Nu Disco | Disco Edits | Cosmic 80 Items

The Funky French League is a collective of intergenerational DJ’s / producers / musicians, composed of Young Pulse, Arthur Chaps, Woody Braun, Monsieur Willy, DJ Asko and Uncle T. Coming from diverse backgrounds, from hip hop to electronic music, the love of groove brought them together. Their goal is to promote funk and its derivatives through parties, mixes, remixes, radio broadcasts... Much more than a musical style above all, they defend a state of mind: celebration, diversity, inclusivity, good vibrations and the spirit of the party. They have release compilations through Universal and Warner Music and have their own label Funky French League records.

GǼG, the production unit of Tokyo's leading club sound Monkey Timers and Okayama-based maverick producer Keita Sano, is proud to present this heavyweight, alternative, and leftfield release on the "Sound of Vast."

Over a powerful and mysterious bassline, the hypnotic A1 'Jack' builds up with sharp synth stabs, dark pads, and Acid voices taken from Ron Hardy's open reel soundtrack series Jackmaster Hater. AA1 is followed by the obscure percussion track 'Yamato.' It is a reinterpretation of the drumming of legendary drummer Curt Cress from the German jazz-rock scene of the 80s in the context of dance music. AA2, 'Central' takes the funky bassline of The S.O.S. Band's 1982 album 'High Hopes' and infuses it with roaring feedback, cutting guitars, and spacy synth sounds, giving it a fresh, modern twist and elevating it to the realm of cosmic disco.

Monkey Timers' love for the classics of disco, krautrock, and Chicago house, the intensity and immersion of current club music created by their real-life experience in the field, and Keita Sano's unique free-form outlandish sound techniques coexist on this 12" EP.

"Killer edits!" - Gilles Peterson

Give It Up Or Turnit a Loose (Edit) by James Brown b/w Web (Edit) by Hampton Hughes / Give It Up or Turnit a Loose (Bonus Breaks) by James Brown| Galaxy Sound Company — Gsc45-044, test pressing | The long-running @galaxy_sound_company imprint has been responsible for some superb re-edits over the years, most of which are pleasingly purist in tone — meaning they are pro rearrangements with no added effects but & needless new beats or cheap trickery like so many out there— making any of their releases cop-on-site. & as you can hear from the test pressing, the 44th in the stellar series delivers yet again.

Side A is a masterclass in breakbeat editing of a b-boy classic sample source. Yes, there are many killer JB edits out in the universe, but when you see that the legendary Black Cash & Theo AKA Thelonious Beats take a turn, you know you gotta cop this mutha on site. Here the edit master bravely returns to one of the main sources of the dawn of hip-hop — JB’s comp “In The Jungle Groove” which was released in 1986 to capitalize on it’s popularity in the genre at the time. The comp is named for a breakdown section that appears in “Give It Up Or Turnit a Loose” which is the workout we have here. JB quiets the band down to handclaps, footstomps & congas played by Johnny Griggs. After he raps a little, JB cues legendary drummer Clyde Stubblefield back in, followed by bassist Bootsy Collins & the rest of the band. JB wasn’t intentionally trying to create a perfect batch of hip-hop samples in the late 60s & early 70s, but he couldn’t have succeeded any better if he had been. This edit may enter well-worn territory but he uniquely delivers an edit that showcases why it inspired so many & still delivers the goods to help you get your party started off right & quickly.

Next up on the flipside we are treated to an edit of “Web” by Hampton Hughes, from his 1974 David Axelrod produced & arranged album “Northern Windows”. Heads will recall it as the core sample for “Off the Record” by Hieroglyphics, from the 1998 LP “3rd Eye Vision”. This jazz-funk burner features a stellar line-up: Piano/keyboards = Hawes Trumpet = Allen DeRienzo, Snooky Young Trombone = George Bohanon Sax/flute = Jackie Kelso, Jay Migliori, William Green Electric Bass = Carol Kaye Drums = Spider Webb

One of London’s most loved underground parties, Tangent, celebrates its 10th birthday this year with a new compilation on Mr Bongo. Its residents, John Gómez and Nick the Record, have curated a selection of prized, rare and dancefloor-ready tracks that have soundtracked the past decade of their parties. Alongside remastered reissues of these original cuts, the CD version of the compilation also houses three incredible edits from Nick, John and Dan Tyler of the Idjut Boys. These were too good not to press onto vinyl, so we’ve given them the standalone 12" they deserve.

Contextualising their edits Nick states, “Tangent was not only the place for us to play the music we love the most, it also became the testing ground for our edits. It was really helpful being able to see the effect each of these had on a dancefloor before the records were released and many of them also became firm Tangent classics.”

Up first, Nick is joined by Dan Tyler (Idjut Boys), who he runs the edit label Record Mission with, for a furiously feel-good re-edit of Leo Basel’s ‘Quelle Drôle De Vie’. Basing their edit on the 1987 ‘Special Remix’, it does what any great re-work does, dropping the sections from the original that don’t quite hit the mark, whilst focussing on the gold in amongst it all. The result is a slice of peak-time, French boogie joy, that will warm even the coldest hearts.

John then joins Dan at the dials for a cosmic revamp of Love Isaacs 'Surprise Surprise'. A serving of ‘80s electro-funk, dripping in swagger with a highlife tinge. John and Dan extended the grooves for maximum dancefloor power, space echoing it into the stratosphere at all the juiciest points.

Lastly, Nick takes on Rick Asikpo and Afro Fusion 'Let's Get High' from the super sought-after 1980 album, Got To Be Me. Celestial, gospel-infused soul from Nigeria, Nick homes in on the energetic last 2 minutes of the original as the building block of his 12-minute edit. A completely reworked, feverishly paced creation, Nick switches the sections around, saving the slow, soulful segment for a brilliant cosmic breakdown before the track erupts back into its full flow. Synthesised, jazz-funk elation from start to finish!

The brand new Anorax Records label’s mantra is #eatsleepcollect - which makes its’ debut release right on point.

Drizabone’s anthemic “Pressure” has become a huge collectors want with appeal to Modern Soul fans, Northern Soul followers and House addicts via the much loved Roger Sanchez remix.

Drizabone burst on to a dazzling British Soul scene in the early 1990’s, following the footsteps of Soul II Soul and Loose Ends, rubbing shoulders with the likes of The Brand New Heavies as UK acts laid down their own distinctive Soul DNA.

After debuting with “Real Love” which went from a mystery white label to a chart smash, Drizabone went on to record the iconic “Conspiracy” album.

“Pressure” has endured like fine wine and is now hailed as an all time classic.

Anorax present the original and very in-demand original backed with Roger Sanchez’s Nu- Solution remix on limited edition 7 inch single.

The debut album from Bahraini-born, British-based musical duo Dar Disku is a celebration of their Arabic heritage and multicultural influences that melds golden age West Asian and North African sounds with a contemporary dance floor focus. Recorded between the UK, Algeria, Turkey and Tunisia, the album seamlessly crosses from disco to Raï, piano house to Turkish psychedelia, ambient to bollywood and features guest artists from Algeria, Turkey and Bahrain as well as legendary Indian singer Asha Puthli.

The magic and majesty of Holger Czukay’s late career works for Claremont 56 is being celebrated on a new compilation. The former Can bassist – a musical maverick renowned for his freewheeling approach to composition, recording and promotion – released a string of inspired tracks on Paul Murphy’s label between 2009 and 2012, typically delivering hard-to-pigeonhole workouts, bona-fide epics and radical reinventions of some of his most beloved tracks.

