Additionally, an earlier decompilation of the game, summarizing how RimWorld models romantic behaviour, was a pretty good indicator that the answer to Reed's dilemma lay. However, this single check on gender has such a profound effect that it makes female-initiated romance attempts incredibly rare. We would like to show you a description here but the site won’t allow us.

Lucy Rose - End Up Here End Up Here is the latest video from English singer-songwriter and musician, Lucy Rose. Didn’t think I would end up here Laying on your couch again How am I meant to go to sleep?

Beauty And The Beat look back on a decade of anything goes, hi-fidelity party exploration with a pair of primo edits from founder CW. Both cuts have been road tested, re-tweaked and tripped out, causing absolute mayhem every time they're dropped.

The A-side sets out its own psychedelic soul stall right from the off, infusing a tumbling percussion groove with all manner madcapped FX, clattering breakbeats and phase. Soon enough a slurred bassline and toppy guitar lick pave the way for some pimpin' brass, bringing us (Orange) sunshine on a rainy day and then we're back in the hypno-gogo of those ramshackle drums.

One spangled fusion guitar shred later and we're chanting along with Rasa, feeling the full force of a rare groove great. If only all edits were this creative!

Thing is, that's only the starter, and things only get better on the flip as C-Dub treats us to the electro-harmonic brainmelt of 'What Have We Done', a consciousness expanding cut n paste boasting pulsing prog sequences, chiming guitar, dreamy harp and the occasional burst of disorienting piano. Seeming to unlock both our hips and the global consciousness, this track unites the sounds of French jazz, West African folk, Pacific guitar and German kosmische while maintaining a driving dancefloor groove.

Totally psychedelic and completely different to everything else that's out there, this is the most exciting record I've heard in aaaagess! STAFF COMMENTS Patrick says: Psychedelic funk, cosmic soul, interdimensional fusion? Call it what you want, it's mega!

The man behind the Beauty and The Beat parties (and label) dives headfirst into his private stash and pulls out a pair of otherworldly edits, primed to take your dancefloor on a delirious journey to somewhere new. Isle Of Jura continue to navigate the uneven terrain of the collective wantlist here, jumping licensing hurdles to deliver an official reissue of one of THE all time cosmic classics. Taking us back in time to the sultry summer of 1976, the reissue specialists explore the early work of British/Nigerian soul/dub/funk ensemble Ozo, shining a light on the unique 'Anambra', a spiritual, ritualistic expression which became a staple at Mancuso's Loft and Baldelli's Cosmic parties. Fusing African & Nyabinghi drumming with the Buddhist mantra 'Om Mani Padme Hum'a mystical flute riff and soulful chants, Ozo created a slow burning moment of true dancefloor transcendence.

Here we get both the extended 12' mix and the edited version, backed for the first time by later variation 'Anambra River', a deep, dreamlike and mystical reprise which ups the tempo and intensity for a seamless midset flow from Dadawah to Morricone. STAFF COMMENTS Patrick says: Another amazing reissue from Isle Of Jura here, treating us to a fully official pressing of this total Loft classic from Ozo.

Spiritual vocals dance with gorgeous flute while the ritualistic drums clatter on and on. Closely following the release of the last 'Borderland' single, the focus returns on 'Transport', the last collaborative album by Juan Atkins and Moritz von Oswald. Long time friend and studio partner of Moritz von Oswald, Carl Craig provides a new take on “Transport”. Extending and stripping the original sequence to its bone, the illustrious Planet E president and illustrious Detroit proponent also summons a stepping drum sequence and a swaying array of moving delays. This 12“ edit is cut on the A-side. The full version of Carl Craig’s remix clocks just above 20 minutes and is available digitally. Both are available to anyone who purchases the record, through the enclosed download card.

On the flip, DJ Deep & Roman Poncet rework Carl Craig’s remix, adding their signature grooves and myriad of tough drums, to full effect. STAFF COMMENTS Matt says: Unfathomably futuristic and more techno than driving a Tesla car through Detroit with Kraftwerk in the passenger seat. Carl Craig remains a master! RX-101 quietly became one of this year's techno anti-heroes. Also released via Suction, his 'EP2' contained the kinda ambient-techno brilliance that one usually associates with Aphex, Bochum Welt or Ceephax.

Selling out at least two or three presses over the course of the year, tracks like 'Bloom Pt.2' and 'August 97' became anthems across Manchester and beyond, favoured by everyone from Annabel Frazer to Kickin' Pigeon and the legendary Ourtime crew (D. Ball, Rick, Dunc & Leon). The 4th and final volume of the series sees the Dutchman Erik Jong mine more of his gilded IDM, acid and electro; recorded to cassette from '97-99. Roland’s cover-star instruments, the SH-101 and Juno-106, play a prominent role in 'EP 4'’s sound - a playful mix of joyous, sometimes haunting synthesizer melodies, and raw, crunchy percussion.

From the early-Squarepusher melodies of opener 'Themis', to the eerie Boards of Canada-like nostalgia of 'Transmission', 'EP 4' delivers 6 tracks of classic late-90s electronix, with RX-101 affirming himself as an unheralded master in the Rephlex / Warp / Skam domain. Highly recommended! STAFF COMMENTS Matt says: Final installment from one of the year's true anti-heroes. These cuts might originate from the late nineties but they should resonate with universal earthlings and extraterrestrials alike.

An intergalactic classic! Pressure Sounds' 'Reggae Bloodlines' series unearths some gold here via Althea & Donna and producers Tommy Cowans and king Lee Perry. Cowans cut the first version of the 'Gone to Negril' rhythm for Devon Irons to voice the song 'Jerusalem' on. He then returned to the same rhythm for the follow to the mainstream hit, 'Up Town Top Ranking' with Althea and Donna for 'Gone to Negril', featured here. Somewhere along the line and prompted by Bob Marley, Tommy Cowans took the tapes up to the Black Ark for Lee Perry to work his magic. Anyone who was coming from another planet who wanted to know what Lee Perry was about would be well advised to listen to the all out audio assault of 'Crazy Negril'.

Like a careering car that Perry just about maintains control of, 'Crazy Negril' screeches, whirls and zooms from one side to the other of the frequency spectrum. Perry throws caution to the wind, adding a simple rhythm box, whistles, cowbell and some crashing waves of flange, echo and reverb - one of his heaviest and most devastating mixes in his catalogue! The 10’ comes in a one off re-cycled re-made sleeve from the 'Life Goes in Circles' Pressure Sounds release, which was a previous Tommy Cowans compilation on Pressure Sounds. STAFF COMMENTS Matt says: One of Perry's wildest dubs recorded, and that's saying something!!

A decimating mix, with a wonderful, lesser known version of 'Uptown Ranking' gracing the A side. We're not allowed to divulge any info on this one yet folks, other than a cleverly plotted out Ouija of the label name, some very fetching old school purple master bag sleeves & three incredible cuts of secret origin via the mystifying oracle that is Mutable. Setting off from where Vedit, Tropical Jam and Eros last dropped anchor, we get a hybridization of edit material and original flurries across three tracks by a well known and celebrated Northern England stalwart who, for now, is gonna remain anon. Side A sees jazz-funk given a tribal swagger as lush xylophone licks and a perfectly composed b-line meet an extended drum palette and subtle analogue fx swirls.

Next up, Zanzibar favourite and recently unearthed (by the Good Plus team) tropical disco jam 'Avidio' gets worked into something completely different by Mutable. Finally another under-the-radar number gets tweaked for the freaks as Mutable deploys some cheeky after hours fun and play to proceedings. STAFF COMMENTS Matt says: It's true! We're REALLY not allowed to give anything away this time round. Unbeatable stuff though (as always from this cat - whooops!).

Answers on a postcard and we'll announce the winner in the new year. Harrison BDP aka Harry Webber is up next on Stamps delectable edits series with two big hitting bangers. The first is a slamming, housed up interpretation of a certain Brazilian artist's early 80's disco floor filler; here turned into a kicking house number from Harrison BDP.

On the flip he works another big disco smash from the same era through his crunchy filters and equalizers, turning out a solid disco-house hybrid with reinforced drums for extra umph. Two, sure-fire party starters here nicely pressed across one 12'. STAFF COMMENTS Matt says: Stamp enlist another HDP for some weighty disco-house business for fans of Stilove4music, Mister Saturday Night and MCDE. Dungeon Acid the solo acid project of one Jean-Louis Hohta. An esteemed Swedish underground star; Hohta started his musical career in the early eighties as a member of Freddie Wadling's post-punk band Cortex. He later joined the Swedish hardcore band Anti Cimex, in which Jean-Louis played percussion between 1984 and 1987.

Since then he has participated in various bands and more or less experimental (art-)projects. Together with Texas Instruments he created rhythm-based, industrial noise and as a member of the art collective Lucky People Center he found his way to the contemporary dance music. The music on this 7” breathes sex, concrete and dark seas. The tracks differ in instrumentation but they expresses the same feeling: uncomplicated and straightforward components, perfectly balanced In relation to each other, shutting down unnecessary body function, aiming for your lower back. Twitching, curling synthesizers rest upon soundwaves heavier than the swell against the Norwegian North Atlantic coast.

STAFF COMMENTS Matt says: SLLUDDGEEE AF acid filth from this buy-on-sight stable. Muckier than a weekend in Magaluf this one. Bonnie & klein return for their newest slice of Padilla-endorsed stargazing Balearicism. To start off, we get the slapping synth bass and reverb-drenched FM chord swooning of 'Tones Of Ballad', slowly introducing chord swells, staggered percussion and airy pads before launching into a head-nodding sax solo, perfectly lifting the spirits into an unadulterated seafaring swooner. The Drifts Projects rework on the flipside sees the chugging synth taking a more decisive role, leading the flickering DX7 through the hazy shadows into one minimalistic breakdown before reintroducing the main refrain. Though it feels slightly less fluid than the original, it sheds light on different aspects of the sound, expertly heroing the key ingredients.

'Pretty Lake' on the flipside sees the sun going down, and the chilled night sky give way to a slowly filling dancefloor, with rolling disco bass puncturing the glassine swells, before bringing in a perfectly EQ'd electric string stab and soaring euphoric percussion, while closer 'Snowdrifts' clearly revels in the crepuscular post-club bliss, with the string samples rising into the sunny haze, closing another memorable experience. STAFF COMMENTS Barry says: A brilliantly transportative trip through hazy Balearic, low-key nodding ambience and simmering danceable grooves. An absorbing, relaxing ride through the night and beyond. Dawn Again and Rothmans here, the first of two fresh Porn Wax tens to drop this week.' Acid Soup' sees Melbourne and Liverpool collective traverse dimensions as the pair get down to some filthy, trippy, hardware driven house. 'Daffodil' is just as wigged-out, a steady pulse allowing some higher end frequencies to develop as it creeps across one of many perfect sunrises as you and your crew recollect on the evenings excesses.

Really quite epic in its construction, 'Daffodil' evolves into a churning Italo-balearic-new beat hybrid with heart wrenching leads and a tactile, warming aesthetic throughout. FORMAT INFORMATION 10' Info: Pink Vinyl. Absolutely stunning, Detroit's Rod Model donning his Deepchord guise once again and rebuilding these breathtaking Fluxion tracks into two sublime dreamscapes. Instantly identifiable through Rod's genius, 'Multidirectional I' gels itself to a rootsical, dub-tech kick before allowing wavy synth sharps and pluming pad presets to envelop the track; making for a thick and heady number that keeps us grounded deep into the Earth's core. 'Multidirectional II', conversely, flutters and weaves through a twinkling celestial haze. A mischievous and heavenly sprite dancing in between forgotten star clusters and solar flares.

Modell's delicate but inspired touch is brilliantly conceived as the both gentle and forceful undulations of Fluxion are moulded into a new template. Throne Of Blood don their flip flops and take a detour to the sandy beaches and tranquil moods of the paradise islands with Cass leading the voyage across bouyant crystalline seas.

“Red Atlantic” pairs a steady 4/4 kick with circular melodies, dreamy pads, and melancholic vocals before Cass. Injects a post-punk bassline to beautiful effect.

It's both deliciously Balearic but with just enough edge to cut it in the chuggy backrooms of Britain's underbelly. On the flip, “The Voynich Manuscript” feels much closer to the best moments on 'Youth Sessions', Cass’ brilliant full length on Emotional Response, slowing the tempo and pairing another pulsing live bassline with a narcotic melodic line built from woozy, pitch-shifted tones.

Glistening, pretty and washed with psychedelia this could soundtrack a million sunsets and never get old. Longtime friend and label contributor Cosmo Vitelli drags “The Voynich Manuscript” back into dancefloor territory, upping the tempo and toughening the lushness of the original into an insistent late night chugger that’s been doing the business on dancefloors for a couple months now while Autarkic takes 'Red Atlantic' into more turbulent waters, guided with sub aquatic 303s, sonar bleeps and depth charge fx. Excellent stuff. 'Night Blind' is Richard Fearless’ second release on Drone’s white label series.

The title track coalesced in the early hours of the morning as diffuse, Turneresque lights glimmered across the Thames and the container was pounded by a storm. Unnerving and melancholic yet with a glimmer of light, this is Fearless at his best.

On the B side is 'Cancan'. With Xavier’s spiritual acid head, Kenichi Iwasa, on percussion duties, this is one for peak time body shaking. Both tracks were recorded and mixed at the Metal Box by Chris Blakey and produced by Richard Fearless. Stamped and numbered edition of 300 vinyl. Picccadilly favourite and part of Manchester's musical royalty, Garth Be's first release on Wolf dates back to 2009 and his 'All The Thrills' track - still caned by one Move D to this day!

Here we are, just shy of ten years later and Mr. Be's come a long way baby.

Two albums released through his cult adored and much celebrated Sweet Sticky imprint have seen him garner End Of Year chart success from both our shop and London's Phonica Records. His EP for Ruf Kutz (another Manc institution) sold out in mega quick time and landed him a whole new army of fans digging his crate dug, dusty fingered aesthetic. Now, Wolf have returned, hat in hand to the producer for this fully realized 6-track mini epic. Already counting Moodymann, Floating Points, Kyle Hall and Theo Parrish as contemporaries, the six tracks here skirt between poised beatdown, fiery backroom burners and jubilant, no-frills house music. Proudly DIY and rough around the edges, there's nonetheless a serious cohesion and empathy gone into the construction and arrangement of every one of these tracks. Intricate, yet welcoming rhythms appear out of skeletal bare bones, while radiant, warming melodies glow like a storage heater in a Moss Side winter - huddled three abreast as the icy winds blow outside.

