Search "dillon+tip+tapping" 233 Items

The Windy City label taps Toronto's RAF Reza here for an outer-space experience. On Side A "why YOU GOTTA?" delivers a chugging bassline & some atmospheric pads. While on the flip "pineapple Island" is a Balearic boogie that fits perfectly into a seaside sundrenched terrace.

Mudd – Eighty Three (Conrad McDonnell Dubs)



‘Eighty Three’, a sumptuous slab of slow-motion gorgeousness smothered in sun-splashed synth sounds and warming electric piano motifs, was one of the undoubted highlights of Mudd’s critically acclaimed sophomore solo album, In The Garden of Mindfulness. Now the track has been given a makeover by Conrad McDonnell, a long-time friend of the family and Claremont 56 contributor.



McDonnell is famous for his wild and effects-laden dub mixes, both as a solo remixer and alongside long-time musical partner Dan Tyler as the Idjut Boys. Together, they provided deliciously wayward and mind-altering takes of tracks from the Claremont 56 catalogue as part of the label’s 10th anniversary triple-CD compilation back in 2017. Now McDonnell has gone solo to deliver an album of dubbed-out revisions of In The Garden of Mindfulness, a set that will land next year. To get us all in the mood, he’s laid down a trio if reworks of ‘Eighty Three’ in his distinctive style. McDonnell first offers up the ‘Le Cidre Dub’, a slowly pulsating rendition in which lightly echoing and tape delay-laden guitar, synthesiser and Rhodes riffs drift across a throbbing electronic groove and low-tempo dub disco drums. The veteran DJ/producer has effectively given the track a more cosmic and spaced-out spin whilst retaining much of Mudd’s intricate and densely layered instrumentation.



Those seeking even wilder and more out-there acoustics are catered for by McDonnell’s two alternative dub takes. He successfully strips back the track to its most skeletal form on the ‘Uppity Dub’, bringing the sparsest of beats in and out of the mix whilst focusing on ambient synthesiser sounds, bubbly electronic patterns, echoing electric piano notes and Mudd’s squelchy and addictive bassline. His favoured effects are all audible in the mix but never dominate the sound space. This celebrated side of McDonnell’s audio output comes to the fore on the EP-ending ‘Uppity Again Dub’, in which waves of trippy and picturesque electronics lap against a locked-in, delay-laden dub disco groove and flashes of reverb-heavy bass. It’s effectively a heady, mind-altering ambient dub interpretation of a sun-splashed Balearic treat. Like the other revisions on the EP, it offers a mouth-watering appetiser for the album of dubs still to come.

About a year ago an odd delivery was received at the shop from an unknown sender in Los Angeles with an ancient looking duffle bag carrying a hand full of tape reels, there was a note and it read: "If this ain't 'Balearische', I dunno what is" (in all caps). Upon extensive magnetic tape baking and freezing recovery techniques we soon realised how fortune can sometimes choose to flash its genitals at you in the strangest of ways. Here were 3 previously unreleased demo-sounding mixes of the one and only "Can't Get Enough of Your Love, Babe". A side is an almost 9 minute patient build up of the theme, clearly too long to be released back in the days of radio play, a beatless off ramp for all the strings and piano to shine, up until the percussion and vocals climax. B side continues to explore the deconstructive process with an isolated "pianopella" version and then following with an instrumental groove version focusing on the rhythm section. For promotional purposes only.

Open Space is proud to present our first ever full-length LP by LA’s newest 3-man band, Puli. Some words from our dear friend Matt McDermott below: In recent years, a cadre of musicians from the east side of Los Angeles have reestablished the city of angels as the first city of Balearica. Alex Ho’s “Move Through It” followed in the lumbering footsteps of Project Sandro’s “Blazer.” Now, there’s a new landmark for the floating west coast sound. Swirling, the first album from LA supergroup Puli. If you’ve got your ear to the ground you know the names involved here. Drummer and producer Damon Palermo’s pedigree stretches back a good 15 years or so, starting off with dub punks Mi Ami. Phil Cho is one of the busiest DJs, musicians and advocates for the deep stuff in LA, throwing legendary hillside parties under the Third Place banner. John Jones, the preternaturally talented guitarist and electronic tinkerer, records as AV Moves, is a key member of the Suzanne Kraft and Baba Stiltz live configurations and plays in The Trilogy Tapes-affiliated act Geo Rip. But this listing of personnel and credentials puts too fine a point on it. Puli are three close friends who go to parties, DJ and get tacos together, repairing to their Chinatown studio a few times a week and coming out with remarkably textured, idiosyncratic downtempo jams. Building off the solid foundation of their 7-inch of heavyweight dubs for Melbourne’s Constant Delay, Swirling is an exploration of new horizons in chill out. “Ramona” acts a statement of purpose—with halftime/double-time dub-tinged rhythms, hazy yet bright synth motifs and atmospheric guitar from Jones, not terribly far from the expansive approach of Japanese dub aesthetes Pecker. “Cloudy,” meanwhile, is a sort of deconstructed and bittersweet Balearic pop featuring Cho’s ethereal vocals. “Bongo Springs” is steppers’ house not far from close LA peer Benedek or the Mood Hut crew up north. But what truly sets this record apart is the space and layers in the production—while it’s nominally an electronic record, Puli is a band that has slowly crafted these songs in the rehearsal space. “Havana Jam” cruises along a sliding roundwound bass guitar take with dubby chords and textural guitars. Palermo’s hand drums and live percussion enmesh perfectly with icy pads on “Leech Seed Dub.” Cho is back on the mic for the gorgeous closer, “C.S.B.”, underpinned by breakbeat and trunk-rattling sub bass. Puli doesn’t sound like anyone else, and is ultimately reflective of the city itself. Listening to Swirling feels like navigating a warren of side streets in the eternal sunshine. Take the drive and dive.