The collection has been a labour of love – fitting given the sonic details and inventive musicality that marked out the late artist’s solo career – for Claremont 56 founder Paul Murphy AKA Mudd, who first reached out to Czukay after witnessing his now legendary live performance at the Roundhouse in 2009. As Murphy details in his introductory liner notes, it led to a productive working relationship between the pair that included collaborative recording sessions with Ben Smith in Czukay’s legendary Innerspace Studio – a former cinema in Cologne in which much of Can’s music was recorded.The impact of that Roundhouse gig on Murphy is reflected in the fact that two of the tracks on the collection are based on that celebrated performance. There’s ‘Ode To Perfume’, a languid and solo-laden version of one of Czukay’s most celebrated solo records that ratchets up the original’s inherent dreaminess, and a jaunty take on quirky kraut-pop number ‘Photosong’ featuring a spoken introduction recorded at the concert in question.

Murphy’s ability to coax Czukay into delving into his archives is evident across the compilation. Opener ‘A Perfect World (Remix)’ is an eccentric, ever-building masterpiece originally recorded in 1984 – but later re-imagined for Claremont 56 – featuring vocalist Sheldon Ancel and former Can band-mates Jaki Leibezeit and Michael Karoli, while ‘Fragrance’ is a subtly re-wired slab of picturesque Balearic kraut-dub which was initially recorded as a coda for ‘Ode To Perfume’ but lay unreleased for decades.

Then there’s ‘Let’s Get Cool’, a bright and breezy, French horn-sporting 2009 take on 1979 avant-disco classic ‘Cool In The Pool’; ‘My Persian Love (Remix)’, a 2010 re-take of one of his earliest solos recordings; and the near 18-minute brilliance of ‘Music Is A Miracle’. Originally recorded for his fans in the 1980s – but only released three decades later – this widescreen epic not only features drums by Jaki Leibezeit and a fine spoken word vocal by Czukay, but also numerous nods to some of his most revered tracks.

It's fitting, too, that two of the most potent cuts feature Czukay’s much-missed wife and musical muse Ursa Major: the dense, trippy and fittingly out-there ambient soundscape ‘In Space’, and the mesmerising ‘Music To be Murdered By’. Partially inspired by hearing painfully out of tune violin practice through his studio windows, the track was originally recorded for an unreleased album but finally found a home on Claremont 56’s 10th anniversary box set ion 2017. A genuinely spaced-out and mind-mangling slab of organic dub in Czukay’s distinctive style, it delivers a fine curtain call to the iconic artist’s endlessly inventive career.

Contra009. Embark on an auditory voyage through the heart of Detroit's finest dusty crates with "The Vault Vol. 1," a compilation of beats and melodies meticulously crafted by esteemed producer Reggie Dokes.

Dokes unveils a treasure trove of his finest deep house creations, never before released on vinyl. Delve into the hypnotic rhythms, lush harmonies, and pulsating basslines that define Dokes' signature sound, as he seamlessly blends elements of house and soul to create an immersive sonic experience. With "The Vault Vol. 1," Reggie Dokes invites listeners to rediscover the essence of soulful electronic music.

This anthology also features two mesmerizing tracks from his acclaimed 'Napi Hedz' collaboration with Pirahnahead, adding an extra layer of depth and complexity to an already stellar collection.

UV & Nenor have been on a hot streak of late with great outings on the likes of the Fossils label and now they keep it up with a red hot new drop on the brand new Ma Ze label. This tidy 7" packs a punch with two jams that will work the floor. The first is a slow motion but irresistible dub-disco fusion with squelchy bass and nice colourful, warm, gooey chords with vocals from Ranking Levy. On the flip is 'Tookey', a futuristic electro vocoder jam that comes to life with vivid synths circling round the mix and an unusual sense of swing. From laid back session at home to steamy club use, both of these are useful jams.

Coming very soon, so preorder now. It's fitting that this Stones Throw alum would tap Star Creature for his next release. Coming off several incredible albums ranging from hip hop to jazz-funk and all sorts of in between fusions for arguably one of the most influential "underground" labels of last couple decades, Stimulator Jones gives us a taste of what's hopefully to be a series of 12”s. Part Fingers INC, part TEN City, and part Armando. A bit of acid, deep, atmospheric and soulful that fits somewhere between raw DJ tools and well produced EP material, sure to sound slamming on the dancefloor.

Mr. K is back with a tribute to one of the great tape editors that updates a timeless DJ crate staple, plus a proto-hip hop instrumental that works as a standalone groove or a useful disco tool, specially reworked for maximum sonic potential on the compact vinyl format.

First up is an extended edit of the Frankie Beverly and Maze sureshot “Before I Let Go.” Originally released on the best-selling 1981 Live In New Orleans LP, the track was not actually a concert recording but a new studio track made to fill out the final “D-side” of the double album live release. A smash hit on Black radio right out of the box, “Before I Let Go” was chosen as a single and went on to become a must-play standard for parties of all varieties, from club nights to family barbecues. 1991 saw the noteable edit on Moo Records that quickly became a DJ favorite with its skillfully extended intro and outro. Some 30 years later it can be revealed that this was the work of beloved NYC DJ and editor Gail “Sky” King, a formidable technician with the razor and tape, who considered this one of her best works. “Gail’s edit was unfortunately pressed at the lowest quality,” Krivit explains, “and as good and useful as the edit was, I often chose not to play it because of its harsh quality.” Working from a new, high resolution source, Mr. K carefully recreated some of King’s iconic highlights, while optimizing it for the 7-inch format.

Our flip side is a bit more unusual, but also a fun and funky one. legendary hip-hop pioneer DJ Hollywood, “Hollywood’s Message” was a self-released single from the man who was one of the first to grab the microphone at a jam and rhyme over records. In this case however, as a backing track for his rhymes Hollywood took a shortcut and used the renowned “Love Is The Message” edit created by Mr. K that repeatedly runs the groovy clavinet break from MFSB’s tune. Mr. K tightens up the instrumental chant version for it's first time on a 7" release, also adding a touch of Millie Jackson "Now That I Got Your Attention Again" at the top of the song as an intro, which in itself could be used to introduce almost anything, all custom fitted for 7-inch vinyl.

" North Italian low ways from sport casino gold members. Including digital bonus!" comes with a download code giving access to an extra track..

Round two of Leo Zero's edit archive series sees four more favourites given the LZ treatment. On the A you'll find a killer housed-up version of an New Wave classic, alongside a tight n' tidy beefed up slo-mo disco remaster and chop of a west coast rock beauty. On the flip, a chunky remake of Brit soul bomb as well as a curveball dubby, wonked out version of an alt rock rhythm that's flipped this one into a deep 5am groover.

Following a string of releases that have cemented Glitterbox as the hub for independent house and disco worldwide, four sought-after mixes that have soundtracked the label's parties get a special outing on vinyl for the very first time. Who better to open Glitterbox Jams Volume 6 but head honcho Melvo Baptiste, featuring esteemed selector Jamie 3:26 & Annette Bowen with ‘Gonna Be Alright’, an instant classic that showcases the label’s very best. Next up, German hit maker Mousse T. and Davie ‘Take It Back’ to Summer of 2023 with their soulful house release, before East London house master and Snatch! Records owner Riva Starr’s ‘How It Feels’ lands on wax for the first time. Closing out this collection of Glitterbox favourites is a collaboration between legends, Shakedown & Bootsy Collins and the Shakedown Work That Mother Mix of ‘Funky And You Know It’. This four-track package from the Glitterbox camp is one you do not want to miss.

