                                                      2xLtd LP Info: Limited edition heavyweight vinyl.

                                                      2xCD Info: CD1 mixed, CD2 un-mixed.

                                                      Various Artists

                                                      Sounds From The Astral Elevator Vol 1 - Satellite Sister

                                                        Satellite Sister is a vinyl-only compilation of artists who have played in the Astral Elevator (home to some of Manchester's finest psych nights)! Local psych heads will be familiar with Astral Elevator who have put on shows presenting the likes of Singapore Sling, Lorelle Meets The Obsolete, Spindrift, Julie's Haircut and The Vacant Lots as well as new local talent, with their biggest event to date being their Psych Weekender at Manchester venue Night People in September 2017. This compilation is not just a throwback to said event but a celebration of the Psych scene in Manchester and beyond.



                                                        STAFF COMMENTS

                                                        Mine says: Whether you attended the Astral Elevator Psych Weekender and want something that'll help you relive the brilliant fest or whether you just like to discover new music, this is a top compilation by one of Manchester's finest promoters!

                                                        For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London’s dance scene, from where it has ricocheted around the world. Having conducted the first set of major interviews with David Mancuso, Lawrence started to put on Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In early 2004 he published Love Saves the Day: A History of American Dance Music Culture, 1970-79, which tracked the influence of the Loft on the wider New York DJ, dance and disco scene. In 2009 his biography of the iconic musician Arthur Russell became the first book to map the wider downtown music scene. These beautifully written and politically insightful histories have educated, inspired and celebrated the previously overlooked foundations of contemporary dance music.

                                                        Lawrence’s most recent publication, Life & Death On The New York Dancefloor, 1980 – 1983, published in late 2016, shines a light on 'one of the most dynamic and creative periods in the history of New York City'. Falling between the more regularly celebrated sounds of disco, house and techno, the period produced a uniquely hybrid series of sounds that never acquired a settled name. This led them to be largely ignored by historians and even DJs, yet the power of the period’s music and the scenes it birthed, Lawrence argues, remains undeniable. Met with a rapturous response, Life and Death On The New York Dance Floor saw Lawrence on the road for most of the next year as he spread the word about the characters, the records, the clubs and the bands that shaped the post-Disco, post-Punk, and burgeoning Hip Hop landscapes of New York City during the early 1980s—a period when freedom still ruled.


                                                        Naughty NMX has great taste.Both sides of this seven contain some of the sweetest, sexiest soul music you could ever wrap your ears round. 
                                                        Both MUST have been sampled in the nineties so golden are they, in fact, if you email in and tell us who by, we'll give you a special prize*.
                                                        First up is 'Our Dreamworld' a song that somehow manages to feature both sitars and a mariarchi horn section and STILL come out on top.
                                                        On the flip, 'Let Me Go A Million Times' sounds not unlike something we'd all have taken close to our hearts at the start of the new millennium and would have been on heavy rotation at a legendary Friends And Family BBQ.

                                                        STAFF COMMENTS

                                                        Millie says: Two sides of pure gold on this seven, remixed by Naughty NMX to create these two slicks soul tracks. Drenched in hip hop beats which both sound at home on the turntable played LOUD. Don’t miss this one!

                                                        Pioneer of electro-acoustic and experimental music, the French Groupe de Recherches Musicales (Musical Research Group) created by Pierre Schaeffer right after World War II still influences current electronic music. This selection of tracks from 1949 to 2004 invites its listener to discover the various directions taken by the most influential musicians of the Groupe.

                                                        Platform 23 presents the 2nd collection of songs selected from the "Alternative Funk" series released by Vox Man and VP 231 Records. Originally appearing in 1985 across 1 vinyl and 2 cassette albums these cult collections have long been in collectors' (and bootleggers') sights and finally see the first official reissue. As with Volume 1 the series covers the weird, wonderful, esoteric, exotic and quirky sound and puts them in a reset context that immediately gives clarity of the original's curation.