It's another epic selection from one of MCR's most loved and a solid reason to get WOLF in the stocking this Chrimbo. Pierre Bastien is a French legend that has collaborated with artists such as Robert Wyatt, Jac Berrocal and Jaki Liebezeit, to name just a few. He is also very well known for his compositions based on home-made mechanical instruments, designed and constructed by Bastien himself.

Using these instruments he would create a heady experimental mix incorporating poetry and some far-out music, all in all very intriguing and original indeed. Throw into the mix esteemed electro-acoustic composer Eddie Ladoire and now we've really got something interesting. Eddie and Pierre met when they appeared on the same concert bill together and they decided to collaborate further with Versatile being the platform for the fruits of this particular project.

The original version of 'Phantom Dance' is a beautiful piece where Bastien plays a trumpet into some water blended with electronic drums and mellow organs lines, creating an otherworldly, subterranean Jazz vibe for the freaks. Suzanne Kraft, the LA native / Amsterdam based producer turns the original into some mechanical broken funk vibes while Rotterdam's Oceanic delivers 2 fresh, reimagined versions. One for for the club with a strong afro beat feel while the other one is a slower affair for the after hours. Both mixes bringing something new to the table. A truly original and interesting release from some very talented people, for those with open ears and open minds! Soulphiction and his label have apparently provided much inspiration for Lumberjacks in Hell so they're mega buzzed to present 'Parking Lot Blues' - a four track, groove snatching monster from all sides of the disco and house music spectrum.

'Stick Up' is a brilliantly deep and soulful house number, resplendent in Lumber Jack nuances and style, it's the sexy, slow and steady side to house music that's criminally overlooked sometimes. 'B3B4URD1' (anyone.?) sees a jazzy loop dissected and rearranged across the 16 pads for a biotic house wailer complete with diva vox and live sounding drum and bass combo. 'Acid Test' is smooth and funky, with a friendly, organic palette and relaxed, sunshine licks. 'Dirty Hot' ramps things up with active loop points twisting a Jacksons-esque soul / disco number into crazy house attack that's so LIH it hurts! 'Acid Test' is a brilliantly deep and soulful house number, again resplendent in Lumber Jack nuances and style, it's the sexy, slow and steady side to house music that's criminally overlooked sometimes. A creative partnership between Tom Laroye and Yam Who?, Qwestlife is a trans-continental boogie trip between the two producers’ respective homelands of Paris and London. Fulfilling the Glitterbox philosophy by crafting great songs the old school way with analogue and weird electronic gadgetry, Qwestlife’s 'Give Me A Minute' appeared first on Glitterbox’s 'Disco Revenge' compilation and now graces vinyl for disco connoisseurs everywhere.

Featuring the vocals of a frequent Yam Who? Collaborator, soul diva Jacqui George, 'Give Me A Minute' is an instant party anthem. Disco-fuelled synths and strings plus live sax, & trumpet, galvanized Fender guitar licks and squelchy boogie bass give a gloriously full frequency, high powered dancefloor vibe rolled further embellished with a timeless, catchy chorus. Accompanied by a dubbed out version, plus an accapella and bonus beats, it perfectly shows off what's to come from the Qwestlife project. STAFF COMMENTS Matt says: Expert new boogie here as Glitterbox reamin a crucial firm. Qwestlife here with that authentic style and OG vibe! Lie Of The Land contributes the sounds and feels to Porn Wax 14; an artist, I suspect could be the alta-ego of Lord Tusk himself, due to this being his / her only excursion and there literally being no info on the artist thus far.

It's of no concern to us either, as our (and your) attention should be firmly on the carnal and deviant vibrations contained within the pink 10' wax. 'Chaparral' flutters and judders like a chem-sex party in East Berlin.

A 16th note kick drum ripple causing a tense urgency to sweep over the erogenous acid line that repeats lustfully over and over again. On the flip and another sensuous bed fellow pokes its head up above the covers before diving back beneath the sheets for a lysergic sex session were bodies and brains become entangled serpents and personal separation becomes meaningless as you join as one united, throbbing force. Excellent stuff! It's been 35 years since legendary soul smoocher 'Risin' To The Top' was first released, yet it sounds every bit as timeless as ever on this new Expansion pressing.

Perhaps that's because this cut has such a mega mellow groove that producer's can't help but sample it. Mary J Blige, LL Cool J, Doug E. Fresh, 50 Cent and KRS-One have all worked their magic with this Keni classic, but none have ever topped the OG.

Killer bass, soulful vocals and that fluttering flute just do the trick every time. This 7” version is also now extremely rare, original copies exchanging hands at vast sums. “Hang Tight” also comes from the 1982 “Changing” album, and was the original B-side to the first UK issue of “Risin’ To The Top”. Schatzi's backsi with their biggest and best offering yet, re-ripping 6 dabs of disco-dolly mix into an ear-popping outing for saucer-eyed dancers and mirror ball romancers. The A1 practically explodes out the groove, hitting us with the kind of housed up disco-funk loop you'd usually find bouncing off the walls of a Detroit basement. As the tension releases, the track takes a diversion into gorgeous soul-jazz tones, warm Rhodes and soothing vocals, sounding every bit the long lost Glenn Underground release. The soothing, disco house groove of the A2 brings the swing, loading a spaced out female vocal, stirring strings and slightly camp vibes with a pumping bottom end.

Set phasers to stun for the A3 as phased percussion pings around electrodisco sequences on one of those trippy tools the Idjuts employ to twist melons liberally. Skip to the flip and the peaking disco power continues with a soulful samba-style mama-jamma on the B1, hi-tension tropical tonker on the B2, and macho proto/pogo punker on the B3. Hand-stamped and vinyl only, this is lethal club tackle for the tougher end of the disco spectrum.

Good Company Records bring Roza Terezi for release number seven on the label. Not only is this record killer, it's also introduced the word 'doof' into my vernacular - only bloody 26 years after it was originally conceived! Quality electro-funk-era record here from Aleem and Leroy Burgess. Identical twin brothers Taharqa Aleem and Tunde Ra Aleem began their career as The Ghetto Fighters with covers of Jimi Hendrix's 'Cry Of Love' and 'Rain Bow Bridge' (they also shared the same apartment with Jimi).

They formed Aleem with Leroy Burgess as a vocalist during the early '80s and originally released dance songs on their own label, NIA Records ('Hooked On Your Love', 'Get Down Friday Night' & 'Release Yourself', featured here). 1985's 'Confusion', resulted in a deal with Atlantic where they released two albums. It's 1984's 'Release Yourself' that's subject to rejuvination here, a fresh, licensed copy of this masterpiece for all to enjoy. Many credit Aleem and this record to help establish the freestyle genre in the mid 80s and you can certainly here the early traits of the style alive and well in this production. Licensed courtesy of Taharqa Aleem in conjunction with Kult Records. Rack Em's killin' it right now! After winning over the world via his 'Wonky Disco Bassline Banger' hit, the producer continues slap bang in the centre of his purple patch, rolling out this effortless double header of essential night club artilery.

'Place For Me' begins life as a concentric, filtered beatdown throbber, only to have Rack Em's idiosyncratic, discombobulated bass notes converge on the mix towards the end - signaling his identity to anyone who might have been in the dark as to who might be behind the track. 'Exhalt' is just as characteristic of this long serving dancefloor stalwart. A low-slung technoid number, similiar in vain to the Idjut's dubbed-out disco it litters a catchy AF bassline with analogue swirls and echo-drenched fx. Usually at this time of year all the dance music's started to dry up and make room for end of year chart business and festive compilation series.

Not so this year, as pressing plant dramas affecting the supply have somewhat bottle-necked proceedings, meaning we're still getting loads of new dance records into the shop and probably will do right over the festive period. Step up, Enzios with record number eight - another tightly packed collection of re-edits joined this time round by Bigote and B Monday. 'Dinindano' is the lead track off the twelve - a funky, charging tropical disco reshape that doesn't need any vocal nonsense to lock you deep into its groove.

'Maestrus' is up next, deploying gospel-tinged vox to a stomping psych / gypsy groove, chopped up nice and funky into a house jam you'd associate with vintage Moodymann. Flip and 'Copy Shop' sees some low slung new disco business explored with aplomb; twinkling keys and catchy vocal snips sealing the deal at the discotheque and ensuring this gets on rotation. Finally 'Blood Is The Rose' sees playful and naive 80s electro-pop / disco expanded upon. Think Human League, Chaz Jankel, Vicious Pink.hell, even a bit of Yazoo and Depeche in there too. Defo with a wacky, quirky touch but shuddering and juddering in allll the right places. Omena celebrates its 20th release by inviting Lance Gurisik, the artist most commonly known as Lancelot for a double header of dancefloor decadence. 'Transport' is technicoloured, electrified house music brilliance with that hedonistic, coastal slant.

Think, Telephones / Roy Comanchero (and the Running Back label in general), Discos Nutabe and Hivern labels taken to the stadiums and mainrooms of the most lavish global dance parties and you'll get the idea. 'Eade Rd' keeps a similar template for another mainroom smasher full of thick, full frequency synth lines, weaving leads and powerful drums. Fort Romeao, Sparky and even Erick Morillo come to mind as this all conquering dance track emanates from the speaker stack.

Lancelot's sound is sophisticated and powerful, with a really strong production aesthetic combined with a stunning sensibility and appreciation of the dancefloor and its resonant frequencies. A new split series from Barcelona's Hivern sees label stalwart Marc Pinol joined by newcomer Charlotte Bendiks. 'Cel Avall' by Pinol is a slow, deliberate excercise in late night hypnosis; a steady pulse jotted with rigid melodies and ushered forward by some simple drums. Bendiks offers up a reinterpretation of those early Chicago body tracks.

Rhythmically dominating and again, very hypnotic, Bendiks drops some sexualized spoken word passages over the otherwise completely drum-based track. Artworky by Dr. STAFF COMMENTS Matt says: New project from cult label Hivern. If this first release is anything to go by, it's gonna be a doozy! Blur’s Graham Coxon releases a special new single on Parlophone Records on December 15th. ‘Falling’ is a double A-side single which was written by the talented, but unknown song-writer and musician Luke Daniel.

One side features ‘Falling’ recorded by Graham and the other features Luke Daniel’s original recording of the same track. Proceeds from the sale of this single will be donated to CALM (the Campaign Against Living Miserably), an award-winning charity dedicated to preventing male suicide, the single biggest killer of men under the age of 45 in the UK. Flamingods are a four-piece, multi-instrumental, multi-cultural band from Bahrain & London formed in 2010.

They have previously released music on an array of reputable indies including Moshi Moshi, Soundway and Art is Hard. The band was founded by Kamal Rasool and now consists of Rasool, Sam Rowe, Charles Prest & Karthik Poduval The group explores and experiments with an array of influences from Western psychedelia, jazz & indie to a wide-eyed obsession with music from the East.

Using a vast selection of instruments from the Middle East, India, Thailand and Turkey, the band marries this with Western instrumentations of synthesisers, guitars and drums to create a potent sound all of its own that they call ‘Exotic Psychedelia’. Label head-honcho Dan Carey came across the band at a late night Glastonbury Crows-Nest set earlier in the year and was obsessed immediately. The track is their set finale and Carey wanted to capture the krautrock fury he witnessed them conjuring up that night on record and so invited them to do a Speedy. The band say 'Hyperborea is a re-recording of a track of the same name from our second LP, which over the years has developed in our live set into a 12-15 minute mammoth of a tune that found us exploring some heavy psychedelia and krautrock themes woven into the original with multiple new riffs and sections. It's the result of each player in the band developing their parts over the space of 3 years and finally getting it to a stage we were fully satisfied with.

We've wanted to record it for so long and it made so much sense working with Dan Carey to pull it off. He's a brilliant mind and alongside his team gave the song the treatment it's been longing for all these years.

Dan was like a psych shaman!’ And what a tune it is. The result is a 13 minute mammoth – an epic beast of a song that starts all tribal strings and shamanic distant vocals before building into a sea of monstrous distortion and motorik explosion. That you can dance to. Also, in true breaking-the rules Speedy-style the label (after the release of their very first double A-side 7” earlier in the series) due to the tracks length, have had to commit this musical assault of the senses to their very first 10” vinyl – the first time in the labels history they have deviated from their strict 7” single format. But it’s worth it. Break the mould. Make space for Flamingods.

FORMAT INFORMATION Ltd 10' Info: Very limited edition - 250 copies only. Always destined to be house 'record of the week' this baby. Shop-unifying brilliance from new label Bigges.

Hailing from Estonia, both artist and label here displaying an unadulterated love for all things filter house, pitching up the r'n'b vox for xxxtra stimulation! It's hard to pick a favourite - highly kinetic from start to finish with the catchiest, saccharine-laced hooks, pumpin' side chained bass section and a terrace friendly arrangement that'll make Shir Khan run back into his studio with his tail between his legs!

Serious folks, big house music this; big smiles and fist pumps guaranteed. Not content with giving us our hallowed Piccadilly Records Of The Year, Kelly Lee Owens brings us a perfect Christmas present with this utterly amazing cover of Aaliyah's 'More Than A Woman'. At the turn of the millennium, Timberland was frankly untouchable, supplying hit after hit with his bleeps and stuttering skeletal beats. Simultaneously, Aaliyah was one of the feistiest, fiercest voices in pop, perfectly embodying that 'give no fucks' attitude which the also-amazing Rihanna has taken on in recent years. Of their numerous successful collaborations, 'More Than A Woman' is a total standout, a moment of slinky, sensual pop perfection which airs on the side of untouchable. It's frankly audacious that Kelly even considered covering this, the fact that she's smashed it into a distant orbit is just more evidence that she's a musical genius. Sticking with the signature sound she refined on her debut, Kelly translates Timberland's beats into a pulsating web of analogue electronics.

Pulsating Belleville bass rumbles underfoot, skitterish hats and sampled strings echo up top, spreading the dynamic range to its limit and allowing the swelling, swirling and too damn sexy vocals to dominate the midrange with absolute ease. It's immersive, aquatic and entirely sensual - especially as the track breaks into the spectral sequences and tape delayed adlibs of the latter stages. Over on the flip, KLO comes in hot ripping her cover version apart and transforming it into one of the tense and terse techno throbbers she does better than anyone else. The eastern strings swell out of the filtered depths falling away for the arrival of a rubber room kick, clip drum box hats and that brilliant bass bleep. A serious, spoken vocal sits so high in the mix you can feel the breath on your earlobe and then leaves us lovestruck, wandering into the heads down haze of a peaktime party. STAFF COMMENTS Patrick says: Jesus christ! Obvs we all buzzed off her LP (a universal Record Of The Year) at Piccadilly, but this is off the hook.