The most iconic italian italo-disco-syntpop, nu disco duo: “Italoconnecon” (aka Fred Ventura and Paolo Gozze!) are back on track with a brand new vinyl only release which collects 6 among their best producons of the near present, recently released digital only on Bandcamp. Their very many worldwide fans have been awaing a lot for this and finnally they have now their favourite tracks pressed on a vinyl support for the first me! This is an unmissable release unique for the freshness and contemporary quality of the sound, in fact, their remixes have been out on the most relevant publicaons so far such as Savage, Styloo, Scotch and many more… This is a super limited edion printed in only 100 copies on transparent blue vinyl and 100 copies on red vinyl, each edion come with a 30x30 cm insert poster , the blue one is signed by the duo and both variants are hand numbered

C-thru - The Otherworld is a collection of introspective cosmic-leaning dance music that gives a healthy nod to the golden era of trance, ambient, and down- tempo from Austin, Texas based producer Jesse Edwards. Inactive for several years, these 10 tracks mark a new chapter for Jesse Edwards. Previous works include his well received psychedelic project, Red Morning Chorus, that included Boards of Canada amongst its fans. Edwards began his musical journey in the late 90s playing shoegaze and experimental music with Jessica Bailiff (Kranky). The pair collaborated on several albums together including works with Flying Saucer Attack, His Name is Alive, & Odd Nosdam (Anticon).

Since he made his debut three years ago with sun-soaked first album Warm Nights, Reuben Vaun Smith has grown and evolved as an artist. His aims, objectives and musical output have changed, too – something that’s evident from the opening bars of his third full-length, Da Cuckoo Ya Ya, which also marks his first appearance on Californian institution Ubiquity Records. Whereas the summery and colourful Warm Nights was the result of time spent teaching himself music and production, not to mention over a year of daily recording, Da Cuckoo Ya Ya was recorded in less than two months. It not only showcases Smith’s sharpened musicianship and his growing love of Eastern exoticism and wide-eyed psychedelia, but also features guest spots from friends (and fellow Leeds locals) Sakura Murakami (a guitarist who also featured on 2021’s Sounds From The Workshop album), bassist Nial Deravairere (on deliciously dubbed-out and hazy closing cut ‘Beams’) and vocalist Lucy Saddler. While it shares some sonic similarities with its predecessors – not least a greater reliance on live instrumentation and plenty of audible nods towards Malian musical culture – Smith’s new set is his most confident and dynamic yet, with the Leeds-based producer consciously moving closer to the dancefloor whilst polishing his productions further and showcasing all he’s learned to date.

Samosa Records reaches its 30th release in style, and who better to mark the occasion than label boss De Gama with the superb ‘Tropical Gangster’ - a three tracker slice of vinyl heaven that’ll blow you face first into your summer paddling pool.

Opening this super-tropical affair on the A-side is afro beat stomper Karibu Funk’ - and it wastes no time at all in introducing us to its tribal rhythmic awesomeness. The beats, the vocals, the outrageously funky bass and horns are a musical representation of an African sunset. A serious groove.

A2. brings us ‘Lucky Fellow’; a twisting, turning bouncy bass-bomb of a tune with a flute riff that would charm the clothes off you. De Gama is very much in Pied Piper mode here - you’re powerless to resist the sexy overtures of the drums, the haunting synth lead and solid bass line. Sizzling hot.

On the B-side De Gama offers a cool ‘Piña Colada’ after all the heat of the A-side. This Piña Colada, however, offers an oasis of many delights and flavours. What starts as a furious latino drum call breaks to a tropical bassline and hypnotic keys. The vocals are the cherry on the cake of an amazing arrangement of layered sound. Goosebumps.

'Tropical Gangster' is an exceptionally special Samosa release befitting the occasion of reaching the 30 milestone, and another example of the consistently brilliant output from Samosa Records. Expect this one to sell out fast.

Ste Hendry [Black Light Disco]

Long time Leng recording artists 40 Thieves are back with one of their most notable singles to date – a surprise collaboration with two NYC disco originals, storied vocalist Cinnamon Jones and multiinstrumentalist/producer Gary Davis. San Francisco outfit 40 Thieves has been serving up cosmic, dubbed-out and otherworldly contemporary disco treats since the mid 2000s, and have been part of the Leng family since 2011. The crew, headed up by Layne Fox, Jay Williams and Corey Black, have released countless killer cuts on the label, as well as an expansive debut album, 2014’s The Sky Is Yours. They’ve worked with other artists before, but nobody at the same legendary level as Cinnamon Jones and Gary Davis. The latter cut his teeth as a musician working with iconic disco producers Patrick Adams and Peter Brown at their P&P Records stable, before becoming a producer and artist in his own right writing and arranging the disco classic ‘Got To Get Your Love’ performed by Clyde Alexander & Sanction. Jones, meanwhile, has enjoyed a hugely successful career both in her native New York (as Joyce Jones, an original member of First Choice) and on the West Coast, where she not only became an in-demand performer, but also snagged a role in the Supremes biopic Dream Girls. ‘The Gift’ is one of Jones’ most cherished solo songs – a joyful celebration of a new day dawning that has long been popular in her live sets. With input and instrumentation from Davis and a fantastic delivery of her own lyrics by Jones, 40 Thieves has successfully re-framed the track as a sunrise-ready future Bay Area free party favourite; a dubbed-out, suitably cosmic creation that’s presented in three potent versions. Leading the charge, and stretched across side A of the vinyl version is the band’s ’Disco Mix’ which boasts a fully realised instrumental arrangement and extensive use of passages from Jones’ vocals. Not all the lyrics are present as the Bay Area band has chosen to focus on selected lines that most neatly fit their musical vision and celebrate the joys of dancing at sunrise. There are more spaced-out keyboard solos, sharper guitars (smothered in effects in true 40 Thieves fashion) and sound design that’s as immersive as it is heady and intoxicated. On the flip is the ‘Disco Dub’. A bona-fide dub disco chugger rich in relentless synth-bass, addictive guitar licks, echo-laden vocal snippets, sparkling nu-disco electronics, tactile, deep house style electric piano stabs and cosmic effects aplenty, it’s a track tailor-made for slowly shuffling while the sun peeps over the horizon. To complete an inspired package, 40 Thieves have also included a killer DJ tool: a ‘Beats’ take that wraps energy packed percussion hits, trippy electronic noises, trailing dub delays and sparse melodies around a metronomic drum machine beat. It’s a wavy, groovy and pleasingly mind-altering way to conclude one of 40 Thieves’ most magical EPs to date

Cult sensation Gloria Ann Taylor, who in the early 1970s laid the groundwork for much of disco, R&B, and modern soul as we know it, sees her posthumous release 'Be Worthy' reimagined by renowned producers Flying Mojito Bros into a euphoric, gospel-piano-house-esque West Coast disco cruiser.

