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This is the peak of George Benson's courtship of the mass market -- a superbly crafted and performed pop album with a large supporting cast -- and wouldn't you know that Quincy Jones, the master catalyst, is the producer. Q's regular team, including the prolific songwriter Rod Temperton and the brilliant engineer Bruce Swedien, is in control, and Benson's voice, caught beautifully in the rich, floating sound, had never before been put to such versatile use.

On "Moody's Mood," Benson really exercises his vocalese chops and proves that he is technically as fluid as just about any jazz vocalist, and he become a credible rival to Al Jarreau on the joyous title track. Benson's guitar now plays a subsidiary role -- only two of the ten tracks are instrumentals -- but Q has him play terrific fills behind the vocals and in the gaps, and the engineering gives his tone a variety of striking, new, full-sounding timbres. The instrumentals themselves are marvelous: "Off Broadway" is driving and danceable, andIvan Lins' "Dinorah, Dinorah" grows increasingly seductive with each play. Benson should have worked with Jones from this point on, but this would be their only album together.

On July 1st Ploy's ascendance continues with 'Unit 18' – a new EP dedicated to his record label and club night Deaf Test's spiritual home – Venue MOT Unit 18 in Bermondsey, South London. With an already loyal following and fabled atmosphere, the parties inform Ploy's productions and vice versa. "These are three rave tracks, all influenced by sound system culture, with my take on different styles, made for various times of the early hours in our sweaty venue", he comments. Maintaining the floor-focused approach of his previous, acclaimed 'Rayhana' EP, here Ploy brings more organized chaos. Sound waves blast away cobwebs with gale-force power, and jolt you awake, like an intravenous shot from the mains. These forthright, no-nonsense workouts appear simple, but are incredibly well-made, revealing discreetly clever touches likely to provoke 'how did he do that?’ scrutiny from other producers. With ten-ton-kick-drum pressure, snares like booted dustbins and an intense build of energy, on 'Stinky' a soundclash turns into a back alley brawl... with lazers. Influenced by drill bass lines, UK bass music and soundsystem culture, the 'stink and perspiration’ lyric will be surely be apt, especially with a July release date. Imagine the scene: whilst a deranged, malfunctioning robot MC yaps and undulates, vampires chase their victim through a packed rave, before feasting on flesh. Ravey and riotous, with horror flick tropes and a touch of electro, the 138bpm wallop of 'Ninety One' is an ode to his year of birth, when magpie like, sample heavy tracks made for innocent, non-overthought, but compelling anthems. Grimey like the dance after which it's named, title track ‘Unit 18’ is a 155bpm half-time stomper, with nods to bounce, 00s hip hop, UK drill and dubstep. Combining flying congas, wookie moans and a classic DMZ stye flute line, this low slung, personality filled throbber will stand out and turn heads.

Emerging from the dark recesses of the Chicago and London underground, in 2000 Omni a.m. relocated to New York. This EP marked their first release in their new surroundings, it's an intense and highly sought after 4 tracker that showcases the duo's continuing originality and guile.

First up 'Smurfette's Big Night Out' is imaginative in it's approach, there's punchy beats and cascading percussion that drive the track along and really deliver the funk. Psychedelic acid touches interweave with haunting pads and a super deep b-line creates a chemistry like no other. Next is 'Buckshot' a more stripped back rolling affair. Undulating synths and swathes of infectious bass build the track throughout, whilst spacious analog delays and dub influenced sonic tricks abound. Over to the flip where 'I On U' is a wonderful floor friendly roller coaster of a ride, intro'd by a super phat kick, there's stuttering snares that jack and swing, whilst warm synths bubble and filter. Lastly 'Sick Sense' sets the controls for deep space, the bold throbbing bass makes it proper heads down groovin' affair, and the expertly programmed spoken word vocals interplay to add intrigue and atmosphere.

New York Sessions is a cherished release from the Omni a.m. catalogue, a classic where all 4 tracks ooze class and character. This EP has certainly stood the test of time and has been lovingly remastered by Curvepusher for today's discerning minds and dance floors, full support already coming from Raresh and SIT.

Born Don McCarlos,he processes one of reggae's most distinctive voices.
His vocal mannerisms being instantly recognisable over a tune ,yet he remains one of Jamaica's best kept secrets.
We look back to some of his finest moments that set the tone for his popularity that was to follow in the Dancehall period of Reggae.
He began his musical career in 1973,when alongside Garth Dennis and Derrick Ducky Simpson he formed one of Reggaes foremost groups Black Uhuru.
He then joined Wailing Souls before going solo under his shorter name Don Carlos
We find this set hard to beat as most of his classis are represented here and hope you find some magic as we have unearthing and compiling these lost treasures...Respect

DRONE PLANETS...dropping beat science from the cosmos on citizens of the underground