Second slice of mystic cosmic funk from Golden Ape Records... Collaborators are Fedka & the Wulf, with Luke’s Anger on the remix tip, bringing their wonky hardwired electro funk to the label. They have been warping minds and shaking bootsies as part of Pest on Ninja Tune since the ’90s and now are bringing all that funk to bear on this release. Beardvasion is a super limited vinyl - 100 only! - 4 track EP with radically different missions. Beardvasion - original mix has filthy bass bent on destroying speakers. Lukes Anger remix is a hard jacking minimal workout. Earlyworm is a twisted shout out to Detroit, and Serena a funk flavoured electro sugar rush.

Housepainters is a dynamic post-punk and no-wave ensemble. The band's inspiration is a fusion of krautrock, wave-punk, and dub. Their debut LP is based on dystopian films like 1984 and Basic Instinct. Big tip for fans of Saada Bonaire, ESG & Liquid Liquid. Most essential 2024 Post-punk, disco-no-disco release.

AUSTIN's Vapor Caves tape heavyweights XL Middleton & E. Live for a pair of remixes. The A Side gives us a giant boogie blast off proving why they call XL Middleton the Modern Funk King. And on the flip E. Live provides a jazzed out loose juice remix that is sure to please.

The incomparable Dimitri From Paris returns with the latest installment of his acclaimed DFP Vaults series, showcasing the deep cuts that solidify his reputation as one of the premier remixers, DJs, and champions of crate-digging culture in dance music today. This particular release holds a special place in Dimitri's heart, as he explains in his own words below:

"James Brown, the undisputed godfather of soul and the hardest working man in show business, is one of the few artists for whom the term 'legend' feels like an understatement. With a career spanning five decades, countless albums and singles, his unique voice and sound have become synonymous with dance music. Beyond his own recordings, thousands of James Brown samples have permeated our ears since sampling became a cornerstone of music production in the mid-80s—across genres from Hip-Hop to House, Drum 'n' Bass, and everything in between.

This release is particularly meaningful to me. Since my early days as a DJ, I’ve watched James Brown light up dance floors across cultures and generations with his inimitable swagger and irresistible energy. I bought my first James Brown record in 1981—Soul Syndrome, featuring the track 'Funky Men.' At the time, I was a bit disappointed as it didn’t have the classic 'Funky Drummer' style I was expecting, so it ended up buried in a pile of other James Brown classics.

Fast forward over 40 years, and I hear 'Funky Men' again, played by my good friend Alex From Tokyo, and it sounds fresher than ever. The unusual disco beat accompanying James Brown’s vocal, which once made the track stand out in a strange way, has now become its greatest asset! I quickly took it to the edit board, using a mix of old and new techniques, to create my 'Special Version' of 'Funky Men,' which has already been tried and tested on dance floors near you.

For the flip side, I wanted to explore the later, lesser-known disco side of James Brown. The J.B.'s, his personal live band, released a few tracks of their own under his production. Most were instrumentals featuring the breakbeat-heavy sound typically associated with James Brown. However, 'Just Wanna Make You Dance,' with female vocals by Maxxi, offers an almost Caribbean disco vibe. Uniquely, it was released as a 12’’ single with a DJ-friendly remix that included different breaks and drops—something quite rare for a James Brown production at that time. Here again, I’ve given it my own 'Special Version' treatment, respectfully enhanced for maximum DJ impact."

DFP Vaults is the sister label to Le-Edits Records, both of which are highly collectible. While Le-Edits focuses on classic songs remixed from original master tapes, DFP Vaults takes a more eclectic, DJ-friendly approach, spotlighting underdogs and unreleased versions straight from Dimitri's vault. True to Le-Edits' highest production standards, this release features state-of-the-art mastering, cutting, and pressing, all housed in a heavy 'Tip-On' vintage replica custom sleeve.

Melting Steine are multi-instrumentalists and producers Martin Schenker and Luzius Schuler as well as keyboard player and bassist Dshamilja Kalt. Their nostalgic, warm instrumental music combines elements of jazz, bossa and psychedelic synthesizer music and sounds like the soundtrack to your dream island in the Mediterranean Sea. Their incomparable sound is created in a garage in the middle of Switzerland, where they record their compositions on an old Tascam tape machine with guitar, drum machines, flute and analog synthesizer. Lots of chorus, tape delay, vibrato, spring reverb and the warmth of analog recording technology give the music a psychedelic touch and you can hear the musical influences of the 60s and 70s. This is carefully crafted mood music that is sophisticated but has catchy melodies and unique sounds that have earworm potential.

Scott Gilmore’s Volume 01, an Analog Synth Gem, Makes Its Vinyl Debut - Pressed at 45rpm for maximum fidelity.

Recorded on a vintage Tascam 388, the LP version of Gilmore’s alluring, easy-going instrumental electronic record arrives in the physical world via In Sheep’s Clothing Hi-Fi Records.

Los Angeles, CA — When the Los Angeles electronic musician and multi-instrumentalist Scott Gilmore recalls the creation of the songs on Volume 01, he describes specific moments of spontaneous inspiration. “I remember sitting at the tape deck, watching the leaves outside the window as they flittered in the sunlight—a moment of stillness that became intertwined with the melody I was recording,” Gilmore recalls, speaking of the track “Song For Cate.”

This sense of simplicity and presence is at the heart of Volume 01, which was recorded entirely on a Tascam 388 using a carefully curated selection of instruments.

Volume 01, an intimate, instinctual album that mixes lo-fi digital rhythms, strummed guitar, and melodic synth layers, is a collection of songs that captures Gilmore’s magnetic fluidity and the spontaneity of his process. Initially released digitally and as a limited edition cassette, Volume 01 is set to be issued on vinyl for the first time by In Sheep’s Clothing Hi-Fi.