On the A-side, the more traditional cover version sees Kelly bringing her swirling, soft focus electronics to the R&B classic, while the B-side flips it into a high octane, high tension techno roller of the highest order. We're not worthy. Jacky's Only Happy When She's Up On Stage / You'll Be Gone (Live) is the second 7' release from Morrissey's upcoming album 'Low In High School'. Low in High School is Morrissey’s first studio album since 2014 and was recorded at La Fabrique Studios in France and in Rome at Ennio Morricone’s Forum Studios. The record is produced by Joe Chiccarelli (who has worked with Frank Zappa, The Strokes, Beck and The White Stripes to name a few). Morrissey’s talent for combining political statements and beautiful melodies is more prevalent than ever on Low in High-School, capturing the zeitgeist of an ever-changing world. After a pair of instant sell-outs, Kalita Records unleash their third release, an official reissue of Iwabo's 'Reggae Down', a Caribbean funk bomb of the highest calibre perfect for the modern discerning dancefloor.

The band's only ever record, originally released in June 1985 in a small run of just five-hundred copies, 'Reggae Down' has been a staple semi-unknown weapon for various well-known selectors across the globe, and now's our chance to get in on the action. The A side is perfect for moving the dancefloor into next gear, whilst 'Smile On Your Face' is a joyous reggae track designed for the more chilled occasion.

Accompanied with liner notes and a never-before-seen photo of the band, Kalita Records rightly shine a light on this magical record once again.There's a new beat in town. A special one-off white label remix of one of disco's biggest stars by one of the founding members of possibly the most influential electronic music crews in the land? For the uninitiated Loleatta Holloway is part of dance music's DNA, one of the most recognizable voices in disco, her tones have graced numerous club classics, she's been sampled 1000's of times, her vocal fingerprints are all over classic house music and are instantly recognizable. Remixer Pangaea aka Kevin McAuley is one of the main members of the formidable Hessle Audio crew alongside Ben UFO and Ramadanman. Rising out of the post-dubstep terrain of modern day England, McAuley is a truly open minded DJ and producer pushing sonic boundaries and him and his Hessle co-conspirators have long been garnering respect from all corners since their inception as a collective.

'Stand Up' is a truly potent combination of two very different talents, fusing Pangaea's sparse, stripped back, tribal approach and Holloway's roof-raising diva vocals with the end result being a totally destructive yet completely future-proof nightclub missile that'll find plays right across the spectrum. Originally released as a promo-only white label, this remix has been wreaking havoc on dancefloors over the course of the Summer and has featured heavily in the Hessle Audio crew's DJ sets.

Gaining rave reviews on sites such as RA and with people literally passing out with excitement over this very special remix / re-edit the crew pull out one final curveball - releasing it via Holloway's original camp - Salsoul Records! The hype is real on this one, do not sleep! Ladies and gents, I want to raise my glass to the best 12' this week. It goes to Frenchman Sweely. I guarantee you that when you drop the needle on 'Stronger Than Me', you will be transported to another dimension. More concisely, to a sweaty, dark, humid basement in some obscure New York building where body music takes the centre stage. Wherever you are, you will not be anymore.

This bad bad bad boy is a thumping unapologetic house stormer. The vocal sample delivers, oh boy, it does.

And that wailing jazzy saxophone is utterly delicious - captivating in fact. You have in your hands something that will attract attention. The right kind.

B2 changes course. We go less NY, less obvious. We go underground. A bit harder on the beat.

Things get softened by the soulful vocal sample that gives the tittle to the track. But fasten your belts because midway we will encounter an acidic turbulence. This one is a smooth operator.

You just do not expect the turn it takes. On the flipside, Sweely gets introspective with the 303, but in a palatable and accessible way. No arty-farty business here. In places, 'Raw Thoughts' is an extension of A2 without the vocals. And what do we have on B2? We have a tune; a scorcher in camouflage attire.

We are there again, folks. This time a bit faster (just the right amount of pitch, sir), perhaps a bit deeper too. Rough and raw, the 303 goes wild at places but is tamed by the relentless beat. It is all well-oiled by the sweet vocals although sparsely placed. The closing ceremony title is perhaps Sweely's alter ego. More breakbeat, more street, less clubby, more graffity inducing soundtrack. Lovely piano sample coming and going at will gives this grumpy ole bastard the right amount of jazzy and soulful undertones.

Guys and gals, we will try to get a substantial number of this diamond in the shop, but do not sleep. This 12' is an absolute killer. STAFF COMMENTS Sil says: Let's say you are suffering what it is commonly known as 'winter blues'. You go to doc and you are given some prescription. Only thing you see is the name 'Sweely' written on the slip.

Your winter blues goes out of the window in 10 seconds as soon as your brain starts decoding the soundwaves produced by your record player. You are reborn. Hell Yeah's next vinyl EP is a first solo release since 2012 from The Vendetta Suite aka Belfast's Gary Irwin. It features six tracks all handpicked by label boss Marco from vast unreleased vaults that have already been played by David Holmes and Andrew Weatherall, and it comes with a great backstory. Marco's first ever E was at a UK club in Wandsworth in 1995.

Joey Beltram was supposed to be on but missed his flight, so instead David Holmes played an extended set. It won Marco over instantly and since then he has been an avid fan, in awe of Holme's game changing Essential Mix and snapping up all the releases on his 13amp label, including one by The Vendetta Suite, who was in house engineer at David Holmes' Exploding Plastic Inevitable studio. Other tracks from the artist including cult b-side 'Hula Bop' became classic staples in Marco's sets as Balearic Gabba Soundsystem and so he recently reached out to the Newtownards man and told him all this via Soundcloud.

After chatting, Irwin invited Marco to pick some tracks from his vaults and they are now presented here for the first time with the amazing artwork by Andrea Amaducci that combines the producer's sense of humour and the esoteric. Opener 'Sirius' sets a lush tone with its wash of rippling chords and soft rock grooves carry you off into a sunset. From there the charming spring time sounds of 'Tacos For Zowie' mix bumpy drums with guitar riffs, whistles and cosmic synths, and Just Like Joe is a flower power spy movie theme tune that races along with orchestral elegance. ‘Shut Up Ya Dub' slows things down with wobbly bass, tons of reverb and acid twitches and 'Eye In The Triangle' is an exquisite dub cut full of studio trickery and sci-fi feelings that Scientist would be proud of. Closer 'Colin Wilson Said' is a widescreen ambient cut with spread synths, distant arpeggios and an intergalactic feel that leaves you drifting in outer space. This is a cinematic EP that draws on myriad musical styles and showcases Irwin's peerless studio skills. STAFF COMMENTS Patrick says: Dope and diverse set from the consistently mega Hell Yeah stable.

Label head Marco 'peeDoo' enlisted longtime favourite Vendetta Suite to hit us with 6 of his best Balearic movers. Well, where do you start with 'Deep Inside'?

Originally released in the golden NYC House era of 1993, this 5 tracker literally smashed everything in sight. And still does now! The epitome of an evergreen, all-time classic release. Masters At Work Louie Vega and Kenny Dope were on a major roll in this era, producing, remixing, dj-ing and creating this fucking bomb.

For this EP the legendary duo are joined by an insane roll-call of collaborators - Erick Morillo engineering the title track? Maurice Joshua on co-production duties? Vocals by Ms. Barbara tucker?

Present and correct. Killer, rock hard drums? Stacks of Soul? Masterfully chopped up Disco samples? Serious stuff. Sometimes a record just manages to capture and distill the true essence of what this is all about and 'Deep Inside' is one such record, bearing all the hallmarks of golden era MAW and a true reflection of what was happening in New York's clubs at that time. You know a record is good when it's still being, quite literally, hammered nearly 25 years later!

Now, remastered and reissued with the full involvement of Strictly Rhythm this seminal piece of NYC House history is made available again with all original, full sleeve artwork intact as per the 1993 original. This one's a straight up essential for any self-respecting dance aficionado. You know what to do! STAFF COMMENTS Patrick says: Absolutely massive house record here, rightly caned by every DJ ever!

If you don't own a copy, and it's been out of press for a while now, pick up a mint condition reissue of this floor-flaying NY bomb! An official, on-the-list, played-by-Alfredo 'Balearic Classic', 'Jibaro' is one of those timeless gems you NEED in your collection. Colombian brothers Javier and Leon Marin Velez first brought their rustic brand of folksy-Psych-rock to the listening public in 1974 with their debut LP 'Angeles Y Demonios' on Columbia (no relation). The first of 3 LPs it proved a big hit in a decade later as adventurous DJs and selectors sought to soundtrack the freedom and feeling of the Ibiza experience. Though any of the various pressings of the LP featured 'Jibaro', it's the 'promo only' 1986 reissue 12' (sporting that iconic jacket) all the sonic adventurers were seeking. As infectious percussion, rhythmic funk piano and Latin guitar wrap themselves into a summery groove, the chanted vocals give the dancers something to chant along to, losing themselves into the magic of the music. Add in a touch of brass, a flawless arrangement and the chanting from Titanic's 'Sultana' and you've got yourself a winner!

STAFF COMMENTS Patrick says: Dust off the poncho and slip on your sandals, coz this one's well Balearic. Popping a giant squat on Electra's Shoom anthem, the original 'Jibaro' has been out of press for way too long.

Grab yourself a copy and sway the day away to this sublime Latin groover. CEM3340 continues the Lunar Orbiter Program with a second mission: 'Polaris 2°'. Neck snapping snares, growling sawtooths and a sharp mid-range characterize 'Polaris' and further embellished with eerie, classic electro strings n vox. 'Electronic Orchestra' uses the same sound palette to formulate another churning, pitch black electro cut, tense urgent and claustrophobic. '007013200' features Carot-7b and is a more Drexciyan number, spiraling arps running out of sync with a snappy beat and glowing keyboard parts. Top stuff from this new firm. Mastered at Reel Mastering, London.

STAFF COMMENTS Matt says: Raw and ruff neck electro business here from a new firm. Authentic as hell.

Having been circulating on the net for a fair while now (garnering one of The Guardian's lo-fi house accolaides in the process no less!), 'Talk To Me You'll Understand' finally arrives with fresh mastering, but still thudding along with those scuffed Reebok drums and soaked with a fuzzy, stomach-squeezing low-pass filter. All soft chords, soothing vocals, deep-sea bass and skittering hats. RFF is one of the new poster boys of the lo-fi house movement, with this EP already one of the crowning glories / cornerstones of the blueprint. Get a piece of right now in your lives.

Highly recommended. STAFF COMMENTS Matt says: Back in stock. Lo-fi house watermark from one of the leading lights.

Putting paid to any attempt at a pre-Christmas diet, another sweet release drops on Banoffee Pies as they serve up Limited Series 06. Adorned with some saucy Pink legs, this latest volume sees a predominantly Bristol based line up take us through the finest leftfield house, electro, jazz and 2 step. Gallegos’ “Save Your Love For Me” quickly engages your focus with jazzy clarinet licks, enticing vocals and a sophisticated house rhythm, while Seka fuses electro drum programs and deep house pads for the dreamy “Hanging Gardens”. Recent BP signee Jay Anderson returns for his second appeance on the imprint, taking us to the intermission with the emotive jazz chords and complex drum patterns of taut 2 stepper 'Dreams'. Dropping by to say hi, deep house maestro Owain K kicks off the flip in fine floor filling style, locking us into the sultry, steamy and dreamy 'Touched', as immersive a groover as you're likely to find. As with many of its predecessors is EP draws to a close with a proper smokers jam, this time from Embezzlement Society, who chop up jazz piano, muted trumpet and a weird Oizo bass synth to take us around to beatdown town. Diverse and deep shizzle once again! STAFF COMMENTS Matt says: Bristol's Banofee Pies top off what's been a scintillating year for the label with another of their much-loved Limited Series.

When you see a Distant Hawaii record, do not grab it Trump style, just approach it respectfully and listen to it holistically. They are all sweet and filled with sparkling sounds.The label has a good roster now and it is becoming highly respectable.

This release lives to the expectations. A four tracker bubbling with intergalactic deep house. Melodic, soothing, in harmony with the positive chakras.

Almost therapeutic, I would say. On Besakih's Dragons Clouds we get a xylophone-like leading the show with a a beat that seems to be there but never materialises. An all-out teaser, a good fire starter.

On A2, aka 'Banjar Hot Springs', the beat that was missing on A1 arrives, accompanied by atmospheric melodies and by the time the bassline arrives, you have what is possibly the best track on show. Flip this bad boy over and you have more quality deep house - let me emphasize the word 'deep'. 'Broken Sea' starts as it was left on A2. Solid beat, gorgeous melody until midway when everything is dropped and a single note stays in place, until the menacing bassline is dropped and all the ingredients slowly come together once again.

A monster in disguise! We close the act with 'Uluwantu's God' with its dark aural inclinations. It is deep house at its best, multi-layered and entertaining. Driving and uplifting. It is perhaps the most dancefloor oriented number on this EP. Overall, you are getting an 8 out of 10 Distant Hawaii piece of wax.

An underrated yet surprisingly powerful ep that will make you open your pocket and effortless affair. STAFF COMMENTS Sil says: On few instances we are met with 12's with four tracks that are all mint in quality.

Normally you have killers and fillers. Not the case here.

Buy on sight. A timeless monster that keeps the genre alive and kicking. Uber unveil their latest debutant, the mighty Max Manetti with this four tracker of loose percussion and bass driven Balearic. Getting up on the good foot, 'Jungle Prayer' pairs slick bass licks, delicate Spanish guitar and dreamy synthtones with pattering percussion and a cheeky vocal sample, stringing us out into a snake-hipped sunshine groove.

Next up, 'Dub Macumba' is a slightly more drowsy take on the rhythmic theme, all immersive elements, low slung bass and twinkling chimes. The rolling, strolling and slightly spaced out 'Changuinola' kicks off the flip with nods to Krautrock, Shoom and a vocal sample which perfectly captures long nights under the stars at Hostal Salinas. Finally 'Garrison' lumbers onto the scene with a dubby bassline, classy piano refrain and funked out rhythm section, calling to mind the kind of dubwise downbeat you'd expect from a vintage K&D or Cobby production. Well, this is absolutely massive!