"What an honor it is to have been invited to remix the work of such an important and innovative heritage artist" say the duo. "We wish we'd have had the opportunity to chat with and learn from Gloria herself. This remix is our small contribution and dedication to a towering musical legacy of talent, guts and pioneering genre-crossing. Viva Gloria!"

The record looks as good as it sounds too, with Flying Mojito Bros art-directing a colorful and cosmic reimagining of the original cover via illustration wizard Nick Potts, reflecting the bros’ transplantation of Gloria's soul diva spirit into their own southwestern desertscape dreamworld.

Speaking of which, the pair are still shaking Californian dirt from their boots after a hugely successful recent tour of the golden state – highlights of which include pumping out 100% FMB Refritos to 5000 revellers at Diplo's electronic Honky Tonk at Stagecoach Festival (the country music Coachella), DJing back-to-back with Diplo himself at his album launch and frenzying up the floor for man of the moment DJ Seinfeld – while playing shows to fans new and old across LA, Palm Springs, Joshua Tree, Santa Barbara and San Francisco.

A string of popular releases already in 2023 adds further momentum to Flying Mojito Bros' continued rise. Collaborating with honey-bear soul supremo James Alexander Bright, 'Mirage In The Mojave' is an album of reworks on !K7 Records that elevates tracks from the multi-hyphenate artist's back catalog into vibrant disco-chug territory, FMB-style. A sold-out chunky 10" swiftly followed on much-adored imprint Too Slow To Disco, featuring well-received re-edits of Jorge Santana (brother to Carlos) and the Grateful Dead.

Look out for more from Flying Mojito Bros on Ubiquity Records in the near future.

Footin’ It by George Benson b/w The Harlem Buck Strut by Les McCann | Galaxy Sound Co. — Gsc45-037 | Master grade edit kings & beat makers Black Cash & Theo AKA Thelonious Beats have a vast catalogue of essential sounds & much of it comes on their Galaxy Sound Co home label. We are now up to number 37, &, like its predecessors, is crate-essential heaters. Their latest donut is a remastered & limited 7" pressing of two glorious jazz-funk nuggets that any DJ worth their weight in vinyl will want in their crates.

Side A’s “Footin’ It” by #GeorgeBenson is a serious treat for me. It is taken from Benson’s 5th studio LP from 1968, “The Shape Of Things To Come”. It was his first album for A&M Records & his first album to be produced by Creed Taylor, who would remain his producer until 1976. The track features #jazz legends Stan Webb on flute & Herbie Hancock on piano. While I knew the track from my dad’s record collection, I lovingly am taken back to DJ Neil Armstrong who’s highly-coveted mixtape/CDR “2Original” mashed it & extended the break with Diamond D & The Psychotic Neurotics’ “Freestyle (Yo, That’s That Shit)” who sampled the track in 1992. Still grooves me to this day.

Side B’s “The Harlem Buck Strut” is taken from pianist Les McCann’s 1973 #jazzfunk LP “Layers”. The LP was a groundbreaking jazz-synth record that was unlike any other McCann had made. Aside from a 3-man percussion section & electric bassist Jimmy Rowser, the LP & track are entirely electronic, one of the first jazz albums with such an emphasis. The track is truly forward-looking & ahead of its time, & clearly why it resonated with so many artists as a source to sample. Heads will recall it being lifted for Pete Rock & C.L. (“The Main Ingredient” 1994) & Funkdoobiest (“Rock On” 1994). But the best, for me, was Massive Attack’s “Teardrop” & “Bullet Boy”.

Terr’s debut LP 'Consciousness As A State Of Matter’ arrives on green and orange split double-vinyl, limited to a pressing of just 400 copies, housed in a sleeve of hallucinatory artwork from designer Sebastian Ofuszak.

Across eleven tracks, Terr continues a long, fulfilling journey in electronic music with a visceral, vulnerable full-length statement inspired by tireless and timeless innovators in the history of electronic music such as Giorgio Moroder, Wendy Carlos and Phil Oakey. Achieving a delicate, wide-eyed chemistry between the catharsis of the dancefloor and the ever-renewing promise of pop, 'Consciousness As A State Of Matter’ includes and expands upon the vision of singles ‘Only For Tonight’, ‘Tale of Devotion’ and ‘Layers’.

The the disco facelift, the arse tuck, some analog liposuction ...Digby Yakiddin and Cyrus Posatron return to the discoteque coalface to grind out .a value pack of random noid selections for all the family to enjoy. Get your chaps on girls and boys, jump on the Noid Bucking Bronco and lets ride !

Stay tuned for more of not the same.

Portion out of control.

In a shocking act of extreme togetherness, and ruthless efficiency, a third Droid platter in one earth year.

The crack management team at Tape Man Enterprises have assured us this is not a temporary blip, more bacon donors will be flying through the cosmos...as sure as night follows day, thus proving that for some ineptitude can work as a lifestyle choice and pigs do fly.

Hopefully this humble offering can pierce the shitstorm of life and help replenish your joy batteries..

Join us next time for more of not the same. Dem Idjuts

In the deepest corridors of your consciousness you will ear mythical echoes of the era long gone....bla bla bla. Like it, Buy it and Bump it loud. Thats all.

Joining the dots between Brazilian musical culture and the sonic melting pot that is New York City, Saidera are a trio on the rise. They’ve already released a pair of critically acclaimed, carnival-ready singles on Brooklyn’s Let’s Play House label and are now ready to make their debut on Leng Records.

The band’s roots can be traced back to a trip that Lemonade band member Alex Pasternak made to Brazil in 2014. While DJing at a house party in the bohemian Rio de Janeiro neighbourhood of Sta Teresa, Pasternak was left gobsmacked when a mysterious local singer/sambista Vadinho Freire, grabbed the mic and started freestyling lyrics and melodies over his set. Realising their instinctive musical connection, Pasternak and Freire decided to work together on some music, with New Yorker Le Chev joining them to complete the Saidera trio.

Now based in Rio and California, the group’s sun-soaked sound – which they describe as “samba disco-Afro melody” – is a cross-cultural stew in which infectious Brazilian percussion, colourful synth sounds, glistening guitars and celebratory vocals combine to create magical, life-affirming musical moments.

‘Luzes Da Cidade’, their first outing on Leng, encapsulates all that’s good about the Saidera sound and the trio’s approach to music. The song is about identity and connection and in its original form is languid, loved-up and joyous, with acoustic and electric guitars, Portuguese vocals and Korey Riker’s gently breezy flute solos rising above a squelchy synth bassline and energetic, sweat-soaked samba drums.

The song’s main mix comes accompanied by a wonderful instrumental pass featuring more extensive solos by Riker, and Saidera’s own remix of ‘Luzes Da Cidade’ – an extra-percussive, breakbeat-tinged fusion of hazy deep house, energetic samba and sunset-ready synth-disco that will delight DJs and dancers alike.

To round off the EP, Saidera has delivered a brand new “Uprockin Dub” of debut single ‘Deixa Tudo Fluir’, this time with female vocals from Irina Bertolucci taking the lead. Brilliantly kaleidoscopic sonically, with dub delay-laden vocals, guitars and flutes, it’s a superb, life-affirming Balearic reggae interpretation of a now familiar favourite. If you’re not singing along with the chorus after your first listen, we’d be very surprised.

Seven years since releasing two back to back dance floor hits, Jack J returns to the airwaves with this amazing LP on Mood Hut Records. Worth the wait!