The Tascam 388 is a classic mid-1980s analog machine that combines an 8-track reel-to-reel tape recorder with a built-in mixing console. Volume 01 exudes the kind of hazy, nostalgic warmth that only such recorders can provide. For the nine-song album, Gilmore harnessed analog synths including the Arp Odyssey, Yamaha Cs-01, Korg Dw-8000, Hohner Pianet T, Roland TR 606, and Roland SH 101, as well as bamboo alto saxophone, clarinet, electric guitar, and electric bass.

The album is awash in brief, propellant pieces. At just over four minutes, the relatively epic “Horizon Line” is driven by a three-note snare pattern, a two-note cymbal tap, with a humble bass-line serving as the rudder; Gilmore’s improvised keyboard runs move with an intuitive, conversational glee. The pensive "Shade" sounds like it could be a Penguin Cafe Orchestra demo. Closing track “D. Hareem” runs on a wobbly time signature but with an insistent, determined rhythm that belies genre descriptives. “I prefer to not know what I’m making as I compose,” Gilmore says. “It’s when I can’t clearly define what the music is that it’s then something that I want to put out into the world.”

In hindsight, Volume 01 was a portent. After its 2016 cassette release, Gilmore connected with International Feel, the Balearic imprint run by Marc Barrot, to release the sublime Subtle Vertigo. In 2019, Gilmore’s music caught the attention of Marc Hollander, the experimental composer and founding member of Aksak Maboul, which led to a signing with the Belgian label Crammed Discs. That deal enabled the creation of Gilmore’s solo album Two Roomed Motel and Doctor Fluorescent, a retro-futuristic, Vocoder-heavy 2020 collaboration with Eddie Ruscha V, a.k.a. Secret Circuit). Across these projects, Gilmore’s work has been mentioned in the same sentences as Stereolab, Arthur Russell, Woo, Air, R. Stevie Moore, and others, all of whom have combined synths and non-synths to memorable effect.

With the upcoming vinyl release, Volume 01 will set into wax an enduring set of works, offering listeners the chance to experience analog artistry in its most authentic, tangible form. In Sheep’s Clothing Records is honored to bring Gilmore’s work to vinyl.

Produced by French duo Froid Dub who here step out of their digi-dub groove to slip into the synthetic post-punk colors of Fotogenico, the film by Marcia Romano and Benoît Sabatier, which follows the wanderings of a father in search of the story of his deceased daughter, with only the music she recorded as a clue. Featuring covers of tracks by The Field Mice, Luna and 1000 Ohm, this soundtrack is a pivotal element of the movie.

After a series of successful releases on labels like Razor-n-Tape, music archaeologist and groove master Elado now launches his own imprint Big Baba Records. The debut features some real dancefloor essentials starting with 'Sawanna,' an Afro-disco banger with a driving beat and captivating vocals while 'Disco Baby' offers a funky bassline and infectious hooks. 'Discochari' is a rare Armenian disco track reworked into a global anthem that is sure to have everyone chanting along. Last but not least is Antal favourite 'I Wanna' which is a high-energy Afro-disco track designed for late-night, fast-paced moments that won't be soon forgotten.

Naya Beat Records reveals Volume 2 of its critically acclaimed series dedicated to South Asian dance and electronic music. Label founders Turbotito and Ragz have curated an exceptional 13-track compilation with a focus on an overlooked era of house and electronic music released between '88 and '94. While Volume 1 explored early 80s Balearic, synth pop, and disco, Volume 2 uncovers lost or forgotten future classics from later in the decade. The release spotlights a unique era in the late 80s and early 90s when fertile cross-cultural collaboration abounded in diasporic communities in cities like London and New York and when South Asian music was infused with acid house, New Beat, and dub. There is a true wealth of sounds here, from The Jets Orkhestra’s organ-fuelled house workout ‘x-290’ to the downtempo splendour of the Asha Bhosle fronted West India Company. Lady M lends the Hindi house track and arpeggiated wonder of ‘Kali Raat’ and Mantra’s eponymously titled cut is a hypnotic gem. Featuring other scintillating Balearic house, dub, and street soul from the likes of Asha Puthli, Bappi Lahiri, Johnny Zee, and Kuljit Bhamra, this double album is a treasure of never-before-reissued and previously impossible-to-find holy grails. Often "too Asian for mainstream success in the West, and too Western for success in Asia," the pioneering music from this time was frequently released to short-lived success or relative anonymity. Naya Beat founders Filip Nikolic (aka Turbotito) and Raghav Mani (aka Ragz) have spent the last four years endlessly hunting through dusty records, obscure cassettes, and unreleased studio tapes to deliver a reference release for contemporary collectors, tastemakers, and bold selectors looking for fresh sounds. Featuring an incredible gatefold package with Naya Beat’s trademark stunning artwork and exhaustive liner notes, the 2LP release has been cut to vinyl for the discerning DJ and listener by Grammy-nominated Frank Merritt from The Carvery, London. Naya Beat Records is focused on uncovering foundational dance and electronic music from the subcontinent and South Asian diaspora through reissues, remixes and compilations. Success came immediately with ‘Naya Beat Volume 1’, which was named Vinyl Factory’s number 1 reissue of 2021, and has been followed up with more fascinating releases such as a two-part remix project with disco-jazz legend Asha Puthli, a scintillating bhangra acid house EP with Mr. Scruff, a reissue of Pinky Ann Rihal’s 1985 Hindi new wave album, and the superb Bollywood compilation ‘Awaaz Series 1’.

Taken from their 2012 CD-Only debut EP, "ethereal", burst Nova Heart onto the Beijing indie scene with their glittery, effervescent synthpop sound. The CD only release did not see much distribution outside of China and now appears for the first time on vinyl care of Alliance Upholstery. Remixes from Rodion (slow Motion Records, Gomma), Ivan Berko (love ON THE Rocks, Sonic Dream Recordings), Magic Words (razor-n-tape) and Italomatic (facets, Andi AND ROK One) take the track in deep house, Italo and other more dancefloor territories

Glenn Astro leans into the twilight months of 2024 with a new album from his Delta Rain Dance project. Divining fourth world sensibilities from his restlessly curious studio workflow, Astro weaves a mesmerising tapestry of sound on Music For Autumn which treads the line between horizontal meditation and head- nodding, backroom-ready groove.