                                                        This volume opens with some DIY electro stealers, first with Dee Nasty's "Orientic Groove", where the early French hip-hop pioneer lays down a battle cry of beats, slapped bass and YMO keys, before the second offering from Scoop! and their rap attack, juxtapositions the past series and leads to label heads Vox Populi! & Man and their continued look at the rudiments of cut up manipulation and scratch techniques. The avant rappears with 3M's percussive marker and legendary Amus Tietchens' is ever challenging, before Melsjest's post-punk meets the Weirmar possibly steals the side as Vox Pop spoken outro joins those (micro)dots.
                                                        The cult of Randall Kennedy returns with another garage-fuzz gem. His stories for wackos'n'weirdos end all too soon and are followed by Liquid Liquid's Dennis Young, diving deep with Intuition, before Stanalis returns with another winner. Bene Gesserit is a killer and welcome addition, before Kosa return with more industrial clippings and volume 2 heads to the door with Capital Funk's electro-punk bomb - possibly the series champion - while the slap bass-scratch of California's Psyclones leads to a music hall end in the homage to mum's favourite, Chukk.
                                                        What these Volumes again highlight is how the DIY aesthetic of so many independent labels was supplemented and spread via collections of friends, contemporaries and often, literally pen pals, to mail in their offerings that are then picked for wider ears. While some of these artists have become known, just as many are who and whats, but they sit side-by-side as warranted and often killing the scene of what Axel and co sought to be...the Alternative Funk.


                                                        Illicit edits as always from the Unlimited Love cartel, determined to skirt past red tape conventions. Fresh Band's "Come Back Lover" makes an appearance here, a sumptuous mid-eighties boogie jam that's crept up again in price recently, despite being bootlegged in 2012. No one likes a clever clogs, so I'll give the sleazy disco-funk of "Track 2" to the UL crew, making it one point each at the end of side A.

                                                        Side B kicks off with a slice of anthemic and energetic disco, with sing-along chorus, lovely brass section and a lively percussion section. Another blank face from me puts the Unlimited Love crew one in front with only one most track left to go! Slowing down the breaks and deploying some screeching organs, high-waisted bassline and velvety male vox highlights "Track 4" as a true soul gem, surely big on the weekender scene but escaping my inquisitive ears for a third time at this encounter! - those pesky editors! I'll get you next time ....! 


                                                        STAFF COMMENTS

                                                        Matt says: Unlimited Love continue to quietly usher through the unknown, hard to acquire and stupendously expensive hits from disco, soul and boogie's bussom.

                                                        Various Artists

                                                        American Noise Vol. 2

                                                          American Noise Vol. 2 is the anticipated second limited edition vinyl release soundtrack companion to The Smart Studios Story , a groundbreaking documentary about the history of Madison, Wisconsin’s Smart Studios and its role in recording and supporting DIY / independent music in the Midwest. The critically acclaimed film chronicles thirty years of Midwest rock history and links early indie bands to the larger story of American rock history.

                                                          While American Noise: Vol 1 shared the earliest Butch Vig recordings of local, unsigned bands, Vol 2 includes artists who traveled from other scenes in the US to record at the fledgling studio between 1987 and 1993.This era coincides with the growing reputation of producers Butch Vig and Steve Marker—two self-taught, DIY studio owners whose skills took the raw sound of local bands and created polished, powerful analog recordings.

                                                          Through touring bands, college radio, and The Sub Pop Singles Club, their early work, most notably with Killdozer and Die Kreuzen, caught the attention of credible indie labels like Sub Pop, Touch And Go, and Alternative Tentacles.Following the release of Nirvana’s pivotal Nevermind, both Vig and the studio received an explosion of attention.

                                                          More and more artists sought to record with him and many of them wanted to do it in the crumbling, two-story red brick building on East Washington Avenue. All of the tracks on American Noise Vol. 2 come out of this period. Sonically, it spans the broad spectrum of Smart’s clientele at the time. Pop, acoustic, beat and the heaviest of heavy, chuck full of dirt, growl and thump the way Smart was always able to deliver.