This 180g vinyl comes in a gatefold cover.

Mark Barrott and Pete Gooding present the fourth volume in their series of stellar collections, showcasing the sunset sounds spun at Ibiza`s Hostal La Torre. Sets, sequences, of music designed to celebrate the passing of another day and welcome the pleasures of night, as the Sun makes way for Sister Moon.

Rome’s own disco wizard L.U.C.A. aka Francesco De Bellis is back for his second LP Terra, hot on the heels of his Venus 12” EP earlier this year. In this far-reaching album, the Edizioni Mondo founder explores the deteriorating relationship between Man and Nature, and the dire consequences. The album is split into two themes - part one is Consacrazione (Consecration) and side two is Coscienza (Conscience) - as L.U.C.A. charts a trip through mankind’s psychic universe, and imagines worlds beyond our physical dimension.

The opening composition Cities is an uptempo number that slowly comes into focus, as dreamy drum machines emerge from the urban bustle, before settling into a soulful groove as keyboard, upright bass and guitar figures dance across bright percussion. As it builds up a head of steam, the piece gives way to an ambient, tribal breakdown, which is also echoed in the following song, Drum Talk. This second tune sets up in a fourth world dreamscape of drums, synths, and abstracted echo effects, and is peppered with word fragments from the bush of ghosts. By the time we’ve reached the third track, Congiunzione sounds like travelling at singularity speed, beaming in from a future where human consciousness and gaia can finally dance on a cosmic plain.

Part two of Terra details how revelation of the spirit can guide the mind, as Time Spirals rises out of a drum motif with a nod to classic ragas, as a disembodied voice asks questions on the nature of corporeality. The sound design is just as front and centre as the sitar and fretless bass, and the song gives way to a richly-layered soup that sounds like the vast space between atoms. It’s this shift from composition to ambience that is the dynamic core of Terra, giving L.U.C.A. plenty of space to showcase his next-level audio and arranging skills. Midway through part two, Giallo Assoluto begins with reverb tails and choral voices before expanding in brightness and texture until the audio field is practically levitating your hi-fi speakers, vibrating them with drones, twinkling keys and shards of digital noise. The closing composition Ritorno al Domani is a perfect balance of optimism and mystery. Tension and release collapse in on themselves as waves of ambient pads crescendo and then break over stretched-out sonic turbulence, before reversed synths bring the listener to a closing door, and the end of the journey.

It’s a mind-expanding musical exploration of other worlds and parallel universes which are surely all around us, and in many ways serve to remind us of the marvel that is our own planet.

Within Reason Records welcomes Hugh Mane to the fold with a four track EP that is his most polished work to date. Veering away from his usual club ready sound, Hugh takes a much more relaxed approach on 'Resonant Moods', choosing to focus on meticulous production techniques and textural layering to create an EP that transcends both time and space. Often the case with Hugh's music, you can be 6 minutes into a track and not know that any time has passed at all. 'Resonant Moods' is a wonderfully crafted EP that encapsulates emotive tonality and playful rhythms, whilst oozing spacious sub frequencies.

Giovanni continues his transgenre dance music exploration. He's given us modern classics across proto house, Italo, afro boogie and synth-funk. Here he lands somewhere in Chicago Wbmx zone or at least where the classic early house radio station would be at now. Channeling deep on the Italo slapper vibes, dark like when you get too deep in the ocean or like too far above the Planet's surface, heavy spaced out new wavey, tropical moon flares. Hard. Pic sleeve.

Black Cash & Theo edits!

Galaxy Sound CO crew back at it!!

Grammy Award winner Louie Vega has the unique ability to spotlight and highlight the most essential elements of classic dance tracks and remix and recreate them to create something just as powerful for today’s audiences. Currently in the midst of putting the finishing touches on his forthcoming album, Expansions In The NYC, Louie took some extra time to gather together the original members of the seminal New York – based disco funk band Unlimited Touch and collaborate with them at Log Cabin Studio in Manhattan and his own Daddy’s Workshop Studio in New Jersey to produce the 2020 edition of “I Hear Music In The Streets.”

Unlimited Touch consists of Audrey Wheeler (lead singer), Phil Hamilton, Tony Cintron, Sandy Anderson (rip), Stephanie James and Lenny Underwood. “I Hear Music In The Streets” was originally released on legendary imprint Prelude Records in 1981.

Growing up in the Bronx, from an early age Louie had an affinity and love for all the various musical genres that were bubbling up in New York during that era defining creative period. It is that passion that has stayed with him during a career that has brought him Grammy’s, several worldwide hit records, and a status as one of the world’s most sought after DJs. It was especially fulfilling for Louie to work with the original members of Unlimited Touch, He quickly realized that their talents were still as strong as ever as they performed musical and vocal elements from the original song, and that they had the vision to see how the song could be re-energized by having Louie add his unique production elements to this seminal tune.

Louie is in the midst of an especially prolific and productive period. In 2016 he released the Grammy nominated Louie Vega Starring….XXVIII full length album; 2018 saw the release of the widely acclaimed and chart topping NYC Disco 2 X CD and 4 X vinyl album on Nervous Records. Known universally as “The Maestro” due to the standards of excellence he maintains in his productions, DJ Performances and live appearances with his Elements of Life Band, Louie Vega is now ready to unleash another gem to add to one of the music industry’s most remarkable body of work.

Beatbude presents: Employee’s Hold Music Volume 2. More music on hold, tried and approved! Ten decent songs written, programmed and produced by Max Graef.

Following a best-selling EP for G.A.M.M, Matalo ! returns with another effervescent, uptempo selection for Takeaway. Effortlessly playable floor--food!

A download code is included. French electronic trio Jabberwocky are back with bangers. After 2 albums released on Polydor/Universal Music, 4 years of touring, and millions of views on streaming platforms and Youtube, the group of long time friends independently released a series of EPs with italodisco and 80’s clubs high energy influences. The producers are now imposing their italo-disco shift by announcing a new album to come in June 2021. “Feeling Dancing Tempo” is saturated with powerful beats and analog sounds inspired by space music and guaranteed to make you dance. Vital Sales Points: Named after a Lewis Carroll poem and consisting of three friends in Camille Camara (piano conservatoire), Emmanuel Bretou (self-taught guitar and bass), and Simon Pasquer (sampling and Mao), there’s a wonderfully organic sense of chemistry between each member. Best known for their hit single “Photomaton", Jabberwocky are now looking to evolve past their previous sounds into wholly new territory. Equally inspired by sci-fi films, Italodisco, and Salvador Dali, there’s multidimensional layers to Jabberwocky’s music that reveals new details with every listen. They’ve also been influenced by the energy accrued from years of touring alongside a recent move to Paris that’s engulfed them in the city’s long-standing culture.

Music From Memory are excited to introduce another new group for 2021, this time presenting the self-titled debut album from Loveshadow. Currently based in San Francisco, the duo of Anya and Izaak initially met whilst working in an Oakland cafe in 2016. The two Californians quickly bonded over a track by the ’80s disco band Aurra which was playing over the radio and almost immediately their separate journeys in music became interwoven. They soon began to write music and creating their own work would become a way for the pair to get closer to the sound they were searching for, as well as enabling them to discover the healing power of making and listening to music. ‘Loveshadow’ was recorded predominantly in the Bay Area between 2017-2020 as well as whilst traveling to NYC, Chicago and around Portland. Having released previously as the outfit ‘S Transporter’ alongside Detroit friend Ryan Spencer, Loveshadow is formed of Anya as singer and song writer alongside Izaak on synthesizers, bass and percussion. This eight track album is the duo’s first release; exploring emotive Pop and DIY Funk leanings it stands as a joyful homage to the music they bond over, as well as an ode to their own love and friendship.