Amongst his constellation of myriad aliases, Delta Rain Dance spells out the inspiration Astro takes from fourth world pioneer Jon Hassell. The project first surfaced with a string of tapes, LPs and digital releases around 2018, all carried on a label of the same name to keep Delta Rain Dance enclosed in its own space independent of Astro's many other musical endeavours.

"I’m really into the world building aspect in science fiction and fantasy," says Astro. "This is my way of creating worlds and spaces that co-exist next to each other. Sometimes they collide but mostly they exist peacefully next to each other or pursue some form of cultural exchange by collaborating with each other."

There's a strong sense of balance and cohesion throughout Music For Autumn, as organic percussion and instrumentation wraps around delicate synthesis and patient drum machine pulses so naturally it's hard to spot the joins. The sound has plenty of room to stretch out, from the mantra-like chimes and rattles of the album opener 'Green Light Fade' to the luxury funk of 'Mmmh, Nice' (featuring fellow Tartelet alumni Nelson of the East). At times the electronic elements seem to entirely dissolve, not least behind the loping strings and tumbledown percussion of 'Second Sleep', while achingly beautiful closer 'Plucked' centres on the fluttering movement and expression Astro elicits from his modular setup.

True to the project's influences, a consistent ambiguous mood lingers in the air over Music For Autumn somewhere between far- flung mystery and comforting familiarity, reliably calm but equally contemplative. It's an odyssey of serenity with enough nuance to make you really think, perfect for the days getting shorter, leaves crunching underfoot and the last fading rays of warmth from the sun.

Who doesn't love a good edit, some nice Balearic, and especially some mystical Balearic edits? Well, that's just what we have here from Matsoaka who taps into several worldly flavours on this new six tracker courtesy of Magic Wand. 'Parlband Utmed Kusten' starts slow and steady, wet and dubby. 'Jah Banana' is a supremely horizontal and sun-kissed beach groove and 'Alligator' cuts loose on glistening melodies and playful chord vamps. Gentle breakbeats power the seductive 'Shish Balearic' and 'Asian Dance Groove' closes out with loose, percussive rhythms and funky guitar rifts. A truly global sonic trip.

Exciting classic and rare afro jams get retouched and cut disco single style. With this unknown entity masquerading as African Dubplate, it seems very obvious the source is most likely that. Apparently very limited stock so grab it while you can. Random colored vinyl.

Tom Noble, digger extraordinaire, owner of Superior Elevation Records, and general Brooklyn/LA legend, dons his House Of Sprits moniker for the first single from a forthcoming LP on Razor-N-Tape.

'Times Are Changing' sets the tone for this album project that collects the work of nearly 15 years, a gritty vision of modern-retro soul that throws a reverent nod to its Mizell Brothers and Patrick Adams influences as it brings the sound into the future. Recorded with all live instrumentation and mixed tough for the dance floor, this limited 12 Inch boasts an extended original and instrumental on the A side, and a huge remix from Aussie synth wizard Harvey Sutherland on the flip that highlights the rich instrumentation and extremely catchy vocal hook. A surefire summer jam, this is timeless music that is only the tip of the iceberg from a future classic album.

Following Chicago’s tradition in special edits and dj personal reworks to extend crucial parts and surprise the dancers, Theo Parrish has always sparkled his legendary sets with his own versions of classic and obscure disco, funk and soul cuts to maximum effect! Some of those were available to fans in mid 2000s via the Ugly Edits series, now it’s finally time for the LOVELY EDITS.

Officially licensed and using the original parts from the master tapes, here we have Theo’s takes on two absolute staples: BT EXPRESS ‘Peace Pipe’ and GEORGE DUKE ‘I Want You For Myself’.

Monsieur Van Pratt is best known for being the head of the Mexican label Super Spicy and for several great tunes on various other imprints. Here he inaugurates the new vinyl outlet Illegal Disco with four more of his tried and tested disco workouts in the form of a series of surgical reworks and enhancements of classic cuts. 'Party' taps into original 70s magic with the hip-swinging grooves, big horns and diva vocals. 'Where The Fun Is' keeps the energy high with more funky guitar licks and cosmic synths, 'Hidding From The Boogie' brings a hint of boogie to the bassline while 'Dame Amor' shuts down with a Spanish language vocal.

Glenn Echo & Daniel Meinecke are back with their hotly anticipated follow-up of What Happened To Yesterday?! This one makes a hat trick on MotorCity Wine Recordings, and cranks up the heat in time for the summer.

Vol. 2 grabs from our favorite moments of both their debut "Partly Cloudy" and Vol. 1, perfectly synthesizing the heady and dubby with the cosmic dance flavors, while always eschewing a genre-box. As the opening invocation "World In My Head" says, "why should I repeat myself?", and the boys continue to push the envelope and find new boundaries. The A-side continues with muscular downtempo joints, with highlights including the Psychedelic Hip-Hop of “Explanation of The Funk” (feat. sultry trumpet from Dre King and cuts by DJ Stylus) and the Gogo-Afrobeat fusion of “Three-Season Crank” (featuring the brilliant Raja Kassis on guitar).

Over to the flip side, "Off The Rails" kicks it off with the most dance-floor oriented joint on the record. From there the album gets dubbier and more meditative, culminating with the blissed out "Black Bird Dub". It's the perfect come down after the earlier beatdown.