Japanese label Disktopia have pulled off an A&R masterstroke, luring the legendary Wally Badarou into the studio for his first vinyl release of solo music since 1989! 'The Unnamed Trilogy Vol.1' sees the keyboard king doing his thing for 2k17 with four contemporary recordings completely in step with the unforgettable grooves of 'Echoes'. 'Fisherman (I-Theme) kicks the set off with a stellar drum box rhythm, buoyant bass synth and slick synth-licks which veer into fusion territories before snapping back into the land of cybernetic jazz funk boogie.

A rhythmic, chanted vocal adds an almost electro touch to the track, while the coastal cool of the number should delight the Balearic crowd. The tropical tackle continues with 'The Daiquiri Diaries (Vintage Extended)', as Wally weaves a little cinematic spell on our adoring asses.

Atmospheric, emotional, and laced with percussive subtleties, quayside Rhodes tones and muchos moonlight - this is for the lovers and bad cops. Imagine a tender moment with a loved one immediately before you make a drugs bust. Over on the flip 'Awa' brings a decidedly Bubble Bobble vibe to the table, chiming perfectly with the Digital Zandoli comps as it sways, shimmers and squeezes under the Chicken Limbo pole. Surely a must have for OG cyberpunk Ruf Dug, this is more tropical than a line of Lilt dust and totally reminiscent of Zora's Domain and Monkey Island. Finally the synthesised vox, cloudlike calm and digital charm of 'Higher Still.'

Closes the set on an ambient note - definitely one for fans of 'Words Of A Mountain'. Wally's back! STAFF COMMENTS Patrick says: Holy shit batman! Synthfunk king Wally Badarou is back with new material - and it's fucking class! From the jazzier than your keyboard tie cyber-groove of 'Fisherman', through the late night loving by the Quay 'Daiquiri Diaries', via the Bubble Bobble zouk banger 'Awa' to the aquatic, cinematic, synthscape masterpiece 'Higher Still' this is the absolute shizzle! When the Growing Bin first bloomed from blog and record store to label it was originally intended to be a reissue imprint. If you’ve kept your ear to the ground and head in the Bin, you’ll know that isn’t exactly how it went down.

But for this release we are going back to the scheme a young Basso dreamed up in his adolescent years: bring back the rare, unknown and unfindable. So here is Mainpoint‘s ‘Alaska Wartet’ - a stunning private pressed 7” entirely unknown to the wider world. Its original 1980 press was less than extensive, and the few copies which did appear were sold exclusively at concerts and local record shops – kudos to all twenty five people who got a copy!

Mainpoint started out as a Jazz-Rock outfit in 1978 but as the years rolled on, these guys fell for the funk. Finding a 4/4 in a world of syncopation, Mainpoint fell foul of their elbow-patched pals, being labelled Tanz-Jazz since their audiences actually danced (in contrast to the serious silence of their contemporaries’ concerts). ‘Alaska Wartet’ made it from Side 2 on the 1980 press to Side 1.This incredibly tight Boogie jam bounds out the speakers with a synth line from heaven and fusion moves galore – it’s sure to put a smile on dancer‘s faces worldwide. ‘Frisbee’ flies of the flipside, inviting dancers to forget about gravity and go for broke.Soaring skywards from this off, this uplifting masterpiece is perfectly topped by that screwdriver hook sung by Ika Hussmann! Time for some Tanz-Jazz, folks! STAFF COMMENTS Patrick says: After the sweet Balearic sound of the Brenda Und Basso 7' last month (B-B-Booglaoo), the Growing Bin groundsman serves up another small format winner with this fine reissue of a German jazz-funk rarity.

Oozing grooves and full of fat synths, this is a proper dance floor destroyer with not an elbow patch in sight. Stupendously super duper boogie reissue here from our friends over the water at PPU / City Of Dreams. Originally released on 7' in 1984, 'Burn Me Up' by Romeo is a frazzled, heady slice of hazy bedroom boogie. Lo-fi in its approach but rich with musicality - we get searing guitar lines, seductive vintage beats and a heartfelt vocal delivery from Romeo. Comes with an extended 'disco mix' on the flip which sees a fully instrumentation and soaring, elevating production nuances. Originals are impossible to find, with not a single copy to found across the discogs network.

Me think this is the fruits of one of of the PPU team's intrepid digging sessions across the Midwest - snapping up every available copy before licensing it to his label. It's a model that's served the label and its affiliates well so far - mixing the old with the new but all under the umbrella of boogie / street soul and modern funk. Another sterling addition to this wonderful label. STAFF COMMENTS Patrick says: Right, so this boogie/80's funk bomb might sound quite a lot like Rick James (specifically 'Give It To Me Baby'), but since when has that been a bad thing?!

Music for strutting, strolling and cruising through the disco with a whole load of swagger! - check out that frickin' solo! Long-awaited second series of “Invisible Family”. Label boss and compiler GK Machine has this to say: 'Beyond ecstatic to get these tracks out. The Gazeebo track I've been playing in my sets for years.

Digital only but SO great it definitely needed to get pressed onto wax!! I would DJ with it using Ableton and speed it up a lot so for the vinyl I asked Jon (Nedza) who I've been a huge fan of since his Community Recordings releases on Grayhound and Imperial Dub, whether he could speed it up a little bit before we pressed it up. Now it's 100% perfect: a Moroder-esque cosmic stomper that's sure to set any dancefloor alight.

The Apiento track is another one that's been gestating for a long time.first appearing around the time the original 'E.S.P.' 12” appeared on the wonderful Golf Channel Recordings in 2014. Secret Circuit gave it a complete overhaul, in fact several complete overhauls, plus some of his signature guitar and has turned the already blissful track into an afro-esque, trippy, beautiful, beautiful piece of music that (IMO) is one of his best yet. Utterly gorgeous!! Then there's the boy-girl retro-future duo Der Kundalini coming from the wonderful Lectric Sands stable in NY who gave us Zoovox. This one's also been hiding on my hard drive way too long! Finally relative newcomers Konzel (of Junto Club/Optimo Music fame) & Natural Sugars (Pardon My French) round off the package just perfectly.

The former so distinct that I felt it was a perfect opener for the A side. So, I hope you dig it.and keep an eye out for the super limited 12-track cassette too!!!' Limited to 300 hand-numbered copies. STAFF COMMENTS Matt says: Hard to top GK Machine's impassioned sales pitch above, but seriously - this is one of the best Invisible Inc's yet! Intergalactic kosmiche pressure for universal movers and groovers across the stratosphere. Private Agenda land at NuNorthern Soul with the divine, 'Dusk & Dawn', their most conceptual work to date. Sat at a grand piano, the pair composed two nocturnes over the course of twelve moonlit hours, chronicling the allure and mystique of the night.

Building on an emotive pop foundation, developed over releases on International Feel and their own Nightshift imprint, Dusk & Dawn is a deeper sonic exploration that pays closer attention to ambience and sound design. 'Dusk' is an enchanting take on new wave pop, referencing Talk Talk and early Simple Minds. A drum machine beats a half-time groove while a dusty but characterful synthesizer pulls the track towards it's cathartic dream-pop apex. 'Dawn' draws on contemporaries like Imaginary Softwoods and Croatian Amor, bringing the listener down to earth into lucidity. Beautiful arpeggios soar over reverse guitars, wistful lyricism is coupled with detailed ambience.

A blissful meditation to ease you into the day. Remixes come from Faze Action, Ron Basejam and Ian Blevins who all add their deft to touch to 'Dawn' and offer up flavors from different corners of the dance floor to this Adriatic / Balearic influenced piece of music. Dext Recordings both kicks off a new limited, 10' run of record whilst paying homage to its 10th release outta its doors. It's a doozy, with UK heavyweight (and former DMC entrant, not to mention Atomic Jam founder) Chris Finke aka Bodyjack on production duties. 'Hotshot' is a hybrid of bassline, techno and funky - purpose built for big sub-woofers and hi-energy dancefloors. It showcases both his love for pirate radio sounds and soundsystem punishing frequencies in equal measure. Paul Woolford's Special Request alias should need no introduction to Piccadilly customers.

The Leed's native has embodied the spirit of rave culture whilst tipping his hat to the new bass manipulators with his established side project. Here we get a squelchy, vocal-led bassline cut, almost 4x4 in its execution and certainly setting the sub woofers of the local boy racers on fire in the process. STAFF COMMENTS Matt says: Watch ya bassbins!! Bassline x techno crossover bizniz here from two upfront players.

It's a fine time to be a disco collector! Every week, another classic lands on the shelves, primed for detonation in your next DJ set. This week's winner comes courtesy of Philadephia International mainstays Harold Melvin & The Blue Notes, and unleashes relentless groove-filled heat on either side. Booming out the speakers like a two punch combo of pure disco power, 'Bad Luck' and 'Don't Leave Me This Way' typify the cream of Philadelphia International and Sigma Sound studios dance floor dominance of the mid 1970s, at the absolute height of their creativity and power. On the A-side, 'Bad Luck' marries soul and strut into a magical bit of mirrorball might, making me yearn for the days when this spent an unprecedented 11 weeks at the No.1 slot on Billboard's U.S. Over on the flip we're treated to the original full length version of the most heartwrenching, head nodding, chest pounding, fist pumping disco soul stompers ever, 'Don't Leave Me This Way'. Utterly exhilarating, the delicate and deliberate groove gracefully transitions into top note, tops off territory, uniting the whole dancefloor in a completely camp scream-a-long. Fully remastered on limited edition 180 gram heavyweight vinyl and mixed to perfection by the one and only Tom Moulton, this is a must have!

Florian back on L.I.E.S. With another massive release. A German producer who's been active since 2013, his releases have so far graced the majority of boutique, hardware driven, experimental labels - Willie Burns' WT Records, Ron Morelli's LIES (most prolifically), as well as the cult, Russian Torrent Versions.

A few scattered releases on Technicolour and some others bring us to now and fine the artist in fine form. The two lead tracks, 'Contact' and 'Random Chaos' are both mechanized, industrialized slices of hardware experimentation. The former utilizes thick pads and hefty drums, side chain compression giving a natural pump to proceedings as the track ratchets onwards. 'Random Chaos' is an acidic, corrosive, warehouse-dweller, Kupfer's incongruous manipulation of ADSR envelopes and distortion, forcing the track to ebb and flow with some degree of fluidity. Aside from the interlude / skit track 'TY', 'Z' concludes the set with a stuttered, jagged piece of new tekno; its pummeling kicks ricocheting through its environment as twisted tones and eerie washes are forced into the equation.

STAFF COMMENTS Matt says: LIES continue to bang the box and tease adolescent noise out of their hardware for another excellent excersise in sound abuse. Early dub plate pressha from Birmingham's Iwarriyah available once again here.

Four-track 10' showcasing his powerful, digi-dub, steppers style perfectly. Recorded at King Alpha studio, home to many modern dub / reggae artists; the sound is crisp & soundsystem ready, gliding sub bass garnished with echo-laden piano stabs and squelchy synthlines lying in the recess. Each arresting vocal cut also comes with a dancefloor slaying dub - accentuating the lower frequencies and coating Iwarriyah's most memorable of vocal stylings in layers and layers of tape delay and reverb. A truly UK flavoured set, with this sound particularly favoured in Manchester as well as his native Birmingham - think Dub Smugglers / Freedom Masses / Iration Steppers etc etc. STAFF COMMENTS Matt says: Dark and riddled with bass. New dub and digi steppers vibes here from Birmingham's finest.

Watch yer bassbins. Massive Russell Marland-played record here; timeless Detroit-Chicago crossover that found home at the Hacienda, Out In The Sticks and later, naturally, at Wet Play.

'The Gathering' is what, of course, what we're talking about here and it comes in three flavours; with good old Gerd getting in on the action too. Originally released on Terry 'Housemaster' Baldwin's Future Sound Records in nineteen f****in eighty eight!!! One of the true proto-house blueprints and a massive play at the Warehouse. Just one blast of that simple yet killer piano line should have you running up to the DJ offering celebratory fist pumps and hands-aloft jubilation.

Comes with the Detroitian 'To Be Or Not To Be' with its Reel By Real-era bleep melodies and gliding mono-synthlines. Classic stuff here, not to be missed. STAFF COMMENTS Matt says: When Russell Marland dropped this iconic '88 house track at Wet Play it forever went down in the club's history, achieving anthem status the first time it was played! Now you too can grab this fully endorsed slice of house history. While you're mowing the lawn, eating some food, or making out with your boo, Kenny Dixon Jr is making sweet Detroit love to his MPC. And their offspring have never been groovier than this total classic from 2000's 'Forevernevermore' (my personal favourite Moodymann LP - Patch).

Slicing and dicing his way through a Boz Scaggs drum beat, Crusaders groove and just the smallest snatch of 'Stairway To Heaven', Kenny delivered a disco house masterpiece, topped to perfection by Norma Jean Bell's vocal. For the 12', the album version is re-imagined into an amazing extended dance floor killer with driving distorted bass and a longer intro for easy mixing. If that weren't enough to send you rollerskating into the shop, then the instrumental version of 'Me And My Peoples Eyes' on the flip should have you hyping harder than Theo at an isolator. STAFF COMMENTS Patrick says: Kenny Dixon Jr at his very best! Detroit in the house.

Japan's Edit & Dub take us back to the Paradise Garage with more unreleased boogie and classic disco mixes primed to make your next party explode! The set kicks off with a driving dub mix of Grey & Hanks 1978 jam 'Dancin', slathering the airwaves with thick guitar licks, luxurious bass and some tasty brass action.

Next up, Jazz funk gee Bernard Wright steps up with the frisky, fusion tinged floor wrecker 'Master Rocker', a shoulder rolling funk number with an a-grade vibe. Over on the flip and we're dubbin it up with Melba Moore, copping a load of the upfront bass, rhythmic guitar chops and storming synth licks of 'Let's Stand Together', before a dramatic, cinematic and spaced out synth disco cut from Giorgio Moroder closes the set.

Classic disco grooves, perfectly placed percussion and all those revolutionary synth parts Giorgio made his trademark. Unavailable elsewhere, you can only get these killer mixes on this limited platter, so DON'T SLEEP! The debut 12' from Wherethetimegoes.