                                                          'Midnight In Tokyo' is a compilation series that aims to be the perfect companion to nights in Tokyo, collecting tracks by Japanese artists that sound best at night. While vol. 2 focused more on ’80s jazz fusion, the latest installment, Vol.3, picks up where Vol.1 left off, bringing together forgotten soul, disco, and new wave gems.

                                                          The compilation opens with Japanese rare groove classic “More Sexy,” a provocative song by “the queen of sexy songs,” Yoko Hatanaka. “Kimi No Yume,” from the album Yume No Yonbai by the wandering poet Masumi Hara, is one of the best balearic acid folk songs to come out of Japan. “Silhouette Call” is an electric bossa nova track—in the vein of Antena—taken from the rare album called Octopussy by Yuki Nakayamate, a singer songwriter who also worked as a backing vocalist for Motoharu Sano.

                                                          “Theme Of High School Student” is a dubby cut featured on the soundtrack to the Japanese ’80s film Kougen Ni Ressha Ga Hashitta, written by Atsuo Fujimoto of Colored Music—one of the key artists in the recent wave of global interest in Japanese music.
                                                          “Get To Paradise” is a stone cold funk jam by Mari Kaneko, who was known as the Janis Joplin of Shimokitazawa in her heyday, and is now known as the mother of the drummer and the bassist of popular rock band Rize.

                                                          Following that is one of Japan’s greatest new wave disco track, “Hannya,” taken from Tomoko Aran’s popular third album Fuyu-kukan—produced by Masatoshi Nishimura who was part of the Friends Of Earth Project with Haruomi Hosono. Masako Miyazaki—whose rendition of Seawind’s “He Loves You” is a fan favorite—puts her own spin on the Earth, Wind & Fire classic, “Fantasy,” singing in her accent-heavy English which gives the song an undeniable character. “Watashi No Koukoku” is a certified disco boogie classic by popular singer Junko Sakurada. The Brazilian-esque jazz fusion, “Sunshine Bright On Me” is by a fusion group called Kangaroo, who were often billed as “the Japanese Shakatak.”
                                                          “Stranger’s Night” is a synth-pop number by pop idol Maiko Okamoto, which bears a suspicious resemblance to Rah Band’s “The Shadow Of Your Love.” Electro-pop disco “Singing Lady”—off the sole album released by the one-off project the Fad—sounds like something Giorgio Moroder could’ve cooked up. “Magic Eyes” is a disco anthem recorded by songwriter Tetsuji Hayashi’s disco project, the Eastern Gang. following that is Japanese soul gem “Crazy Baby,” found on a rare 7 inch entitled Minato No Soul by Rinda Yamamoto—also composed and arranged by Tetsuji Hayashi. and last but not least, closing out this collection of 14 Japanese rare groove goodies is “I’m in love”, a bittersweet mellow dance number by Tomoko Aran.


                                                          STAFF COMMENTS

                                                          Patrick says: Mule make it a Midnight In Tokyo hat-trick with arguably the best of the bunch. Last time out Dubby focused on Japan's organic and esoteric grooves, while blah takes us through erotic boogie, electro-bossa, coastal soul-jazz and wavey synth pop! Early faves are Mari Kaneko's McCartney II meets Saada Bonaire "Get To Paradise" and Junko Sakurada's synth disco bomb "Watashi No Koukoko".

                                                          Various Artists

                                                          Those Shocking Shaking Days - Indonesia Hard, Psychedelic, Progressive Rock And Funk 1970-1978

                                                          Now-Again deliver the first ever compilation to assess the incredible psychedelic rock, funk and progressive scene of 1970s Jakarta!

                                                          Whilst some collectors fiend for the incredibly rare LPs from the likes of Sharkmove and their later incarnation Giant Step, very little is known about Indonesian rock music - until now. Now-Again Records has teamed up with local musicians and experts to provide a fascinating in-depth look at the flourishing of progressive psychedelic music in early 1970s Indonesia, where fiercely independent musicians criticised the military dictatorship, raised awareness of drug abuse and much more - all to the glorious sound of the fuzz guitar and some of the most ambitious arrangements you’ll ever hear.