Glenn's multi-influenced production is as inspired as ever, while Mr. Meinecke continues to show us why he's earned his stripes as *the* seminal keyboard player in the scene. Whether it's drawing from 70's weed jazz, early 80's dancehall, 90's downtempo, or the most rippin' jazz fusion, Glenn Echo & Daniel Meinecke round out the "What Happened To Yesterday" series in fine singular style.

Housed in a beautiful matte finish picture sleeve with art from Michal Rafaj and pressed on deep translucent purple vinyl. TIP!

"Rock Steady" was from the first album with Jahari, recorded with Needa on vocals and the first time using machines in the mix. During that session we had another song called "One Night Stand" that didn't make it on the album, but it should have looking back now. PPU Records fixed the instrumental for "Rock Steady". We didn't even know it was on the old tapes, we put it here as a bonus track. We will have copies of the 7" inches done in May. Today we have a white label for Record Store Day available, but not that many.

Verrazzano continues with the second issue in our summer EP series! This time Type-303 is really ”Lost In Paradise” with this four-track EP to suit all sophisticated tastes. The first track hitting your nerves is ”Acid Disco Time”. Have you ever wondered how it feels to go to a disco with a slight ”acidy” taste in your mouth and realize that something is familiar, but at the same time, somehow… out of place? You hear a Seinfeld bass slapping a classic groove, then a bubbling energy starts rising under the surface and now your armpits sweat in your blazer! Add some glitter dust shimmering in smoke, and the whole thing goes off to a spacey gallop! Is this now so-called ”Cosmic-Business” dance music? The story continues with ”Lost In Paradise”, and takes us to the deep end of turquoise-colored waters. If you found a seashell from the beach and listened to its stories carefully, could you handle the tempting whispers of mermaids, and resist the melodies from those happy days of ancient Minoan Paradise? To get a taste of such delights, this track delivers a glimpse! How do our ancestors teach us lessons long after their earthly existence? By roaming the Earth in cosmic fashion, of course! ”Spirit Dance”, with its ethereal flute and otherworldly harmonies puts the listener in a place where one is the question mark and the answer too… Deep? It should be. When the spirits have done their hypnotic dance and the dizziness has vanished, it is time to wander on a field and look at some beautiful ”Wild Horses”. Basking in the evening dawn, you appreciate that some energies are not fully tamed, but are glorious as wild beings and should be kept as such. It’s the same with music, nurture the wild sides of sounds and energies!

JKriv’s long out-of-press Bukom Mashie Rework gets a king-size reboot in this tasty 7 Inch package with a fresh new acid dub! J’s original 8 min opus is nipped and tucked in all the right places to make for a streamlined A-side stomper, and a brand new version on the flip, with a tastefully reimagined arrangement, punctuated with spicy 303 acid lines and live flute performed by the inimitable Domenica (of Underground System). Big summer banger alert!

Played on 6Music by Tom Ravenscroft & Deb Grant.

Glasgow based Seated Records return with more 1980s Scottish Post-Punk / New Wave material. In this 8-track mini compilation the label introduces the work of Stirling band 22 Beaches, offering a deep dive into music recorded between 1980-1984 - the majority of which has never seen the light of day! 22 Beaches formed in Stirling in the late 1970s as an evolution of the short lived group ‘Alone at Last’ - drummer Fred Parson’s and guitarist Stephen Hunter being the two who spanned the divide. Out of the six members of 22 Beaches, many were school friends, and the rest naturally fell together. The band toured extensively and played at a truly diverse set of venues across the UK: from a local swimming pool boiler room, to small nightclubs and university parties, to several fundraisers for the miners strike. Maybe most notably of all, drummer Fred Parsons described playing at what he calls “the Grangemouth International”, organised by local promoter Brian Guthrie and which featured an all-star lineup of 22 Beaches, The Exploited and the first incarnation of The Cocteau Twins. A coach was hired to ship the audience to Grangemouth from Stirling, the cost of which was included in the ticket. The gig then paused halfway through for a 'help yourself' buffet. Young promoters take heed. This is how it's done! Over the course of the 80s the band released music on three different, and now sought after, various artists compilation cassettes. “What Day Is It?” and “Sadie When She Died” were released on a compilation of local Stirling artists 'The A.N.K.L.E File'. The track from which the current record takes its namesake - “Dust” - was initially released on a compilation-tape for the fanzine 'Another Spark'. And ‘‘Zoo” (also featured on this record) was first released on Glasgow label Pleasantly Surprised via compilation, 'An Hour Of Eloquent Sounds', where 22 Beaches rubbed shoulders with early music from Scottish names Primal Scream, Cocteau Twins, The Wake and Sunset Gun. Unfortunately, 22 Beaches never met the same level of commercial success as these others and decided to retire the project in 1984 - leaving their recordings and demos to gather dust (hehe)…until now! This compilation, “Dust: recordings 1980-1984” follows the band's journey and the changes in their sound over the years. It moves from the raw, punk energy of early DIY recordings through to the A Certain Ratio style Balearica of their later pieces. The record's opener and title track “Dust” is perhaps the most shining example of the latter. Characterised by the plenitude of sonic space in the mix, “Dust” has an almost dub sensibility that is communicated through centrality of Parsons’ drums, McChord’s percussion, and Fildes’ Bass while the harmonising vocals of Sharkey and McGregor chant over the top to give the track its distinctive psychedelic edge. This is an atmosphere only exacerbated by the lofi quality of the recording which sits the vocals in the same aural realm as much 1960s psych-folk. On “Cartoon Boy”, the band strips things down further. A droning bass line persists through the tape fuzz and is accompanied by the sounds of a sole looping guitar chord sequence and McGregor and Sharkey’s vocals - respectively and carefully dancing around one another before harmonising in the most beautiful way. The result is a haunting and abstract Marine Girls style heartbreaker. ‘That Girl’ again delivers a dub adjacent rhythm section similar to that of “Dust”. However, on this instance crisp guitar chords, a distant, phased organ and blue-eyed soul vocal delivery, produce a track that could easily have been a lost Orange Juice recording from their sessions with Dennis Bovel. On “Somebody Got It Wrong” and “One Of Us” the band employ a more macro approach where a jangling guitar with an almost highlife-influenced tone, vocal ad-libs and syncopated percussion give the music a Talking Heads-esque swagger. Taken together these tracks illustrate a clear trajectory in the band's sound, moving from from the high energy no-wave quality of early recordings towards a more dub influenced, and stripped-back sound - a sonic trajectory followed by so many bands of the time, not least those emerging from the diaspora of Manchester’s Factory Records. On “Breathing’’ we hear the beginning of this transition, with the strong influence of the oddball NYC disco styles of Was (Not Was) and ZE records. All of this is meshed together with the residual punk rock energy of 1980s UK. This combination is employed to excellent effect with the addition of the distinctly Scottish (and what the band confirmed to me to be spontaneous) vocal delivery of: “Do you love me? Do you want me?” “Aye!” “Do you love me? Do you need me?” “Naw!”. On the record’s closing tracks, “Zoo” and “Talent Show”, we hear early examples of the band’s work, playing with their rawest all-in-one-take live energy where Hunter’s spiralling guitar riffs and McGregor's distorted vocal exclamations lead the charge. The band recalls that these initial-forays did not always translate so well into multitrack recording and overdubbing: “the deconstruction took away some of the band's natural feel”. On “Talent Show” the record ends with Sharkey delivering an almost unintelligible spoken word section over the top of the track, making for one final, disorientating, almost manic slice of post-punk. These tracks from 1980-1984 chart the progress of a unique contribution to the world of Scottish Post-Punk and New Wave, encapsulating not only the musical trajectory of 22 Beaches but also echoing the broader sonic landscape of 1980s UK, a testament to the adaptability and creativity of the UK’s underground music of the time.