Samosa Records releases are coming thick and fast in what could be their finest year yet. Lex & Locke are the latest talent to make their Samosa debut with their ‘Pacifica’ EP – a sublime three tracker which is mouth watering from the off. First up is Balandra. From the moment you hear the raw four to the floor drumbeat, you’re under its spell. The infectious bass riff moves the scenery around a little, whilst the subtle bongo attack teases what’s to come. And what’s coming is a funky, rolling cosmic lead synth that has no right to sound that damn sexy, no right at all. The vibe quickly grows into an interstellar journey, aided by an outrageously funky clav jam that gets inside your head. Balandra feels like the soundtrack to an ‘after dark’ undercover stakeout in a 1970s cop thriller. Detectives Lex & Locke are on the case and the evidence is compelling. A unique, 122bpm funk bomb which has the Samosa fingerprints all over it. A2 is Cabo Pulmo – continuing the vibe of Balandra, Lex & Locke lay down some serious grooves in what initially sounds like a live funk band jamming away in the studio without a care in the world. No soon as we get into the beat and the bass, there’s an immediate switch to a swirling, bold cocktail of funk infused with a touch of jazz that belies the 124bpm tempo. The production is expertly tight; layers of synth, electric organ and punchy guitar riffs make this ideal for both the sun terrace and the dance floor. You’re under arrest, and Lex & Locke are reading you your rights! The final track, Nine Palms has a real quirky, almost broken beat feel to it with its high-hat ride pattern and punchy bass drum. A wickedly twisted analogue organ riff is quickly introduced, which is cleverly used as both a rhythm device and the melodic platform that sets up the whole track. Lex & Locke seem to be total masters of a ‘free-style funky synth lead’, and we’re treated to another slice of this particularly tasty pie in ‘Nine Palms’. Whereas Balandra is the late-night stake-out, Nine Palms is the final act where Lex & Locke high five each other following another successful bust. The Pacifica EP has a wonderfully intimate and assured vibe about it and is sure to feature in many a summer soundtrack. This release also proves that Samosa Records aren’t afraid to go off the beaten path occasionally - and when it’s this good we’re more than happy to follow. Grab this amazing cut of wax while you can!

Ste ‘Esteban’ Hendry (Black Light Disco)

Record Store Day 2021 release. As part of a 35 Year anniversary celebration of their debut album London are releasing the recent remixes by Dimitri From Paris and Cerrone of their huge hit “She Drives Me Crazy’ on Colored Vinyl exclusively for RSD. Including the classic track remastered plus legendary French DJ Cerrone takes the original to dancefloor. Dimitri’s giddy assault of ‘She Drives Me Crazy’ plunders sounds from pop, house, disco, and late-80s hip hop.

Leo Ceccanti should be a familiar name to all followers of the Claremont 56 label. Alongside sometime studio partner Gianluca Salvadori, he was responsible for two delightfully distinctive Almunia albums released on the label, 2011’s New Moon and 2013’s Pulsar. Both sets were filled with golden, sun-kissed sounds, psychedelic grooves and immersive, life-affirming soundscapes.

Now he’s decided to go it alone as Leo Almunia, delivering a debut album for Claremont 56 that’s every bit as alluring, wide-eyed and evocative as those he made with Salvadori. In keeping with his previous work, the album blends layered acoustic and electric guitars with toasty bass, dreamy synthesizers and grooves that variously touch on hypnotic house, chugging mid-tempo disco, sunset-ready Balearic beats and, on the glistening, life-affirming album highlight ‘Wishing Star’, loose-limbed jazz breaks.

What’s most significant about Ceccanti’s personal musical style is not the blend of stylistic influences he draws on – think psychedelic rock, progressive rock, jazz-rock, new age ambient and slow-motion disco – but rather the way he uses it to paint vivid aural images that genuinely linger long in the memory.

After opening with the duelling guitars and chunky dub disco grooves of ‘Sinking Fields’, Ceccanti sashays between magical moments of rush-inducing positivity, heart-tugging poignance and heady nostalgia.

Along the way, you’ll find numerous sonic highlights. On the intoxicating 21st century psychedelia of ‘Panerea’, jangling chords and eyes-closed psych-rock guitar solos ride a chugging, thickset electronic bassline, while ‘Il Cormorano’ is a metronomic, flash-fried workout rich in fuzz-tone guitar motifs, bluesy riffs and echoing instrumental touches.

He cannily joins the dots between Mid-West Americana and throbbing, psychedelic disco-chug on ‘Loveblind’, while ‘Minor Circle’ sits somewhere between Santana, the Pat Metheny Band and sunrise-ready Balearic blues. Arguably even better is the saucer-eyed brilliance of ‘Brillo De Luna’, where a dubbed-out electronic beat becomes enveloped in life-affirming acoustic guitar chords, exotic slide guitar motifs and string-bending solos. If John Lennon had ingested Mdma rather than LSD before writing ‘Across The Universe’, it would probably sound like this.

Then there’s the album’s crowning moment, closer ‘Can’t Hold a Lover’. A heart-aching, largely ambient instrumental that channels the loneliness and anguish felt by many of those separated from their nearest and dearest during the pandemic, it sees Ceccanti brilliantly wrap a variety of sun-bright guitar textures and solos around some of the loveliest synthesizer chords you’re every likely to hear. On an album packed with effervescent, mood-enhancing musical highs, it’s a rare moment of bittersweet bliss.

File under Funk, Soul, Hip Hop Breaks, Samples Series

oogielicious Synth Pop made in Napoli! "Acqua Di Sale" is the first mini-album of the mysterious Rosa. Recorded at the West Hill Studio, this is the umpteenth creation of the well known Neapolitan production team which inaugurates the "Pegaso Series" on Periodica Records.

"A deserted beach and a rendezvous at the bar, with waves crashing gently in the distance and wine glasses catching the last rays of the setting sun. The seductive panorama of Posillipo unfolds before the eyes, evoking the charms of a photo-novella, though something mysterious lurks in the emerging dark, leading to unavoidable questions and temptations of the soul. This is the Napoli of the heart…no longer a physical manifestation, but instead, a stage for clandestine encounters and forbidden desires, where the most vivid emotions take the form of notes on the staff."

Dilla, Pete rock , Primo samples jazz funk breaks.

After unleashing their new 10” label with a ridiculously classy double header from De Gama and Les Inferno back in May Samosa Records is back with another outrageously brilliant release in Sr10-02. This time round they feature the work of yet another incredibly talented Italian producer JazzyFunk. Samosa has become a real melting pot of Italian talent across all of their labels and JazzyFunk has delivered in aces here. As with Sr10-01 it features one track per side and JazzyFunk has provided two tracks of sublime and relentless groove. ‘All Night Love’ has 70’s disco power shining through from every angle from the ever so hooky guitar licks to the laser synths. Add in brass stabs aplenty and some divine vocal harmonies and this is a straight to the centre of the dance-floor anthem. Over on the flip ‘Sexy thing’ is ever so slightly deeper. It’s packed with one of those relentless string laden grooves from which it is simply impossible to escape from. Sax loops glide across the top providing another hook, it’s an impossibly brilliant track. This is a wonderful EP which is destined to fly off the shelves on release.