Lastminuteman delivering five diverse, nauseating, and picturesque odes to the epidemics of Dublin City direct from the subconscious. Opens with the Ferraro-esque dreamworld of 'Aerosol Meer' then quickly into the housey, conga-led shuffle of 'Phi); with its nicely stripped back arrangement and undeniably funky grooves. This particular number should interest everyone with a current penchant for all things shamanic house related, unfurling as it does into a shimmering, ethereal epic full of all the mystic nuances that the genre desires. Flip and 'Reducer' wraps more spellbound sounds around a rigid, concentric drum beat; sounding like J. Albert and Person Of Interest's smashed NYC experiments. 'Tent' echoes and throbs as its stems are forced through a strange spring reverb preset, heavy with dub inflections but remaining decisively abstract and intangible. Finally, 'All Or Nothing At All' concludes the set with a collage of synth shards, buzzing sine tones and faux-orchestral passages; a mirage of enchantment set against a digital backdrop.

Out there stuff from both artist and label and highly recommended. STAFF COMMENTS Matt says: I liked this. Bit of a digital exotica / shamanic vibe to it.

But not wafter and beige like the also-rans.TIP! Disco fans rejoice again, as those coveted acetate mixes of a holy grail are placed into your eager hands.

You already know the name Man Friday from the HUGE Paradise Garage winner 'Love Honey', a staple of the better educated disco nights for nigh on thirty years. You've probably not, however, come across the intergalactic strut of 'It's In The Rhythm', an acetate only killer saved for the personal use of only the most elite NYC jocks. All the Levan trademarks are there, wiggy dub fx, hypnotic grooves and plenty of polyrhythmic shizzle, though here we have the addition of an almost computerised, sci fi spoken vocal presumably influenced by the mid eighties electro movement. Danny Krivit's edit on the A-side gives us everything a dance floor could dream of via slick guitar licks, ever changing bass parts and an arrangement which can go all night, while the unreleased Paradise Garage Dub on the flip drops most of the vocal and lets the groove speak for itself - you're in for an excellent conversation. Echovolt enlist Polish duo Earth Trax & Newbord Jr for their next installment.

Earth Trax & Newborn Jr. Started their collaboration in 2016 with a release on Rhythm Section. Their new offering follows the same principles - ecstatic and slightly nostalgic.

A side cut 'Bailando' utilizes a Gat Decor-era sound palette - soft bass, pan pipes and proggy drums, adding a modern twist and featuring additional work by Annjet who layers lush pads on top of it all - wonderbaa! 'Aquamarine' on the flip is a joyous, all encompassing number with euphoria-inducing piano lines, hypnotic bass - synth interplay and skitting, Italian-styled house drums. To be honest the whole thing plays like a lost classic from around 1994. Absolutely storming stuff. STAFF COMMENTS Matt says: Another mid-90s number that's slipped through the net. Proper spine-tingling business this with its rubber band b-line and euphoric pan pipes.

Perfect for throwing your hands to the ocean across pale blue skies. ‘Over Again’ is taken from The Charlatans’ latest album, ‘Different Days’. Self-produced at the band’s studio in Crewe, the album features the core quartet of vocalist Tim Burgess, bassist Martin Blunt, guitarist Mark Collins and keyboard player Tony Rogers, along with contributions from an enviable cast of friends including former Verve drummer Pete Salisbury, Anton Newcombe from Brian Jonestown Massacre, Johnny Marr, Stephen Morris of New Order, Kurt Wagner, Paul Weller, crime writer Ian Rankin and writer / actress Sharon Horgan. FORMAT INFORMATION Ltd 7' Info: Limited to 500 copies on green vinyl. Debut release from Dust Witch. A 5-piece synth outfit that recall the heyday of 70's prog rock.

Their sound is tight, complex and densely layered - recalling Goblin at their most fluid, and Yes during their most wigged out moments. What sets them apart from their current synth wave contemporaries is not only their exceptional song writing skills but the addition of live drums & guitar which gives their dense sound an extra kick, and a very human element missing from most current synth acts operating today. This 7-Inch single, pressed on 140g vinyl features artwork by Daniel Danger. Grand Rapids’ finest Whirlwind Heat is notable as Italy Records’ first foray into anything that could possibly be considered art-rock. Listening to their jams, you’d quickly get the feeling DEVO and Brainiac were spinning heavily on their turntables. On each track, the rhythm section is quick and jagged and vocals are hardly even human, interspersed with synth bursts. This single, Italy’s 12th release, was also recorded with Jack White in 2001 and began a partnership that lasts to this day, with WWH drummer Brad Holland working as Third Man’s in house video director and lead singer David Swanson accompanying Jack White on tour as his official photographer.

Fresh Parisian imprint Nouvelle Ambiance begins life with a killer archival release dedicated to cross-cultural experimentation. AMBIANCE001 takes exhilarating dive into the African underground of 1980s Paris: a four-track EP from Congolese singer Albert Siassia, backed by a group of young French dreads, rechristened Tokobina — “let’s dance,” in Lingala — for the occasion. A mixture of post-punk, rumba, afro-disco and reggae, the EP revives a pair of dancefloor sureshots from their sole 80s 12' (currently changing hands at an arm and a leg, which will make dancing to it a struggle) alongside some unreleased fire from the same session. An explosion of sunkissed proto-house, Afrobeat and bubblegum bass, the optimistic 'Mama Africa' is a total dancefloor slayer in line with previous Piccadilly favourites 'Hafi Deo' and VO's 'Mashisa' - mega.

Next comes the previously unreleased 'In The World', a moonlit taste of French post-punk with gorgeous vocal melodies - it's a bit like the Police but not shit. Over on the B1. 'Pointe Noire' returns to that 'Hoby-Night' EP for a dark bit of dislocated dub disco along the lines of!!!, while the unreleased 'Sangi' brings the sunshine with a reggae riddim, cooing vocals and a little birdsong. STAFF COMMENTS Patrick says: I am all over this one. Not only do we get the grooving Afro-proto house you'd expect from a Sofrito related venture, but there are touches of dub, reggae and post punk all over this unique Parisian record. It's going straight into my record box. Two seminal 12' mixes of a pair of Michael Wycoff heavy hitters from 1982.

One a two-step favourite and one a Loft classic, these sought-after versions have never been paired on the same record. Side A features the smooth-gliding anthem 'Looking Up To You'. The unmistakable snap of that sighing intro is unlike anything else. As such, it's no surprise that Leon Ware, celebrated master of the unexpected chord, has his fingerprints all over the track. Co-written with Zane Grey, 'Looking Up To You' stands among the very best of Leon's staggering bank of compositions, both solo and with Michael Jackson, Minnie Riperton and Marvin Gaye. It's such an influential track, serving as the sample foundation of a massive top five R&B hit for Zhane in 1993, but it has never been bettered upon. Original 12' copies – if you can find them – go for over £50 today, making this side worth the price of admission alone.

If that wasn't enough, it's arguable that the B-Side wins again. A staple of David Mancuso's New York Loft parties, the Tee Scott mix of uplifting boogie gem 'Diamond Real' is on another level entirely.

A DJ legend of infamous clubs Better Days and Zanzibar and a trailblazing innovator, Tee Scott mastered the art of the reconstructive club mix. For maximum destruction of discerning dancers, Be With have opted for his heavenly dub.

7 minutes of devastatingly slick dance floor dynamite, at once polished and dilapidated, its ecstatic charm is universal. Devout lovers of modern soul have long worshipped the rapturous, sophisticated funk of Michael Wycoff. In combining that richly elegant voice, redolent of Donny Hathaway, with the production of keyboardist and arranger Webster Lewis, it's no surprise that both of these tracks became vital club classics of the early 80s R&B scene. Clear, full-bodied and bright – the 12' versions of these tracks are notoriously punchier than those featured on Wycoff's LP, and feature boomin' low end and neck-snapping drums.

Buy on sight. STAFF COMMENTS Patrick says: MASSIVE Be With 12' here pairing Michael Wycoff's biggest hit, the hair raising disco/club soul/jazz funk gem'Looking Up To You', with a rare Tee Scott instrumental mix of Loft classic 'Diamond Real'. Pressed to perfection, this is must have tackle for the collector and DJ alike. Edinburgh's esteemed Lionoil crew bring another debut EP to market in the form of local lad Passmore.

Jammed full of lairy disco chops, powerful aural emojis and tearaway string lines - these are no messing, all-year-round, hands in the air, tear jerking belters. They fit wonderfully into the Lionoil cannon with their wobbly, luminous synth colours and hi-def, full frequency approach. Passmore's palette is succinct, emotive & head turning in equal measure; keeping painfully present and up-to-date whilst also ensuring maximum enjoyment and serotonin release when listened to at excessive volumes. The mood is uplifting and deep, injecting life into house music's tracky nature by way of rich textures, invigorating key changes and chord progressions and a highly musical approach.

Features a guest appearance from handsome Berliner Philip Budny, donning his mellow shades for a remix on the flip and getting down to some loose conga work. Excellent stuff! STAFF COMMENTS Matt says: Although making a subtle entrance over the course of some understated but nonetheless enjoyable twelves.

The Lionoil label hits paydirt here with the delightfully fresh sounds of Passmore. An Edinburgh native with a penchant for new house stylings, somewhere between Julio Bashmore and Floating Points. Ladbrook Grove's roots and culture mistress Sister Rasheda continues to deliver the heats with this mystical roots cut. Hypnotic percussion should lock in any fans of Dadawah, while Rasheda's righteous vocals sit perfectly over the hissing, dubwise riddim.

Flip it over for a full scale dub out from CounterActio Warrior, who keeps the riddim rolling while he pulls the desk apart. STAFF COMMENTS Matt says: Roots and fyre from Millernese Richards on her wonderfully titled, Sis Rasheda Lionness Music.

A Ladbroke Grove OG with mad skills on the mic and a completely otherworldy vibe on this killer 7'. Melbourne outfit Houses in Motion present their fourth offering, this time from Adelaide’s own Subjoi. It's titled 'Flashing Lights' and comes dripping in lo-fi patina. The title track samples Rihanna, but smashes the shit outta it with bit reduction and vocoder, flipping it into a house hook that'll keep you satisfied for days. Seriously, this is the most 'lo-fi' thing since Seinfeld and Stoner Dad set the precedent last year, and give Ray Kandinski's recent offer a solid run for its money - absolutely massive!

Also on side A is 'Closer' - a Chi-town-tinged slammer with nicely shuffled hi-hat patterns and glassy keys. Side B contains 'Glowworm' with its lush, languid jazz piano / guitar combo alongside its expertly crafted drum palette, displaying the keen attention to detail that often gets overlooked when discussing this talented new school of producers. Finally, 'Dash' concludes this essential addition to the lo-fi cannon in fine style, wrapping mystic flute melodies around a warm and fuzzy bass, pummeling kicks, over-compressed snares and pumpin' side-chains all over the shop - taking the genre to its natural zenith.

Subjoi gone and done it. STAFF COMMENTS Matt says: Marmite genre, lo-fi house comes up with perhaps its first true crossover smasher. If the Rihanna-sampling 'Flashing Lights' doesn't become a micro-anthem across the RA - Boiler Room - Fact Mag network over the next few weeks I'll eat me slipmats. Whities 014 is by Londoner and master digger, Jules Venturini. It’s a 3 track 12” of discordant choral euphoria with artwork designed by Alex McCullough. Obviously Reichian in its construction, 'Flying Kites' should take you immediately into a world of 'Music For 18 Musicians'-styled brilliance; the idea expanded on with some extra bleeps and granular effected synthesis.

'Keep Me Close', whilst clearly by the same producer with the same ideas, sees the sound go more cosmic, with delicate interstellar string melodies fluttering in on a waves of solar energy. 'Trace Of Smoke' completes the set with a more discordant and unsettling number; talking percussion growling fiercely through a haze of fug and static. Head turning, totally unique ambience and atmosphere throughout - recommended! STAFF COMMENTS Matt says: Hopefully I don't put too many trad noses out of place when I say this - but Jules Venturini is like the Steve Reich of 2017. Meticulously pieced together, 'Whities014' perfectly shows off the serene, contented moods of this fantastic soundsmith.

Killer 12' alert! Massively stompy and funky as hell? This one will get you up, definitely. Heavy grooves and excellent looping on the samplers.

'Rain' is a late night hot number. Funky house they call it with a yearning vocal sample that lends this stomper some melancholy. But do not despair, we are not gonna get introspective. Just wait for the break. This one will be a staple in your record bag.

Mandatory rotation every Saturday night. If the opener is the essential tool, the one carrying the weight of the title EP, do not think we are done.

For 'Dance Music' will arrive and you will firmly see why you have not wasted your precious salary. Dance music in all its glory. Again, the build up is genius. Filtering a la french, looping vocals and that 'Let's go to work' sample form a gracious, explosive number. Yes, sir, this one is just insanely good. Closing act, 'All We Do Is Real' is an uncompromising 1980s homage with an infectious guitar sample unavoidably reminiscent of some italo hidden 12'.

And no ordinary one - we all know mediocrity was rampant in the genre. This one is not.

It is just gorgeously sweet and smooth, producing some heavy vibes and gorgeous moments. So rain or shine, this one will give you an unexpected boost of drug free energy. Something we all need under the obnoxiously grey skies of Northern England. STAFF COMMENTS Sil says: Essential three tracker 12'. Works wonders on house sets, and also on your digital walkman. Will put a smile on you, will make you dance, will make you believe again!

Top draw house music. Perhaps one of the best 2017 dancefloor friendly vinyl we have had so far. From the calm and dreamy lands of Oregon arrives this majestic EP. Luscious and gentle yet dark and deep electronic music inside this beautifully presented 12'.

On the A side we have been gifted two dancefloor friendly house numbers. A1's 'Every Moment' is a frolicking gentle affair that has elements of immersive Detroit techno embedded. A2's 'Reach Out' leaves the techno element out and focus on straight deep house 90s style with catchy vocal sampler included and infectious bass. Solid number, folks. My favourite on the package. Flip this diamond to the B side and you have first a funked up, chill out number which starts simple and ends up with more complex layers of seductive notes. This one will empty the dancefloor but will do wonders in your living room.

One for the discerning listener. The closing act on B2 is a refreshingly cute drum 'n' bass tune. It will make you think of LTJ Bukem and pals. Time travel back to mid 90s again. I effusively recommend 'Select Gestures' as long as you do not expect any groundbreaking genre pioneering exercise. Buy on sight? Resounding yes.

STAFF COMMENTS Sil says: A seriously good 4 tracker EP containing a bit for everyone. The discerning listener will be surprised by the quality exuded here.