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.

Makin' Moves! Here we present the hot new limited Edition Vinyl EP.

Side A brings you a tantalising remix from Chicago's finest, Mr Glenn Underground! "Let It Go" originally produced by MAQman and Joseph Junior on MM, gets the special treatment where GU gives us his signature CVO mix which is sure to grab the attention of DJ's, dancers and music lovers worldwide!!!

Side B On the flip we present a man of very few words, however expresses an executes the deep soulful sound eloquently. Trinidadian Deep gets busy with championing his signature roots stylee, curated especially for the dance floor sprinkled with a little baby powder!

First up, Eddie Logix continues his streak of dance floor bombs with Edits From Detroit Vol. 3, a two-tracker of low-slung midtempo groovers to nice up the dance. “boss” kicks off the release with some grass-fed free-range organic dubbed out sleaze. “fmpm” is on the flip side and ups the spaced-out cosmic vibes with plenty of post-disco dub. Hand-stamped with love by Eddie Logix and Peter Croce in Detroit, TIP!

For their 35th release Left Ear returns to the archives of Spanish Musician Jesús Mª Catalán and his project Respuesta Alternativa, or the Alternative Response. Unlike his previous release, the tracks from this compilation were not released at the time and the tapes only found recently, which had been lying dormant in a shoebox since their creation from the period 1987-1990. When not on the road working as a sound technician,

Jesús continued to craft atmospheric tracks in the quiet of his bedroom and later finished productions with the assistance of long-time collaborator Julián C. Pérez. Together, they captured simple themes, with the sound evolving over time. Transitioning from guitars, they incorporated vocal samples to weave enduring musical tapestries. Given Jesus’ geographic location (Spain) and the atmospheric down-tempo nature of the music, we wondered if the ‘balearic’ sounds had played a part in his productions. Jesus explains that “the distinction in the Balearic and Asturias Islands is marked by the different character of its people and the incidence of the weather, where the sea influences the Mediterranean Sea of the Balearic Islands is a calm sea. The Cantabrico de Asturias Sea is stormier”.

As a proud Asturian, Jesús was influenced by and payed homage to his surroundings, with lush breezy passages echoing calm ocean days and others reflecting sudden turns in conditions, weaving a stormier, more confronting layer into his already distinct sounds.

Mexican sensation Pahua comes to Razor-N-Tape via a huge remix project featuring some of the hottest producer names in current outer-national dance music.

Remixers on this 12” includes both staples and newcomers to the RNT production stable. Label co-head JKriv turns in a late-nite bass mix of the exceedingly popular ‘Porque Yo,’ Captain Planet delivers a percussive & thumping afro-house flip to “‘Espantapajaros’, Tigerbalm brings her chugging international disco flair to ‘Pa’lante,’ Prince of Queens digs deep with a housey dub of ‘Calla,’ and Londoner Clive From Accounts takes ‘Cana Brava’ into moody nu-disco meets amapiano territory.

With a collection of remixes as prolific and solid as these, RNT opted for an expansive 12” and 7” package which features seven of the remixes across two slabs of vinyl, with gorgeous artwork that flips the moonrise eclipse motif of the original Habita album cover perfectly in a slick device that reveals a crescent moon as the record is removed from the jacket.

This package honors the essence of the original music, while flipping it in quintessential RNT club-ready fashion.

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.

Type-303 returns to ProForm Series with a blast! This four tracker offers something for everyone. A-side starts with a solid acid banger named “Abso-Funking-Lutely!”. Second take on A-side is “Bad Moms”, a nice percussive track to make every dancefloor to jack. On B-side the mood goes to late 80’s/early 90’s italohouse-balearic-flute-Ibiza style with a track named “Midnight Sun”. This is pure niceness with everything essential in right place showcasing the talent of Type-303. The record ends with Kalle Karvanen remix of “Midnight Sun” which replaces flutes with saxophones and adds more acid into mix. Limited to 200pcs handnumbered copies as always. No digital, no represses, so buy it now or regret when it’s gone.