                                                          FORMAT INFORMATION

                                                          3xLP Info: Limited triple vinyl pressing in six-panel triple gatefold sleeve with 16-page full colour booklet.

                                                          Four talented chefs join forces and serve up the first course of Amouse Bouche. All newcomers to my taste buds, I was excited to get stuck into the various flavours on offer and I wasn't disappointed!

                                                          Lamia Tobira dishes out a thick, gloopy and fast flowing xylophone-led jazz-funk dish, the likes of which you'd surely catch MCDE, Jeremy Underground and Marcel Vogel surely feasting on delightfully in the dance.

                                                          Edith Folky's "Cognac Cookery" sees a perc heavy breakbeat glaze a series of organ & brass stabs, vocal choruses and a proggy, funk-leaning mindset which is almost a spiritual experience.

                                                          Karol Themsel's "Have You Seen Al?" keeps that cinematic, jazz-funk vibe free-flowing through some seriously flanged out wah-wah, darting brass and perfectly conjured keyboard swirls for a car chase cruiser that all the best movie directors would be queuing up to use.

                                                          Duane Pale concludes proceedings with an extended, midtempo disco strut that's deliciously loose and flecked with boogie synths. 


                                                          STAFF COMMENTS

                                                          Sil says: Duane Pale's 'Give Tony A Slice is a funky dub worth the entire ep. However, do not dismiss the other three cuts - all of them with plenty of energy and positive vibes to share!

                                                          Various Artists

                                                          Bad Hangover - Drinking Songs Straight From The Jukejoint - Part 2

                                                            Limited edition of 500.

                                                            Drinking songs straight from the jukejoint - Part 2 - songs about booze, being drunk and bad hangovers. 14 classic songs that make you move your hips.

                                                            Hep cats and kool kittens dig this mighty fine mess of stone cold classic rhythm and blues tunes. We're riding the caboose to Boozeville. Have no fear, drink some beer, drink some wine, it ain't no crime, drink some gin, it ain't no sin. All "great shakes-no fakes" here, guaranteed to knock your socks off! 

                                                            Various Artists

                                                            Too Much Booze - Drinking Songs Straight From The Jukejoint - Part 1

                                                              Drinking songs straight from the jukejoint Part 1 - songs about booze, being drunk and bad hangovers. 14 classic songs that make you move your hips.

                                                              Hep cats and kool kittens dig this mighty fine mess of stone cold classic rhythm and blues tunes. We're riding the caboose to Boozeville. Have no fear, drink some beer, drink some wine, it ain't no crime, drink some gin, it ain't no sin. All "great shakes-no fakes" here, guaranteed to knock your socks off!

                                                              Various Artists

                                                              Rough Trade Shops Counter Culture 18

                                                                It's that time of year again, here is the annual round up of what Rough Trade loved from 2018! Everyone at Rough Trade Shops has helped choose/select/reject tracks - this year seems to be better than ever! From the electronic wizardry of Black Midi and funky bass-heavy strut of Boy Azooga on disc 1, to the superb jazzy vibes of Nubiya Garcia and punk-rock stomp of idles on the second disc, this really spans the whole scope of modern music. 

                                                                Mondo is proud to present the soundtrack to the Coen Brothers' cult-classic The Big Lebowski, in honor of the film's 20th Anniversary. It features songs by Bob Dylan, Elvis Costello, Nina Simone, The Gipsy Kings, Townes Van Zandt and many more.

                                                                FORMAT INFORMATION

                                                                LP Info: 180g black vinyl.

                                                                Various Artists

                                                                Ban-Cha 002

                                                                More Japanese edits from the Ban-Cha camp, who we believe might be utilizing the talents of one Vakula for these illicit nuggets (not confirmed - mere speculation!).

                                                                A1 sees a Reichian template of repeating mellifluous bells and twittering bird sounds, twisted through lysergic fx sweeps and the occasional bowed string. A2 sees reverb heavy tom hits add importance to brash piano strikes - a dramatic opening track to start any ceremony. B1 closes off with a Balearic-friendly beat bolstered with dreamy eastern vocal part, dancing piano notes and the odd guitar chop. Most excellent!