Sanctuary’s Life Classics label sees its third installment with a mixture of Disco and Funk, edited for the dance floor with respect to the original work.

After two EPs, Jean Tonique presents Well Mannered Frivolity,a first album with multiple influences. He plays all the instruments, and has selected a cast of guests to accompany him: the American rapper Ciscero poses on"This Feeling", the vocalist Keyone Starr,discovered on Mark Ronson's single "I Can't Lose", sings on two tracks. Dabeull is on "The Party" and Etienne de Crécy brings his immaculate techno touch to "Radio Tuning". Jean Tonique controls the sound space for this journey which ends with the elegiac "Home", with Kraftwer-Kian accents. The ideal cocktail for a first LP, to play in repeat mode during an evening that never ends.

Hotmood’s style reflect their productions, combining slo-mo boogie, groove laden disco, quality house, 70’s funk, n deep sounds. Always adept at reading the crowd thanks to combined decades plus experience behind the decks. playing around Singapore (Asia) Colombia (Cali) San Diego, Las Vegas, Houston, Los Angeles, Tijuana, Mazatlan, Playa Del Carmen, CDMX, Guadalajara, Mexicali, etc.

Soundway presents the unique results of a one-off 2018 meeting in Marrakech between Belgrade-based tribal/techno/industrial outfit Tapan and the nomadic Touareg electrified desert-blues group Generation Taragalte.
Tapan is not an ordinary “techno” project, rather it escapes easy categorization. It is the Belgradebased production duo of 20/44 club resident Nebojša Bogdanović (Schwabe), and Goran Simonoski, a producer behind music projects such as Belgradeyard
Sound System, Piece of Shh and more. Both have been active in the Belgrade music and nightlife scenes since the 1990s, and since 2015 have brought together their diverse musical experience under the collaborative moniker of Tapan.
While performing at the Atlas Electronic festival in Morocco in 2018, they encountered Generation Taragalte of southern Morocco, and recorded the initial music for the Atlas EP in an improvised studio on the festival grounds, followed by final production
on returning to Belgrade. The result was the 4-track EP “Atlas”, a dark, desolate and potent collision of the electronic drone-jazz of Belgrade and the windswept, desiccated psych-guitar riffs of the Moroccan Sahara.

Infinity is the new release by Melbourne-based Leo James, and the second Patience production. Leo scratches a longstanding itch and delivers two sidelong excursions that inhabit a similar sonic space but spin off in opposite directions on the continuum.
Desert Nightflower hums with vitality in a seemingly lifeless landscape. Impressionistically tracing the lifecycle of a flower’s bloom in the desert night – from the searing afternoon sun through dusk’s chill, the midnight blossoming and symbiotic relationship with travelling bats, through the blue hour comedown to first light – Leo employs vibrant, buzzing electronics, plaintive strings and levitating clarinet to illustrate beauty’s brief conquest of nature’s harshest environment, with vividly evocative and deftly moving results.
After Desert Nighflower floats completely off the grid, an ever-present kickdrum drives Infinity’s near 20-minute trip into timelessness. Sharing Side A’s subliminal synthesised hum and free-form clarinet, Infinity moves fast and firm down a dub techno dirt road towards the end of time. As elements drop in and out of the mix, Infinity builds momentum to a pulsing, cathartic peak of poignant piano, ethereal keys and lucid clarinet expressions.
As an avid nature enthusiast, spatial awareness looms large in Leo’s work. His solo releases on Berceuse Heroique, Neubau and his own label Body Language have been inspired incarnations of techno, EBM, industrial and wave.
Patience is a new outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12” piece of plastic. Set and forget, zone out to tune in.
Releases will be available via the regular digital platforms.

Limited Edition for Record Store Day 2019! Montreal’s finest Dave Allison aka Ed Wizard & Disco Double Dee has been delighting dancefloors around the globe since 2009. With his signature brand of chunky disco dubs infused with hip-hop flavours and a slow mo house feel. “Funk Wit Me” is classic Ed Wizard and features the talents of Nebraska on the remix. LTD Edition Green Vinyl.

Long awaited reissue of the the first LP by Mystic Jungle. Originally published in 2018, minimalistic funk and experimental boogie jams with a massive use of FM synthesis made by Periodica Records foreman.

Almost three decades after he put out his first record as one half of Tummy Touch twosome Tutto Matto, Paulo Guigliemino continues to produce effortlessly brilliant music that joins the dots between vintage disco, boogie, proto-house and sun-kissed Balearica. For proof, just check the heavyweight dancefloor sunshine that is “Bella Topa”, his first release on Leng Records.
Slow, sensual and blessed with all manner of delay-laden drum machine percussion hits, the track fixes the producer’s usual colourful, boogie-era synth flourishes and ear-pleasing instrumentation (think fluid electric pianos, fluttering flutes, eyes-closed jazz guitar solos, lilting saxophones and spacey electronic chords) to a chugging, head-in-the-clouds groove reminiscent of Lindstrom and Prins Thomas’s early collaborative work. “Bella Topa” cleverly shifts shape several times throughout, utilising jazzier rhythms and bolder melodies to light up key moments.
Remixes come from Guigliemino’s old pal Federico Marton, a producer best known for being one half of sometime Get Physical, Superfiction and Snatch Recordings artists Italoboyz. He lays down two distinctive revisions, starting with a “Slow” club reconstruction that adds additional percussive heaviness and sparkling electronics to Super Paolo’s twinkling, sun-baked original.
His other version, a “Fast” club reconstruction, drags Guigliemino’s track towards peak-time dancefloors kicking and screaming. Making the most of his friend’s killer groove and finding sufficient time and space for each life-affirming musical element to sparkle, his mix bobs, weaves and eventually soars for 12 mesmerizing minutes. The mix, like his slow version, makes use of additional percussion and wisely gives more prominence to the A-side’s spacey electronics and boogie-influenced synthesizer flourishes. The results are little less than breathtaking.

In 2016, after reissuing two Bruce Haack albums, Haackula and Electric Lucifer Book II, Telephone Explosion began speaking with Ted Pandel (Bruce’s lifelong friend and business partner) about working on the 1970 masterpiece The Electric Lucifer. It turned out there was another matter that he wanted to discuss: finding a final resting place for the Bruce Haack archive.
We were shown test-pressings of The Electric Lucifer board mixes from his Columbia studio sessions, countless pieces of written music, a large number of personal photos, an invitation from Raymond Scott inviting Bruce to play his newly created Electronium
instrument (now owned by Devo’s Mark Mothersbaugh), poems, press clippings, and, most importantly, a heavyduty shelf containing 213 reel-to-reel tapes. All of the chosen material on The Preservation Tapes is unreleased, has only been heard by a handful of people and showcases a relatively unknown period in Bruce’s
musical career where Bruce was recording for Sparrow Records (who billed themselves as "America's best Christian music record label”). Bruce’s signature Farad vocoder continues to feature prominently, but the lyrical content is decidedly more religious.
The Bruce Haack archive is now resting in the Provincial Archives of Alberta, in Edmonton,
Alberta, Canada.