NO Us/canada. “Dedicated to the Island -soundwalk & music for Saunter magazine-” is a new album by Kaoru Inoue, a Japanese DJ/music producer also known as Chari Chari.

Initially released as a CD supplement to Saunter Magazine 06 “Yakushima 2023” issue, and through a new process, its vinyl record will be released for the first time on Record Store DAY 2024.

A gem of nine organic, electronic, balearic, and ambient techno tracks including “Mizukumi”, “Nagareru”, and “Hoshifuru” produced based on field recordings made in Yakushima Island.

180 gram audiophile weight black vinyl with a printed double-sided insert, RSD limited edition.

................................

Since being astonished by Yakushima Island when I first visited in 2002 for Final Drop’s recording, this was my 4th visit. The plan was to conduct field recordings and receive the coverage. I was reading “Introduction to Field Recording” written by Eisuke Yanagisawa, a book that had been the conversation topic among musicians around me, and I accepted the offer without a second thought as I was purely motivated by the idea of going back to Yakushima. However, it became an even more special project for me, as I eventually produced music from it.

“Soundscape”, a concept proposed by Canadian composer Murray Schafer in the 60s encompassed many ideas and matters, and the most interesting of which was its educational aspect: to discern the creativity of attentively listening to the environment and the action of soundwalking as its practice. I believe this trip was a perfect example of this. The music that was sounding faintly as I entered deep in the mountains and the environmental sound of Yakushima is the basis of this album.

(Kaoru Inoue)

*Excerpt from Saunter Magazine 06 “Yakushima 2023” issue*

Longtime friends and musical collaborators Max Essa and Eddie C join the RNT fold with a 4 tracker of melancholic and exquisitely produced chilled out disco. Begun as a lockdown project, the We Live In The Hills EP explores a vast palette of sonic soundscapes, from the shimmering guitars and acid lines of Melon Stepping, to the insistent rolling bass and whimsical synths of Save Me, the deep funk of the EP’s title track, and the late nite driving soundtrack stylings of Sixth Bridge. This EP tells a hopeful story of emerging from isolation and doubt, like a lovely musical sunrise after a long dark night.

The follow up to Deep Heavy Fear's Saâda Bonaire-produced single Dark Days, Doorway sees the group continue its hand-played versus programmed journey into the realms of dance pop. The title track takes a non-linear venture into 9/8 to the floor vocal Balearic/dub territory, via impressions, illusions and misrepresentations, to the reverse - Cherries delivers a simpler, but no less appealing cut, down a classic pop path with tolling guitars and striking percussion. Once again self-pressed & presented in a hand-printed & numbered multi-colour sleeve, designed by vocalist Chloe Grove.

The much anticipated album by Another Taste released on Space Grapes — an eclectic ooze of boogie, funk, and obscure disco. Comes in a Tip-on sleeve and with a download code.

Another Taste's debut brings together a blend of boogie, 70’s funk and obscure disco - birthed from unearthing forgotten sounds and reinventing them for the modern era. A recipe they’ve been cooking up successfully over the last years in the studio, through their label Space Grapes and on tour through some of Europe’s finest stages.

Another Taste is a Rotterdam-born concept band formed by a group of longtime friends, consisting of Bobby van Putten (keys), Bob Roche (bass), Barend Lippens (keys) and Teun van Zoggel (drums).

Inspired by the obscurity and the do-it-yourself approach of private press culture of the late 1970s and 80s, their first releases were mostly a product of late night sessions between the four of them at the studio of their co-producer Danilo Plessow (mcde), leading to the founding of Space Grapes Records.

The band’s first songs were released under various pseudonyms such as Mad Honey, Galxtc or Jambonne and quickly gathered them a loyal following and support from the likes of Gilles Peterson, Kenny Dope and many more.

Another Taste ripples their sound beyond the studio and onto the stage. In their live performances they introduce additional band members in Sarina Voorn (Vox), Diogo Carvalho (percussion) and Florian Verhagen (guitar). A core group with whom they’ve played at prestigious festivals such as Worldwide or Kappa Futur and legendary venues such as Jazz Cafe London, New Morning Paris, and Tresor Berlin.

The March-scheduled album release is the latest iteration of the band’s evolution. From the A-side opener "Turn Up" to the B-side closer "Perfect Night," the album is a testament to Another Taste’s ceaseless creative exploration. Each of the 6 songs on the album presents a new invitation to experience their genre-defying sound and bring people together in delight!

After achieving some decent notoriety, and not only in Italy, as an electro-pop duo (thanks mainly to the single 'Short Wave, a small 'classic' in the early years of that decade), between January 1982 and March 1983 Ruins morphed into a new five members line-up. With this fresh option, Ruins restructured the previous repertoire and produced entirely new material. The original 4 track recording had remained largely unpublished at the time and seemed irretrievably lost. However, thanks to persistent research and with the aid of modern technology, they have been brilliantly recovered from the archives and are now available in this collection aptly titled “brain Flakes (The Lost Combo Tapes)“, bringing to light the 'explosive' blend of prog, funk, new wave, and electro-pop, that such short-lived lineup managed to create in just over a year of activity.

Record label boss, producer / DJ, and revered collector Marc Davis returns to his Chi-Talo series with the much-anticipated second volume. A concept of a split EP, taking one ultra-rare Chicago gem and the other a scarce Italian disco record and re-interpreting them for the modern dancefloor aesthetic.

With the first volume, released on Marc’s own Black Pegasus label, now trading hands for considerable amounts of money, round two sees him impart another double dose of digging sorcery for this Mr Bongo 12”.

Marc began his illustrious career in the Windy City in the ‘80s and was one of the first out of Chicago to be recognised for his eclectic approach to DJing. Presenting a global sound palette that took in choice cuts from Brazil, Africa, jazz fusion, house, soul and disco, whilst mixing it together Chicago style. Decades of knowledge and experience that is now distilled down into the Chi-Talo series.