Not just the music, Select Gestures comes packaged in a matte black sleeve complete with sticker and A6 insert! This deadly Berlin—New Jersey nexus back in action, reinforced by the mighty Shifted. 'F Planet' itself is an in-for-the-kill stomper, husky and frantic, its sizzling bass and clanky hats inexorably dissolving in a sulphuric alarm of distortion and haywire bleeps. 'Astral Pilot' ties you into a swirl of frequencies, rhythms and mechanical growling, before finally disentangling itself into some kind of cosmic lift-off. Deep and guttural but with plenty of psychedelic strangeness, this is a killer cut for brave and drug-addled.

On the flip, grimly tightening the bolts, setting the controls inwards, and darkening and thickening its atmospheres into a kind of gut-churning possession, Shifted makes F Planet all his own. STAFF COMMENTS Patrick says: Killer crunching darkness on this speaker rattler from Spider and Franklin DC - Arachnid scutterings, industrial growls and relentless percussion on 'F Planet', while the dark and moody groove of 'Astral Pilot' pulls us into a trance dance before tripping out nicely. Bonus banger from Shifted on the flip - you need! Casino Times come correct with the fourth edition of their much celebrated Casino Edits series. For the A-Side, the duo encapsulate the energy that has made the previous records in the series so memorable; this time by taking the cosmic sounds of a well known space disco favourite and reconstructing it into a punchy, euphoric, electronic symphony; constantly teetering on the edge of cliamx until the very last drop. The B-Side sees the BPM's drop and the concepts become more left-of-centre.

The B1, a cut-up UK grunge head nodder, features gritty guitars, a sludgy bassline and a pulsating synth lead. Whilst on the B2, a well-loved Italo essential is reincarnated as a dramatic piece of sequenced bliss.

Excellent work from Casino Times who seem intent on keeping the series as exciting and surprising as possible. STAFF COMMENTS Matt says: Nice triple-pronged edit 12' featuring Don Ray amongst two obscure numbers from the worlds of grunge (?!!) and Italo. For the 6th No Bad Days release, the label pulls in a shining star from an unlikely place: the city of Bandung, Indonesia. Already loved at home for his work with disco edit gang Midnight Runners, here Munir strikes solo, offering up an extension of his synthcraft and taste for low-slung modern funk + boogie. Opener 'All These Love' delivers a level of melodic sophistication wildly at odds with the gramatical confusion of the title, drawing out a procession of twinkling sequences, gnarly boogie bass and delicate synth flute before our very eyes.

'Feels Around You' ups the emotion with warming rhodes licks, nuanced 707 percussion and a restless bassline before we flip for the titular 'Life Is A Miracle', a stately boogie stroll through the kind of vape heavy wonderland you'd expect from a Mood Hut banger. 'Shimmering Mirage' does what it says on tne tin twisting Munir's usual ingredients into an exotic groover before the relaxed 'Music From The Backyard' offers a jazzy warm down for tired bodies and narcotic mindstates. STAFF COMMENTS Patrick says: Indonesian funk gee Munir lands at No Bad Days with a moving, grooving EP of boogie/house hybrids packed with wonking melodies, jazzy tones and mega basslines. This is sure to put a spring in your step despite the autumn chill. Unlike us beardy DJ types, some records never age, and 'Happiness Is Just Around The Bend' by The Main Ingredient is one of those records. Originally released in 1974, 'Happiness' was a record before its time - had it been released a year later it would undoubtedly have been one of the first 12' discs - so as a result, most discerning DJs at the time chose to play the album cut.

The song is actually a cover of UK Prog-Jazz band Brian Auger's Oblivion Express's version from the year before but Main Ingredient took the song to a whole new level and, 44 years later, it has become one of the most revered dance tunes of all-time. Main Ingredient were unlucky with 12' releases, which is why its especially groovy to see 'Evening Of Love' secure it's first-ever 12' release! Once again this was a 1981 album track which years later it would become a Modern Soul anthem and rightfully be regarded as one of their best records. One band, two total classics from two different scenes, fully remastered on limited edition 180 gram heavyweight vinyl. STAFF COMMENTS Patrick says: Two of Main Ingredient's finest dancefloor moments, remastered and back on black for the first time in aaages! If you don't love 'Happiness Is Just Around The Bend', I can only assuem you haven't heard it, so this would be a great time to change that.

You may know Aretha Franklin's scintillating 'One Step Ahead' from its vital role in the Oscar-winning movie Moonlight. You may also know it as providing the beautifully melancholic backdrop for Mos Def's 1999 hit 'Ms Fat Booty'.

The inaugural Be With 7' is a special one indeed, containing the first ever officially licensed reissue of Aretha's all-time deep soul classic. 'One Step Ahead' was not included on any of her Columbia studio albums, and remains one of her rarest releases. On the flip, 'I Can't Wait Until I See My Baby's Face' is a thrilling, goosebump-inducing killer and an unfairly slept-on rendition of this eternal track. The single comes housed in a custom printed full-colour company sleeve and is limited to just 1000 copies. STAFF COMMENTS David says: Boom! Always wondered what the mournful, yet bouncin' sample used in Mos Def's all time classic 'Ms Fat Booty' is but couldn't be bothered to Google it? Here you go, thank me later. Denzinger Enchiridion Symbolorum Pdf Download more.

GAMM follow up Al Kent's well received debut with another 12' of his typically delightful disco flavours. First up, 'Vince' deploys some lush, mid-tempo Philly action, complete with full brass and percussion section.

'Esther' sees an obscure disco stomper, represented for our listening pleasure and full of twangy clavs, swirling synthlines and tough, rawkus drums. STAFF COMMENTS Patrick says: The Million Dollar Disco man drops by GAMM HQ in flawless fashion turning out the jazzy, soulful and nigh on spiritual Blaxplo-groove of 'Vince' backed with the pulsating, pounding clav-a-thon of 'Esther' - perfect for those peak time moments.

Stark Reality formed in Boston Mass. In the late sixties, most famous for their improvised take on a 1958 children's album by Hoagy Carmichael. You might remember Stones Throw reissuing said album about fifteen years ago (15!) or, if you're not using your bus pass yet, Now-Again reissuing their whole back catalogue in 2013. Athens Of The North main man Yogi, has chosen his favourite tracks and cleaned them up for this cute seven inch which includes the original tv programme illustration on the centre. Limited to 500, as always this will be gone before you can say, 'what kind of a name is HOAGY?!' STAFF COMMENTS David says: Psyche funk a go go on the new Athens Of The North seven.If you didn't get the anthologies this is a perfect intro to their off kilter funky ways. As the Dekmantel series continues in earnest, we see another plethora of cutting-edge artists welcomed by the forward-gazing camp.

Italy's modular techno legend, Donato Dozzy is joined by Belgium electronic monolith Peter van Hoesen for an exercise in psychedelic tribalism that's both painfully current and mind-bendingly unique. Dutch producer Deniro has garnered a more cult-like reputation for his spacey, progressive jams, earning him the admiration of Nina Kraviz who recently released his new EP 'Mendoza' on her Trip label. Returning to Dekmantel, 'Serval' acts as a woozy journey to an Detroitian, mechanized world which has motor city spirit coursing through its veins and with a technological prowess to boot. Talismann, aka Guy Blanken, aka Makam, is another, much travelled Dutch producer.

With a specialty for hypnotic drones and apocalyptic rhythms, 'Aciano' sees the producer dip his toe into cataclysmic acid and corrosive atmospheres, making a skeletal but destructive warehouse track that spits its lysergic toxins aggressively from its core. 'Sexual Frustration' by Matrixxman sees another barrage of acid; this time its slightly more dance-centric, wrapping itself around a rock solid, factory-line 4/4. Another great record cementing this truly essential series for lovers of brand new, forward thinking dance music. STAFF COMMENTS Matt says: We've been enjoying one of these pretty much every other week for a coupla months now but this one, full of oddball techno freaks, takes the biscuit.

One of 2017's most promising and prolific offerings, Marionette return with their sixth record to date, 'Greyland' from Max Loderbauer. Superb, expert neo-minimalism from the retiring Berliner - veteran of collaborations like Vilod (with Ricardo Villalobos), the Moritz Von Oswald Trio, NSI and Sun Electric - making a rare, treasurable solo foray. Six tracks ranging from oscillatory steppers to eerie hauntings. Already causing a massive fuss with RA and Wire mag, it's no wonder as this perfectly encapsulates what has already been in Marionette's musical discourse over the course of its short history - shamanic and ritualistic sonic experiments; organic, biotic matter, manipulated or edited by machines; heavy hued moods or tales of witchcraft and sorcery. Across six tracks we see plumes of spellbound dizziness collide with primal, hand-beat rhythms and unfathomable depths of electronic sway. In short, it's another epic and truly immersive trip for this now buy-on-sight label. Beautifully sleeved, too.

STAFF COMMENTS Matt says: Probably my label of the year for home listening, Marionette bring forth the exquistive talents of Max Loderbauer for an excersise in sonic healing few can match. Cosmic Resonance is a Toronto label showcasing artists who experiment with music and sound via a cosmic perspective. It was founded by Chris Evans and James Harris in 2017. The first release comes via an artist called Hemingway, who's 'Memoirs EP' here, showcases the intergalactic side of jazz-funk in a dreamy and completely listenable fashion; highlighting the rich musicality of the producer as it does so.

'Ayahuasca' opens the EP, a contextual if surprisingly subversive title for this quite trad sounding of offerings; I guess the DMT-containing entheogen is hot in everyone's mind's right now (not just our feathered dance buyer. The track is vibrant and energetic, with a cinematic quality that exudes all the best records of this style; it could well have been plucked directly off an Italian library album! 'Dream Swagger' sees a more appropriate title applied as this one really does SWAGGER. Another fully live arrangement, basing itself around a truly low slung bass lick and lively guitar work. 'Ocean Hues' is up next, a circular, undulating cruiser suspended on crystalline seas and coastal breezes. Flip the disc for 'Love Mirage', which shimmers with more intriguing synth work and a new age optimism.

Finally, 'Memoirs' concludes the set, applying the brakes for a sensuous and smooth jazz jam, with reverb drenched sax, walking bass and excellent rhythmic interplay. It's been one hell of a debut, both for artist and label and another reason why Everyone Must Move To Toronto.

Most recommended. STAFF COMMENTS Patrick says: Fresh Toronto tackle here which combines the best of the Vancouver scene with Peckham's soulful strut to create a detailed and dreamy contemporary take on jazz-funk. Gospel Disco time Again! After the sucess of 'The Power of Your Love' Athens Of The North get righteous with the Almighty once more for another slice of peak time, prayer, dance floor action. Led by a piano player who's got to be first pick at The Celestial Being on their Friday night open mic spot (apologies if you're not actually dead, piano playing person) this is as joyous as disco can get and handily, you don't even need to believe to get down.

Twinkie was a Clark Sister before going out on her own and recording both these tracks for inclusion on her very hard to find and horribly expensive 'Ye Shall Receive Power' album in the early eighties. Once more AOTN dig deeper so that we don't have to. STAFF COMMENTS David says: If you're a fan of The Joubert Singers 'Stand On The Word' and let's be honest who isn't?

Then Twinkie is for you, an uplifting slice of gospel disco that will have you speaking in tongues and feeding the 5000 from Leo's Fish Bar before you can say, Hallelujah! Better known for expertly curated reissues and contemporary cuts from the avant garde, Palto Flats launch their PFF series with a three tracker from new outfit Conga Square. The quartet of Jimy Seitang, Brian Close, Andrew Felix & Ross Menuez kick off this string of limited dancefloor 12's with 'Secada Mondatta', a trio of creeping, crepuscular club tracks in the style of Tolouse Low Trax, Bear Bones, Lay Low and Durian Brothers. The set opens with the dark spiral of 'Fifth Season', a hypno-vision of mechanical tendrils, buzzing synths and sinister rhythms. Next up, 'Raiders' keeps the pace slow and low, laying some abstract, avant jazz noodle over the kind of ritualistic rhythm you tend to find on Italian horror score. Finally 'Secada Mondatta' sucks us into an off centre rhythm assembled in a haunted woodshop. Buzzing bass sounds and a dubby atmosphere make this the pick of the bunch for the Piccadilly staffers.

STAFF COMMENTS Patrick says: Conga Square make their debut on Palto Flat's new 12' imprint with three tracks of dark and dislocated dance-ish for the basement fringe of clubland. Slow, low and suitable for high volume play at the Salon. The North-East’s favourite DIY punks Martha return with a new single via zombie label Fortuna POP!’s singles club, the very last to be released on the label. A-side “The Winter Fuel Allowance Ineligibility Blues” previously featured on the now sold out compilation “It Came From Plan-It-X” while B-side “Fix My Brain” is exclusive to this release. Having been battered by the cruelty of this Tory Government, 'The Winter Fuel Allowance Ineligibility Blues', is a reminder that in spite of it all, we have love on our side.

It's bittersweet; it's about the horrors of austerity and desperation but finding power in the tiny acts of resistance - whether it’s being in love or simply putting the heating on. The B-side is Martha's take on The Marked Men's 'Fix My Brain' - one of the bands that started it all for Martha. Martha's version of their Dirtnap label mates' tune is a back to basics punk ripper, delivered with Martha's harmonious Northern charm. Both tracks were recorded at home in Durham with Jesus & His Judgemental Father's Danny Gibbins back in 2014. Hailing from Pity Me near Durham, Martha play energetic, impassioned power pop with intricate vocal interplay and lush four-part harmonies, informed by 90s indie rock and contemporary Scandinavian furniture. The band is comprised of J. Cairns (guitar), Daniel Ellis (guitar), Naomi Stephens (bass), and Nathan Stephens-Griffin (drums).

All four members sing and write the songs. Their debut album “Courting Strong” came out in 2014 and was included in NPR's top 50 albums of that year, winning them the epithet “One of Britain's best rock bands” from Drowned in Sound.

Their second album Blisters In The Pit Of My Heart was released in July 2016 to a similarly rapturous response, with the band playing End Of The Road Festival and Glastonbury at the personal invitation of Billy Bragg the same year. Following an emotional sold out headline set at the Scala as part of Fortuna POP!’s farewell celebrations in March of this year the band are currently working on new material FORMAT INFORMATION Ltd 7' Info: Limited Edition Coloured Eco Vinyl 7” (300 copies). Table Scraps hail from Birmingham, UK and create black-hearted garage punk which fully embraces the good, the bad and the ugly of rock’n’roll’s twisted lineage and various mutations. The band’s entire output is produced by themselves in-house and their no-compromise approach, having spawned a string of well-received 7” singles and an LP, extends to perfecting their chaotic and reverb-drenched live shows. The trio have more than held their own alongside Fat White Family, IDLES and Yak, as well as being hand-picked to open for The Stranglers, Buzzcocks and The Gories. Joe Talbot, frontman of IDLES was so impressed by the band that he recently span latest single - My Obsession - whilst sitting in for Steve Lamacq’s BBC 6 Music Recommends show.