                                                                Super limited copies - cop now or cry later!


                                                                Founded in early 70s by historical Rai TV trumpeter and composer Cicci Santucci (Looking Around, On The Underground Road etc.), New Tape grew up during the golden period of Italian music production and was dedicated to experimentation of new forms of sound, always hailing from the solid jazz basis of the musicians and theme music inspiration. Andrea Galtieri aka Cavalier Piscopo sequenced the very best bits from the whole label's repertoire alongside exclusive liner notes, with an explosive mix of jazz-rock, bossa, spellbinding groove and raw experimental stuff.

                                                                '"Mixed Grill" opens this series, composed by the maestro's alias, Girosan, along with Lesiman (aka Paolo Renosto) who added a more esoteric and captivating atmosphere, closer to English progressive rock. "Rengran Mix" and "Tropical" follow, with music by Paolo Renosto and the old avant-garde connoisseur, Romolo Grano. This work gave way to electronic instrumentation and weird experimentation, and was built on a rich rhythmical carpet - tropical percussions, rock and blues inspired vibes, sleazy psych, and jazz improvisations. Music from “Rengran Mix” was also used as the soundtrack for the TV programme 'Futili Motivi', and also featured the great backing sound of I Marc 4 with the accompaniment of Nora Orlandi's warm vocals.

                                                                The trademark of the label, and the most important production, is the fourth album, "Mirage" by Cicci Santucci and Enzo Scoppa themselves. This record is an explosive mix of elegant jazz, funk, and psychedelia, where every instrument finds its expressive space. We can clearly hear the connection on both the "On the Underground Road" and "Looking Around" albums, recorded that same year, bringing that unmistakable underground jazz dopeness typical of the magical duo of Santucci and Scoppa.

                                                                The last album of the series is "Appunti Di Guerra" by the mysterious Ruscigan – a very obscure alias which probably belongs to Renosto and Guido Baggiani. This work features complex and dramatic sounds properly composed for war scenes and gloomy atmospheres, with a large assortment of percussion, distorted effects, and tape manipulation – an album that foreshadowed what would become industrial music.

                                                                With a ridiculously small pressing of only 100 copies per title, "New Tape" is among the most interesting discoveries to date in terms of original production library music, and as a result, a very respectable journey begins inside the creative underground jazz of 1970s.'
                                                                ----
                                                                Andrea Galtieri.


                                                                Rick and Morty is the critically acclaimed, half-hour animated hit comedy series on Adult Swim that follows a sociopathic genius scientist who drags his timid grandson on insanely dangerous adventures across the universe.

                                                                Rick and Morty stars Justin Roiland (Adventure Time), Sarah Chalke (Scrubs), Chris Parnell (Saturday Night Live) and Spencer Grammer (Greek). The series is created by Dan Harmon (Community) and Roiland who also serve as executive producers.

                                                                This release is the first official collection of music from Rick and Morty. All formats feature 26 songs, 24 of which are from the first 3 seasons of the show, and 18 of which were composed by Ryan Elder specifically for the show. The album also includes songs by Mazzy Star, Chaos Chaos, Blonde Redhead, and Belly, all of which have been featured in the show, as well as two new tunes from Chad VanGaalen and Clipping inspired by the show. The box set includes a special bonus track on a 7”.

                                                                STAFF COMMENTS

                                                                Barry says: Put your right foot forward and your left foot back Then fuckin' slide around like on a NordicTrack, Move to the left, step to the right
                                                                Wiggle your elbows and look up into the light
                                                                It's the...
                                                                It's the...
                                                                It's the Rick Dance

                                                                Wubba lubba dub dub!

                                                                WUBBA LUBBA DUB DUB!

                                                                FORMAT INFORMATION

                                                                2xColoured LP Info: Loser edition.

                                                                2xColoured LP includes MP3 Download Code.

                                                                Ltd Box Set Info: Box set with 2 coloured-vinyl LPs, 7", poster, patch, sticker, and etched plexiglass LED-lit window.

                                                                FREE SHIPPING This item has FREE UK shipping!


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