Unknown turns a salvia soaked stroll through sweaty disco shamanism, an uptempo synth powered wig-flipper, backed with a Disco-Soca grail & a persuasively pokey paean to North Africa.

More CULT EDITS from IÑIGO VONTIER, PIETNEV, DREEM LION, and ALEXI LE FAN. Everyone loves these. No one has them. Only edits in circulation requiring a vow of silence and a paid subscription. Cannot be stolen, shared, or caned to death. Rename the track titles in a random internet café for maximum secrecy/exclusivity/emotional well-being. CULTED002 - blood in, blood out.

Under an old alias, Nicolas Jaar puts out a new album, prooving that he is innovative as ever.

CULT EDITS from MANFREDAS, SIMPLE SYMMETRY, and SIAUBAS guaranteed to burn the house / club / teepee down. These top-secret jams have been extensively tested, ended countless epic parties, soundtracked highlight-reel Boiler Room moments, and prompted innumerable feverish attempts at track IDs. Heard in the sets of illuminati DJs, the cult exclusivity now extends with this limited edition VINYL ONLY release. CULTED 001 - worth believing in.

Two of Alkan’s most bombastic reworks over one disc. His scene-defining cut of Justice’s breakthrough club hit ‘Waters Of Nazareth’ adds a subtle Chicago drum edit to the original’s notorious snarl, while the Australian band’s ‘Why Won’t You Make Up Your Mind?’ psych-rock is blasted through with euphoric electro energy.

Alkan explores the fringes of club melancholy on remixes first for old friends Hot Chip, whose ‘Boy From School’ builds and builds to dancefloor catharsis, while Mockasin’s ‘Forever Dolphin Love’ maintains the whimsical qualities of the original, even when shot through with an irresistible bassline.

Franz Ferdinand’s second-LP single ‘Do You Want To?’ receives an almost comically overblown, seemingly endless intro from Alkan, before dissolving into cosmic electro ecstasy. Meanwhile, The Yeah Yeah Yeahs receive an unexpected and somewhat gnarly Chicago inspired renovation that kicks like a mule.

The release is on 180g vinyl. One year on since their last venture as Black Spuma on International Feel, Fabrizio Mammarella, also known as Telespazio and Phillip Lauer, one half of Tuff City Kids, are back with the insatiable Orme EP.

It includes an Erol Alkan remix. Slip into your tin foil hat and do the 'Maskindans', it's almost album time. Though he may still be tweaking the space laser to perfect album 'numero twomero' (hey, it's a working title), Terje has still found the time to tease us with a sneak preview of what's to come in the form of this body moving, brain grooving cover version of a Norse synth spectacular from the dystopian dance floors of '82. Inspired by his Dansbar diversions, Todd took to the studio for a little multitrack mania, replaying every part of this doomy dancer with all the Olsen sparkle you could ever wish for. Luring Det Gylne Triangel back into the booth for the first time in 25 years (possibly in his trusty Delorean!), Terje topped off the pops with a newly recorded vocal from the original lyricist, closing the temporal loop and opening the door to dance floor nirvana.

Green Vinyl Repress!

Limited edition 8 track double 12" featuring some of the best tracks from now out of print Members Only 12" singles plus some tracks never released on vinyl previously. Compiled from cassettes and overdubbed. Tracks by Anne Clark, Fgth, Bananarama, Last Poets and more.

Am Kinem (previously known as Funkycan) presents a recollection of hand-picked works produced over the last ten years. Retrogott, Hulk Hodn & Harmonious Thelonious add some remixes on a bonus 10"!

Limited edition fur-cover!

With no less than a mansion, a state beach, and a three-mile stretch of road bearing his fabled family's name, Ned Doheny easy-glided into the 1970s on a crest of wealth and privilege. Signposting Ned's sojourn through the LA recording industry were Jackson Browne, Glenn Frey, Don Henley, Chaka Khan, Graham Nash, "Mama" Cass Elliot, Bonnie Raitt, and David Geffen--each a household name both inside and far from southern California. And while no bust of Ned Doheny appears alongside those of his Laurel Canyon brethren in the pantheon of classic rock, it's not for lack of songwriting abilities or recording chops.

Over the last three decades, Doheny's albums have slid in and out of print on LP and CD, budget jobs without any involvement from the self-described "avatar for casual vulgarity." Separate Oceans examines Ned Doheny's first ten years adrift in song, pulling together choice album cuts and 11 previously unissued demos. An 8000 word essay is illustrated by images from the archives of noted rock photographers Henry Diltz, Moshe Brahka, Clive Arrowsmith, and Gary Heery, creating the first ever overview of this unheralded marina rocker.

12 tracks to bang your 'ed to ! and Uffie is ready to uff on this one, too ...

Finally the cult italo disco 12″ from 1984 by Riccardo Cioni repressed in limited edition for the first time.

Seminal early 80's Hi-nrg / Synth disco emanating from the gay clubs, bath houses and discotheques of San Francisco. A truly original and groundbreaking sound and style helmed by studio genius Patrick Cowley. Heavily informed by sonically charged science fiction fantasy and the darkest corners of nightlife, 'Mind Warp' is a cornerstone of electronic music that still astonishes today. Originally released on Cowley's own Megatone imprint in 1982 the album marks a definitive change in direction of post-disco dance music, undoubtedly inspired by European artists such as Kraftwerk, Moroder, Yello and more. A huge influence on what was to come through in later years via house and techno music, 'Mind Warp' is a bonafide classic and every single self respecting music lover or DJs home should have a copy!

Celebrate 40 years of the label with this unmissable reissue package beautifully presented on wondrous Colored Vinyl by your friends over at Unidisc.

Monstrous mid-tempo Disco groovings on this one, giving the Avergae White Band a run for their money. Doc Severinsen, the renowned Jazz hornsman dropping some tight ass Funk on this rare as hens teeth Epic white label promo. This is a fully legit reissue borne out of an Above Board / Sony music collaboration, repressed from the official sources. The original 1976 promo 12" had the same track on both sides as promos often did back then so we've decided to include a special version on the flip, a lovingly tweaked re-edit from the cult leader himself - DJ Harvey. Harv's edit has been around for a minute, but this version backing the OG 76 Disco mix makes this 12" a bonafide 'must grab' for all Disco enthusiasts

A true Balearic classic. One of a handful of records that can comfortably boast this title, Elkin & Nelson's 1979 classic 'Jibaro' sits in the canon of selections that enlightened the ears of the jet-set and globe trotting music fanatics in the heady and much storied years of the White isle in the 1980's. The Colombian brothers Javier and Leon Marin Velez brought their own rustic brand of folksy-Rock-Psychedelia to the listening public in 1974 with their debut LP 'Angeles Y Demonios' on Columbia records. The brothers had relocated to Spain, snared a major label deal and ran with it. The first of 3 LP's it proved a big hit in later years with adventurous DJ's and selectors. A cult record you might say. Of course, this LP featured 'Jibaro' in all it's forms, but it is this 1986 reissue 12" promo pressing with it's iconic, distinctive jacket that was the coveted slab sonic adventurers were seeking. Fully sanctioned and legitimately remastered from the original sources and packaged in it's original Columbia promo sleeve 'Jibaro' is back on the shelves, still an incredible record that gets pulled by the most discerning selectors across the globe. A true classic, featured here in it's long and short versions as per the '86 release. Absolute top-shelf stuff here, essential, must own and classic.