“The hype is justified by their visceral and frenetic live shows” NME “Dark and brilliant” DIY “It’s rare to encounter a debut that ignites with such a potent park” The Line of Best Fit “A snarling sensation crawling their way out of the suburbs” Upset. I'll be the first to admit I'd never heard of Burnin Beat, or Olive Masinga, or this record until about six months ago, when NY edit upstart DanyB dropped the huge 'Love Is Torturin' Me'. After Kickin' Pidge, Dave Walker, Silvestre, Russ from Vinyl Exchange and half our customers begged me to uncover the original, I did a little diggin' and discovered it was Burnin Beat's 'Searchin'. Unfortunately for us, it was insanely rare and last changed hands about eight years ago for £600. We all stuck to the edit, made do with the loops and kissed our chances of owning this gem goodbye.

Well, that is until Afro Synth secured the rights for an official reissue, putting this divine 1979 South African disco banger within reach once more. On the A-side, 'It's Hot' leads in with big piano chords, sustained strings and wah guitar riffs, soon swelling into a glorious midtempo groove complete with slick bass and soulful vocals.

In the same timeless, emotive and exultant disco soul mould as Aleke Kanonu and Gloria Ann Taylor's 'Love Is A Hurtin' Thing'. On any other record, 'It's Hot' would be the star attraction, but this isn't any old record. Flip the disc and prepare to lose your shit to the frankly HUGE 'Searchin', a soulful disco masterpiece which combines the best bits of a Chic classic (cool guitar licks, dramatic piano, infectious rhythm section) with passionate vocals, very African organ tones and a massive midrange synth riff that WILL blast you into a different dancefloor dimension.

To be honest, words don't do this one justice, so just go ahead and hit the clips. STAFF COMMENTS Patrick says: That's right folks, the source material for that massive DanyB edit is finally given the official reissue treatment and it's totally unreal.

If you like your disco driving and soulful then this should stay with you forever. File next to Gloria Ann Taylor and Aleke Kanonu. 'When b&b meet to boogaloo, there’s a certain swing in what they do. One digs an cuts and does the do, one creates 'n' plays the magic shoobidoo. Now throw your socks and move your feet as we get way down to their beat!'

What have we here? Unless I'm much mistaken (which I never am), this is the long awaited, presumed lost collaboration between Growing Bin's Basso and UK-DIY dub-wave priestess Brenda Ray. If you've been landlocked for the past few years I'll give you the scoop straight from the swell.

The Hamburg digger cut a little Swiss harp into a gorgeous groove, but found an important ingredient was missing. Who better to make the magic happen than musical genius Brenda Ray, who mixed and wove a melodica spell, bringing it all together into a Balearic masterpiece.

Insanely limited, beautifully turned out (check that sleeve by Jiro Bevis!) and all round amazing, each copy sold will secure a charitable donation. STAFF COMMENTS Patrick says: Sublime work from Balearic royalty Basso and Brenda Ray here, combining all the best flavours of new age, dub and downbeat into two classy poolside groovers. Chopping harp-ambient and Italo obscurity, Basso creates the perfect grooves for Brenda to dub 'n' dance. Balearic record of the week, 7' of the year! The one-and-only, heroically self-determined, best-dressed chicken, straight to the head of all intolerance and bigotry. Recorded at Channel One in 1977, after a Kingston bus driver swerved to put the young Rasta in hospital. In London, the record’s popularity with punks was a big leg-up for the fledgling Greensleeves label.

The musicians who played on the record did so without payment. You have on this heavyweight vinyl four tracks that are all as good as each other.

Dub, roots and heart warming lyrics for all. This is a limited, anniversary edition on Tado’s own Keyman imprint.

STAFF COMMENTS Sil says: Monster 12' with four giant tracks from the Doctor. You can't go wrong with these classic roots tunes. Three mammals in a basement lounge taking turns to look hungrily at white-socked feet through a lopsided crack in the ceiling. A neutral/nocturnal pop group happiest when fed and cleaned by forces from above, half-lit by the sounds of a vacuum choir in the ether.

Hot, sick and fragile, they do what they can with their nubile instruments, though sometimes it doesn’t produce the results they want. The latest signing to Wichita Recordings, and one of only two acts ever signed to the label as the result of an unsolicited demo email (theirs is available for viewing upon request). The band said the following: 'He hung skinny in the basement for a week or two. Didn’t go outside. Blindsided by vacuous jump cuts, i guess.

I dunno, i didn’t ask him. He had a nice face and slow hair. You know, the kind that gradually primps itself upon exiting the folds of a dirty pillow.

Great body too. Played guitar a bit, probably better at bass. Not a bad drummer. Wore old t shirts and a selection of European tracksuit bottoms. There were two other kids too, I mean, they could have been older. Some chick, no, uh, guy. Probably sung more than spoke.

Recorded thousands of hours of this stuff in a loft. Something about “the great leveller”. Pretty spurious. That other guy, though? Nice and tan.

Power in his wrists. Good record collection, if that matters. Sugar-moulded face before he hit the showers with the rest of them.' STAFF COMMENTS Laura says: Gorgeous ethereal pop. FORMAT INFORMATION Ltd 12' Info: Limited edition - 200 copies only.

Stoned, dethroned, hazy and wavey, here's fresh Bronx upstart Mike, an 18-year-old rapper currently winning a whole host of fans through his DIY sound. Coupling woozy bars of personal narrative and skewed observations with gritty sample heavy beats, Mike calls to mind some of the genre's greats, including J Dilla, MF Doom and Madlib.

This self produced EP opens with the languid jazz samples and disjointed drums of 'Gnats', a smokers' jam perfectly suited to Mike's medicated drawl. 'Gnats' segues seamlessly into the sunny groove of 'Hurdles' a barbiturate dosed hit of Jamaican skank and southern soul flipped into a totally fresh rap cut. The chopped and screwed strangeness continues on 'Wait For Me', a fire slo-mo flip on 'Uptown Top Ranking' which makes a killer contrast with Mike's intricate, rapid fire flow and rhyme scheme. Finally 'God's With Me' flips some spirited, spiritual piano licks into an irresistible groove primed for Mike's best bars to date. Live and direct, this is the future folks.

STAFF COMMENTS Patrick says: Killer 2k17 shizzle straight from the Bronx here as 18 year old Mike drops a self produced heater. Chopped and screwed beats, gritty drums and spannered samples are perfectly topped by Mike's intricate flow. Matt says: Missing something in your life since Earl Sweatshirt's 'I Don't Like Shit'.

This will keep you satisfied until this disjointed & disenfranchised new cat drops a full length. Fresh off the back of an exceptional collaboration with Suzanne Kraft for Melody As Truth, the mighty D.K. Returns to his usual Antinote haunt for a sublime LP of serialist textures, esoteric electronics and exotic ambience. His fourth release on the label, 'Distant Images' sees Dang Khoa Chau heading deeper into his own sonic world, refining his palate, defining his palette as a unique blend of new age pads, fourth world influences and minimalist arrangements. Despite these heady influences and fractal obsessions, 'Distant Images' is also D.K.' S most organic album to date - the most attentive ears will hear seagulls on the title track while rain falls softly on 'Leaving' - and slightly departed from the digital universes that his previous records seemed to set in motion.

From the most abstract songs, like the Reich-ian 'Shaker Loops', to the most evocative ones, the five compositions on Distant Images are like stained glass, gently filtering natural light. It is therefore no coincidence if, of all the senses, the titles of the songs mostly refer to sight: close your eyes while listening to the cinematographic 'Days Of Steam' and visions of an industrious city might appear before you. Put this on your player and let your mind be free, there's beauty in the world after all. STAFF COMMENTS Patrick says: Simply put, this is breathtaking. Not only is it D.K.'

S finest release, but also an arguable highlight of the whole Antinote catalogue. 'Distant Images' sees the Paris based producer combine minimalism, new age and 80s jazz into a kaleidoscopic slow listening masterpiece.

Consummate Berlin dub science by the maestro. Beautifully textured, shuffling Lagos funk, on home-made percussion militant horns and a walloping, filthy-stinking kick-drum like the bucking, hairy hind-most of the Devil himself.

The Dub is Warrior Charge, 2016. What a record.

STAFF COMMENTS Sil says: I get all excited when I see 'Mark Ernestus' written over a vinyl cover. Simply because you know what you are getting. The best production there is out there and an outerworldly remix treatment.

In this case he has taken 'April' by Obadikah and convert it into an hallucinogenic dub techno beauty. So there it is. Buy on sight. With the label’s 10th anniversary celebrations now done and dusted, Claremont 56 returns to action with something rather special: a magical debut single from a previously unknown talent.

There’s not much we can tell you about Ferdi Schuster, other than that he is a talented young producer from Augsburg in Germany. As Claremont 56 is one of his favourite labels, he speculatively submitted some tracks for consideration. Label founder Paul Murphy was astonished by what he heard and believes the two tracks showcased on this 12” are amongst the best things the label has released for some time. A-side “Little River” is breathtakingly good. Opening with the sound of a babbling brook, it sees Schuster wrap plucked, sun-kissed acoustic guitar licks and jaunty vintage synthesizer motifs around a languid, samba-influenced groove.

As the track progresses, further magical musical elements come to the fore, including blissful electric piano solos and more mazy synthesizer solos, seemingly played on battered old equipment from the turn of the ‘80s. Schuster’s love of the acoustic guitar is explored further on similarly impressive B-side “Befreit”. Here, gently strummed chords and fluid Spanish guitar motifs catch the ear, as hushed cymbals and gentle hand percussion lap at your feet like the sea at sunrise. The German producer adds atmosphere through a combination of leisurely Hammond organ solos and a touch of Jew’s Harp. When all of these immaculate elements combine, the results are little less than spellbinding. Schuster may be taking his first steps into releasing music, but his compositional, playing and production skills are already finely tuned.

We can surely expect to hear more inspired music from him in the years to come. STAFF COMMENTS Patrick says: Just making it out of the pressing plant pile-up before 2018, Claremont's latest serving of mellow magic comes from German newcomer Ferdi. The A-side's a bossa beauty, the flip's pastoral and pretty. Continuing their unstoppable progress through the basements and bunkers of the world, Bahnsteig 23 enlist special operative Benedikt Frey for a fearsome four tracker of dark wired dance floor mayhem. The set opens in schlammin' fashion with the huge NDW-techno of 'Releipsuahcs', a system wrecking monster with a growling 'Throw'-style bassline, dislocated percussion artefacts, a snapping 909-rhythm grid and a ghostly German vocal. Supply the smoke, strobe and sound system and this MONSTER will take care of everything else!

A2 cut 'Soleil Toujours' sticks with the industro-techno-goth vibe, layering some chorus soaked guitar over a punishing, rezzy bassline. Relentless percussion keeps the energy sky high and the faintest shimmer of hazy vocal lends the track a Japanese cosmic touch (think Cos/Mes). Flip it for the all out industrial warfare of 'Traume', a stomping, snarling, distortion-laced re-smelt of a gritty German punk tune. This is the soundtrack to a frankly terrifying party at an anonymous basement dive where there's no door on the toilet and all the punters are clad in leather and rabid off bad speed. Finally the tempo drops and the intensity lifts with 'Tuscher Amur', a space age slice of New Beat equipped with sampler vocals, soaring pads and the finest synth riff this side of The Flirts' 'Passion'. STAFF COMMENTS Patrick says: Huge NDW/industrial/ techno vibes here from Ben Frey on the continually awesome Bahnsteig 23. I'm currently struggling to pick a favourite, but the brain-melting thrust of 'Releipsuahcs' and the otherworldly new beat of 'Tuscher Amur' should do you nicely.

Body & Soul legend, deep digger and all round musical expert Andi Hanley helps Rong celebrate their 10th anniversary with the 10th and final edition of their groundbreaking 'Promo Only' series. Now back in Manchester, Andi's been hard at work in the studio, turning out some exciting and eclectic edits which finally see the light of day courtesy of this killer silk screened double pack. The EP opens with the Balearic dancefloor in mind as Andi dubs out and pumps up Frankie's majestic 'Welcome To The Pleasuredome' for some all out dancefloor ecstacy. Next up 'Sylvia' takes us on a trip into a distant galaxy with all manner of rich space fx, a chugging bass sequence and the warm and airy sounds of the thumb piano, before 'Dream' takes us down a proto-house wormhole with rubbery bass, swirling synths and sultry vocals.

Slip on the second disc and step into your spacesuit! Andi out-cosmics Baldelli here, pairing a spacewalking bass sequence with synth asteroid belts and wild drum sounds. Get ready to get funky on the D with the badass boogie sound of 'Burt', a spaced out stepper decorated with cascading keys, squirming sax and laid back vocals perfect for early hours in your local disco. 'Yutaka' closes the set in sublime fashion, hitting us with the sweetest Japanese soul-jazz groove imaginable. The liquid bassline flows perfectly over the mellow instrumentation, while the exotic sounds of the Japanese flute leave you with goosebumps. Superb stuff from Mr Hanley, and the perfect end to a special series.

STAFF COMMENTS Patrick says: Back in stock after a couple of years on your wantlist, this delicious double pack sees the legendary Andi Hanley working his magic on disco, cosmic, proto-house and Balearic bangers! Sheeeeeeiiiiit son! As you're probably aware, Marcel Vogel dropped a top edit comp on his Lumberjacks In Hell imprint back in 2013, causing tops off excitement the world over with a MASSIVE flip of lovely Loleatta. Unfortunately, Marcel kept it street and sidestepped the whole licensing protocol, leaving the record in total repress embargo when the rights holders found out. Not only was this a pisser for the Dutchman, it also left hoards of very happy dancers with no chance of bagging this beauty on the black stuff.

Lucky then, that Salsoul have made a cheeky deal of their own, licensing that very edit for a single sided 12'. The work of Chicago duo Cratebug & Jamie 326, 'Hit It N Quit' borrows a relentless bass loop from 'Hit & Run' (think Paperclip People's 'Throw') then chops and drops those huge Loleatta vocals to create the perfect disco-house pounder. Played by the whole of the DJ elite, this screamer can demolish any dance floor out there, so play it loud and often! STAFF COMMENTS Patrick says: Arguably the biggest disco house smasher of the last five years is finally back on wax, this time as a single-sided, DJ friendly Salsoul 12'.