The Italo selection came via a tip from Marc's Swedish friend, Julian Wareing. Hearing the track led Marc down the rabbit hole to secure a copy of this Italo-Disco, album cut oddity by the New Sound Quartet from 1979. The original of 'Bass Construction', measures in at four and a half minutes and is already a feverish funk groover. But Marc saw an opportunity to extend and re-edit the track, keeping in the vein of the original but giving it space to breathe. Tweaking out every last ounce of goodness, Marc locks you into a hypnotic groove for maximum dancefloor deliverance.

The Chicago side is as rare, as the rarest of hens-teeth, only ever existing as a one-off acetate by the band The Saucer Planes. One of the members of the group was the sadly passed-away older brother of Marc’s DJ mentor, Jahmal Anderson. From the very first listen, Marc knew he’d been hooked up with an undiscovered boogie gem. A long-lost track that the world needed to hear. But the project has remained dormant until now, not least due to the fact that the original recording of this low-fi vocal boogie groove is housed on an ever-deteriorating solo acetate. Rescued, restored and given a brand-new lease of life, Marc has turned the track into a low-slung, psychedelic instrumental boogie bounce. Raw, rough and mesmerising, it’s a refreshed relic that is a testament to Chicago’s club sound and swagger.

Whichever side you draw for, this is guaranteed to move bodies as much as it wins over hearts.

É Soul Cultura captain, originator of Manchester’s legendary Electric Chair and definitive people’s champion, Luke Una taps into a lifetime’s worth of musical discovery for the second volume in our Mr Bongo Edits series. A cosmic coming together that sees two of Luke’s secret weapons, re-edited and re-contextualised by the man himself to provide optimal dancefloor euphoria. A stalwart of the underground for nearly 40 years, Luke has become an appointed leader of the late night disenfranchised, with an unquestionable ability to pick records that make minds tick. Not least through his two É Soul Cultura compilations released on Mr Bongo over the past two years. A taste that traverses genres as much as it does emotions and decades, who better to give an insight into the tracks he has chosen to edit, than the man himself. “I've been an avid collector of afro-beat house, techno and underground black heart disco since before the basement soul days of Electric Chair 30 years ago. Both these bombs were very much holy grail finds, plucked from the last four decades of digging in random crates of dusty vinyl all over the world.” First up, Thandi Zulu & The Young Five’s interpretation of Pure Energy’s early ‘80s disco power play – ‘Love Game’. With a distinctive South African synth bass and killer keys combo, Luke explains the original has this “bonkers alchemy of heavy machine soul, uptempo rawness and a majestic disco evangelism”, making it ripe for a re-edit. On the B side, Lionel Pillay’s Jazz dancer ‘Plum’. “The original was a relentless 18-minute raw jam”, Luke states, “which despite its late ‘70s South African origin kinda reminded me of a 1986 Chicago piano House record”. “These edits strip the tracks back and rebuild them, giving them more sonic weight with that looped up drum jacking militancy from the days of Chicago, combined with a boosted sense of transcendental, psychedelic, cosmic disco. They have always had such an explosive reaction on so many dancefloors including the heavier electronic club, so it felt only right to reshare them”.

Dickie Landry’s saxophones have challenged, soothed, and blown minds around the world in his lengthy career as a jazz and avant-garde blower of the highest regard. He was a founding member of the Phillip Glass Ensemble and (according to Wikipedia lore) introduced Paul Simon to zydeco, one of the indigenous sounds of his native southern Louisiana.

Rarely, though, does Dickie’s saxophone make you want to get up and dance like a crazy person.

Such is the effect of “Hang The Rich,” a nugget of slinky, ecstatic punk-funk that was until recently completely lost to the sands of time. Recorded in 1986 (or thereabouts) in New Orleans and featuring vocalist Evelyn Erhard, percussionist Billy Ware, drummer Ricky Sebastian and Dickie himself on saxophones and a Roland Jupiter 4 synthesizer, it’s the kind of song that compels you to move any which way you can, drunk on indignance and the power of satan’s music.

The track came to DFA via LCD Soundsystem’s Korey Richey, who knows Dickie from back home in Louisiana. After a lengthy search, we located the original tapes in a storage locker somewhere in the Southeast and finally were able to get a clean, quality transfer done here at DFA HQ.

From there, we only had one person in mind for a more DJ-friendly edit: Glasgow’s JD Twitch, one half of Optimo and a selector of similarly puckish spirit. Twitch’s ability to contextualize these older, skronkier sounds for a modern dancefloor are in full display on his version, which hits hard and jagged but then opens up into those ineffable rapturous moments.

Wonderful edit king Mr K is back with more of his superb scalpel work on his own Most Excellent Unltd label. This latest 7" tackles some mighty original material in the form of Steve Wonder's gloriously uplifting 'If You Really Love Me.' It is just as life-affirming and joyous in Mr K's hands with some extra drum weight and drawn-out grooves that will energise any dancefloor. On the flip is 'Time Of The Season' which taps into some golden funk and soul with soaring vocals and big horns over a killer, infectious bassline.

Longtime friend of MotorCity Wine and Sydney, Australia based artist Edseven joins MotorCity Wine Recordings for the Burnin Up EP! The release is sexy, sultry, and slinky, blending deep and brukky machine sounds with soulful vocals. The title track “Burnin Up” cranks up the machine-sex-soul vibes with jazzy pads and a brilliant vocal performance from Oliver Night. “Soul Takes Flight” comes up next, with Edseven cranking up the tempo and the broken beats a bit, with another amazing performance from Oliver Night. On the flip the vibes get chilled out a little more with the midtempo groover “If I Let You” featuring Cinta on vocals. Limited picture sleeve 12” pressing manufactured in Detroit, TIP!