Guaranteed to turn any dance floor into a hysterical fist pumping mess, this is totally essential! Mancunian newcomer LOFT lands on Wisdom Teeth with a stunning set of dramatic, dynamic and cinematic club cuts. LOFT (deliberately capitalized) debuted on Astral Plane Recordings last year with the Resident Advisor-endorsed 'Turbulent Dynamics EP', which featured five stylistically varied slices of experimental, sui generis club music. The EP’s centre point, 'Heffalump', stood out in particular. Across 7 minutes the track rises and falls, its rhythms and melodies constantly shifting and changing, building to a fanfare coda of trance stabs and tumbling breaks. Resident Advisor, who placed the track 8th in their Top 50 Tracks of 2016, called it 'disorienting and strangely danceable' - a pairing that, on WSDM007, turns out to be LOFT’s calling card. 'Three Settlements Four Ways' picks up where 'Heffalump' left off.

Dynamically and structurally, the EP operates miles outside of traditional club territory, eschewing techno’s constant, linear structure in favour of unpredictable narratives that rise and falter in a series of dramatic crescendos. Baltimore rhythms and gunshot breaks build to violent peaks before tumbling into thin air, giving way to yearning melodies, romantic synths and pitch bent choirs. WSDM007 secures LOFT’s place in that special class of artists - think Objekt, Bruce, A Made Up Sound and the Sunklo pairing – capable of creating impeccable, challenging dance music that is at once cerebral and unfalteringly functional. If mindfuck dancefloor moments are what you seek, look no further. Back in 2016, International Feel impresario Mark Barrott unleashed standalone 12' 'Cascades', soothing and grooving his way through just under ten cinematic minutes of Tangerine Dream synth washes and undulating percussion. A proper deckchair dancer, the dreamy cut swayed from start to finish, never quite getting the nerve to hit the dancefloor.

Despite any lingering laziness, the cut was a killer and Francois K envisioned club potential, demanding the stems for a classic FK mix. Bumping up the percussion, looping up those fluttering synth licks and upgrading the bottom end from a growl to a roar, Francois transforms the cut into a deep, dreamy and most importantly driving slice of pure pre/post peak bliss. I cannot wait to hear this one breathe through a solid soundsystem. Over on the flip, 'Theme From Nowhere' shuffles through the swaying crowd at a balmy Pikes, pairing classic piano with bendy synth bass and syncopated percussion.

Imagine a medicated Metro Area copping some rays on Playa d'en Bossa and you'd be on the right lines. Suave, sophisticated and dressed in perfectly pressed black, here comes BSR 007, licensed to kill dance floors and set to seduce any right minded DJ in its way.

The Leeds imprint have done sterling work to date, and this trippy two-fer is the perfect companion to the double dose of Mori Ra from earlier in the year, locking us into a fireside ritual of shoulder rolling weirdness. For their seventh release, Balearic Social turn to Italy's modern masters of afro-cosmic swamp-funk, Mushrooms Project, who kick up the bonfire, crack out the cauldron and serve up some utterly lysergic groove music. Stretching across the whole of the A-side at a langurous 70 bpm, title track 'Motolani' is a proper head trip - a treacle thick amalgam of low slung bass, rainforest melodies, space synth and organic percussion, brought to a simmer with tribal vocal samples, whistles and birdcall.

Imagine a lost Alessandroni score to an early 80s giallo flick in which a hapless Bear Grylls happens upon a ravenous bunch of musical canibals - this is the feast scene! The tempo ramps up significantly (105bpm-ish) on the B-side as the Parma duo set shoulders rolling with the pulsating Balearic beat of 'Chillin'dretti'. After an inviting intro of echo drenched vocal samples, buzzing bass and syncopated percussion, the track soon segues into a perfectly balanced fusion of driving 303 bass and dreamy piano keys. It's Pink Floyd on pingers, Brits abroad in '91 and the kind of danceable downbeat you'd expect to hear K&D deliver at the peak of their career. STAFF COMMENTS Patrick says: Another excellent outing from Leeds' Balearic Social, who enlist Italy's most lysergic duo for two tracks of polyrhythmic, hypnagogic dance music. Whether you lose it to the swampy tribal of the A-side or acid stomp of the flip, the choice is yours.

For this newest outing on Black Beacon's run of killer 7's, young whippersnapper and all-round musical mastermind Yak smashes out a couple of fractured but rolling bassy electronica numbers. First up, we get the skittering percussion and ambient scratches of 'Viggy', rhythmically leading the way into a throbbing deep dubby techno breakdown, replete with jagged glassine truncated drum samples and throbbing TM-404-style acidic throbs. Ambient enough to sneak away into the background, but pull your attention back when that euphoric build-up starts to form. The rapid change from avant ambience into a body-rolling 4am groover is a rapid, but perfectly calculated beast. Next up, and 'Marieta' keeps things low-key in the first instance, once again trading in bit-crushed percussive stabs before relaxing into a steady militant groove. Slowly segueing from syncopated percussion into a full-strength technoid workout, adding elements and abstracting others until the morph is complete. Cleverly sequenced, brilliantly written, and perfectly produced.

Another winner for BBS. STAFF COMMENTS Barry says: Brilliant release this, deep rolling bass, pulsing synths and clicking syncopated percussion.

Imbued with influences from all over the electronic spectrum, and put together with panache and style. And to think when I was his age, I couldn't even find my hoodie. Jerome Derradji is back on Stilove4music with a 3 tracker of deep disco explorations.

'Brighter Day' is pure Stillove. Uptempo, feel-good, highly kinetic disko bizniss. 'Step By Dub' is a loopy, leftfield groover, decorated with piano stabs, scorching synth solo and infectious vocals.

'Demon' completes the set with twisted loops and tribal chants, sent spiraling into oblivion through Derradji's adventurous knife. DJ support by Dj Spinna, Danny Krivit, Laurent Garnier, Bill Brewster, Dj Monk One, Mystic Bill, Joe Muggs, Alex From Tokyo, Simbad, Taimur Agha. Dating back to the fledgling early days of the label 'Tales From the Second Moon' by Apogee was the first of many Peacefrog releases by Dan Curtin. As with Dan’s other early releases 'Tales From the Second Moon'‘s angular, dancefloor groove borrowed from the original Motor City blueprint with a melodic sensibility that was drenched in the kind of yearning melancholy that suggested either pain of a heartbroken lover or the brittle dislocation of someone who longed to be transported to a distant galaxy. The acid, strings and complex rhythms contained on this EP originally released in 1993 were soon to become Dan’s trademark sound.

Limited stock available. STAFF COMMENTS Matt says: A record and producer synonymous with Peacefrog, pirate radio and London. This, my friends was the in-sound of the underground. 'Horizons Forgotten' instantly transports me to the hedonistic yet edgy mid-90s and the M25 orbit. Powerdance make a much needed return after their album 'Art Of Getting Down' made quite an impact here at Picc HQ. Luckily, they've not decided to switch their vibe just yet - keeping that loose and funky, disco-not-disco aesthetic fully intact for this new number. A charged percussion section and real low slung bass powers the track, as (occasionally) robotic / deadpan vox and playful interchange supply the message.

Much like Golden Teacher it's all about the energy and the groove, slowly locking you into its mantra and forcing you to shake your shit. The record comes with an alternative version titled 'Fantasy Beat', which actually keeps most of the vocal elements but deploys some smiley elements via a fizzy synth hook but still heads for that lost-in-the-smoke, glitter ball disco excursion that conjure up images of a seriously heady dancefloor in full swing. Powerdance are mega! You need this!

STAFF COMMENTS Matt says: Powerdance haven't put a foot wrong yet, keeping their baggy and funky, disco-not-disco rep totally intact as they muscle to the front of the stage alongside fellow luminaries Gramme, Pollyn, Golden Teacher and, (Dave's favourite), Phenominal Hand Clap Band. Burial releases two new tracks on Nonplus, and consequently they're falling more on the side of fast and clubby than the moody and ambient numbers he's been saving for Hyperdub.

Just in case anyone didn't know, it's ten years since the release of 'Untrue', which many are calling the most important electronic album of the last decade, and current interest in Burial is as voracious as ever. 'Pre Dawn' sees the South London pioneer drop a full throttle techno bomb but executed in his totally idiosyncratic style.

Vast enough for the bigger stages but moody enough to rock a backroom, it's undeniably Burial through and through and sees a cavernous kick rocket ghostly melodies into the air whilst grating, tearing washes of sound drift over the mix. 'Indoors' drops the shoulder into more familiar territory, but it's still frantic and fast paced as an incomprehensible (female?) vox penetrates unceremoniously through a slew of pitch black fog and scorched electronics. One of Burial's most fierce and out-there productions to date; bold, uncompromising and challenging; Burial die-hards are gonna fall for this big time. STAFF COMMENTS Matt says: It's hard to ignore Burial at the moment, as 'Untrue' celebrates its tenth anniversary. With many touting it to be the most important electronic album of the last decade, it's nice to see Bevan keeping his adoring fans happy and dropping a brand new double header, rich in his pitch black, ghostly style.

New Dego & The 2000 Black Family here with a much anticipated EP on Neroli. 'The Way It Should Be' should instantly remind anyone over the age of 28 what much of the UK's backrooms and dancefloors sounded like around 2004. Funky, soulful, vibrant and bouncing, with an emphasis on musicality and great hooks; a contrast, some might say, to the technicoloured, spectrum-busting futurism that seems to be currently in-vogue across the UK dance elite. 'Spiritual Reconnaissance' sees some authentic and fresh broken beat vibes dished out by one of the OG innovators. Jazzy-flecked, warm and swirling, it should prove to any recent converts of Yussef Kamal, Tenderlonious or Henry Wu that London's been doin' this ting for some time, and pretty much rules the roost! Finally, 'The Way It Should Be' is presented in dub form, just in case you weren't impressed with the killer vocal performance. STAFF COMMENTS Matt says: The first Dego releases on Neroli are now well gone and highly sought after units.

I see no reason why this won't follow suit. Excellently soulful house and broken beat here from one of London's top players. Music From Memory’s final 12' for 2017 is a reissue of Dub Oven's self released, and sadly one-off, 1983 EP 'Skin N Bones’.. Pioneers in the Post Punk Industrial and New Wave scene in 1980’s San Francisco, Gary Miles (Voice Farm) and Blaise Smith (Minimal Man), met at San Francisco’s notorious 181 Club in December of 1982. This straight/same sex/swing-both-ways late night dive bar was tucked away in one of the city's most risky, drug riddled neighbourhoods. Stationed near the SF Museum of modern Art it attracted a wild audience of local patrons, aspiring young artists and music heads. In the thick of all this the duo felt impartial to a lot what was going on musically and set out to produce electronic music that could break through the 'somewhat exhausted post disco sound that was then competing in the local San Francisco clubs'.

Enlisting soul vocalist Celeste Miller, the duo were also inspired by Lee 'Scratch' Perry / Upsetters dub tracks being produced in Jamaica and created a unique breed of avant guard hybrid New Wave/Electronic Funk. With its influences seemingly as much rooted in the past and the present as it was focused on the future; Dub Oven formed a distinct, mystical approach to music intended for the dance floor. All three tracks on this 12' embody a signature groove and an inventive synthesized abstraction to express a languishing urban unsettledness and spiritual awareness. Recorded at L7 Studios in San Francisco with the assistance of the the studio’s in house producer Marco Perry (who currently now works with Bjork) the record was unfortunately overlooked by A&R at several major and even local labels and was finally self-released in very limited quantities. Utilising analog electronics and instrumentation, the record draws on elements of dub, new wave, soul and funk to create a sound that is uncategorizable and one that was perhaps simply too forward thinking for its time.

STAFF COMMENTS Patrick says: MFM cap off an excellent year in their 12' series with this bonkers bit of dubby/new wave from 80s Frisco. There's a wonderfully weird bedroom B52s vibe to these three tracks, which are currently causing all manner of excitement amongst the Piccadilly staff. Although renowned as a maker of dark, intense, doom-laden techno, Donato Dozzy has been known to dabble in house from time to time. That's the idea behind his new Afterhouse label.

Of course, nobody would expect Dozzy to deliver fluffy deep house or slick U.K garage. Typically, the four cuts here - from the brilliantly broken, analogue-rich wonkiness of 'B', to the hypnotic, Chicago-influenced late-night jack of 'D' - all tend towards the dark and clandestine, with the producer's usual murky aural textures present throughout.

There's a slightly more positive feel to the clattering drum machine hits and simple, otherworldly synth lines that mark out closer 'E', while the thrusting, loopy 'C' feels like a pitched-down take on his usual techno sound. STAFF COMMENTS Matt says: Dozzy ditches the Jew's Harp and gets back to business - grinding, filthy tek for the heads and the freaks. Hot on the heels of Stroom's NSRD retrospective LP comes the perfect companion piece, a quartet of the group's most danceable tracks combined onto one maxi 12'. If, like me, you're obsessed with minimal wave, mutant disco, NDW, grooving post punk and bedroom funk, you're gonna lose your shit for this one. Opener 'Neskaties' hits us with clanging, clattering tin pan percussion, dubbed up drum machines, shoulder rolling synth bass, trumpet, and a floppy disc full of cut and paste samples.

I'd have bought a copy on the strength of that alone, but when the pastoral electronics, circular melodies and solid 4/4 of 'Ziemelbriezu Pajuga Pa Rigas Juras Lici' I feel like I've borrowed Mario's flying hat and shot way beyond the clouds - lush, lovely, lo-fi euphoria! Seguing seamlessly into darker, dubbier territories via 'Nujorkas Taksometra Pa Manhetenu', this A2 animal allows you to mix out at a sunny 120ish or take things into the murk at 80bpm - Mega! Keeping the quality high on the B-side, 'Augu Nakti. Sovakar ' locks us into a slow and steady trance dance, gothing away with a moonlit fusion of gloomy electronics and Gregorian chant. 'Splivens' signs off in emotive fashion, approximating the end-of-season melancholy of a Depeche Mode classic as a proto Italo-house/NDW fusion - sounds mental, is mental.aaaand totally unmissable. STAFF COMMENTS Patrick says: Stroom follow their NSRD LP with a killer maxi dance 12' for the adventurous DJs out there. Lo-fi electronics abound on this ace slice of underground Latvian oddness - Dejot!