Drivetrain (Detroit, USA) - Istanbul (featuring Joell Krista)
This colossal big room blast features punchy bass with flavored syncopation strutting atop a relentless rhythm track to produce the perfect sound track for a late night, tour guided excursion through the streets of the city of Constantine

G.E.N.I (Nottingham, UK) - Civil Unrest
The clandestine trio is sure to deliver kaos on the dance floor as they tickle the bottom of the frequency spectrum while playing mind games with twisted bleeps, tweaks and the sporadic heckling of an official warning announcement

DistantLover (Detroit, USA) - Sexual Chocolate
Loud and unforgiving, hinting of the essence of disco this infectious groove with its tasty vocal samples generate maximum energy and a debut endorsement for body stimulation

100 copies only

Apron Records has been instrumental in shaping the current landscape of contemporary electronic music coming out of the U.K. since 2014. After almost a decade of pushing their unique vision has made the Apron Records imprint one of the most in-demand labels in most independent record stores. Now more than 45 releases deep in their journey, Apron Records have teamed up with Patta Soundsystem to work on their first various artists release and to celebrate this monumental milestone, both camps have collaborated to create a clothing capsule to accompany this release. After working with the artist formerly known as Funkineven on ‘The Wave’ late last year, it was only right to showcase the diverse talents behind this movement.

Sharing a drawing board with Patta for the first time with Apron Records, together they have created a Trucker Cap and a Graphic T-Shirt that echo the racing theme of the whole project. Better Together is the slogan that runs throughout the entire collaboration, stressing how unity makes us stronger as individuals. Artwork for the record has been provided by Amsterdam based artist Jim Klok. His unique Acetone printing technique has now been immortalised on this LP, juxtaposing vintage cars with checkered racing flags to create a dynamic cover that would be right at home in a picture frame as well as a record bin.

System Olympia’s ‘Passi Mai’ is a beautiful 80’s inspired driving riddim layered with her own vocals that wouldn’t be out of place in an arcade or a sticky nightclub floor. Followed up by ‘Leven’ by Brassfoot, we get a wobbler from the NTS regular. Layed with Jamaican vocal samples and audacious arpeggiated bleeps, Leven is a soulful approach to techno tropes that have been bouncing around Brassfoot’s head. Shamos’ 737363 is a cryptic masterpiece. With dreamy pads as a backdrop for shuffling drum beats, euphoric sweeps and dynamically designed synthesis, this closes off the themes explored in the first half of the record.

Side B kicks off with J M S Khosah’s contribution to the record titled ‘Lessons’ which is a dancefloor filler, adorned with glamorous percussion, vocal samples and syncopated stabs ontop of a driving 4x4 kick pattern. Kicking things into 6th gear is a club-ready production from London's most soulful selector Shy One. Groovy basslines and a 2-step riddim make ‘Candy Floss’ an ode to the grimey and the glittery sides of London nightlife. This project champions one of the people that have been pivotal in the success of the label, Steven Julien whose track E46 is an emotional journey through his synth-laden East London studio. Bookending the project are two compositions from Compton’s-own AshTreJinkins. Showcasing his abilities to approach the project from both an ambient and a pure beat-making perspective in order to hold the whole project together.

The Decades Collected compilations are part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favorite tunes while uncovering new musical grounds at the same time.

Various Artists - Nineties Collected features R.E.M “Man On The Moon”, Freddie Mercury “Living On My Own”, Texas “Say What You Want”, Lenny Kravitz “Always On The Run”, Erykah Badu “Tyrone (Live)” and Blind Melon “No Rain” amongst others.

A lot has been said and repeated about the interiority of this club music - how the joyful tremor of the "Raingurl" refrain holds hands with such soft and doubtful verses. How special it is that house music so of New York can contain storytelling cultivated so far away. That repetition is born of people all over the world going out, and staying in, with this music as a compass; songs that define so many late night hangs for crews of friends, singalongs in DJ booths, contemplative 5am walks home from the club. What can get lost in that repetition, in the shifting canonization of these recordings as symbols of any one scene or moment, is what was behind the pair of round glasses reflecting so tirelessly outwards. Yaeji, an exceptional friend only at the very beginning of finding her path as a cross-disciplinary artist and collaborator. Yaeji wrote this music while going out nearly every night of the week to DJ and support her own NYC community of friends at their turns behind the decks. These tracks originated from explorations in dancefloor anonymity, growing from seeds planted by sharing her first musical experiments online.

We can't think of many other performers like the singer/songwriter/dancer/actress Asha Puthli who have excelled in such a broad range of genres. From 60s psych, Classical Indian music, Free Jazz, Pop, Soul, Disco, to Rock, the list goes on. A 'best-of' or an 'essential collection' is always going to be a subjective thing, but for what is unbelievably the first official compilation covering the full breadth of Asha's illustrious career, we aimed to provide a snapshot into her ever-evolving musical journey and a tribute to the vast richness of her catalogue.

Some singers want to be famous, others are pop star icons, and some are artists; Asha is the latter. Asha is a true force of nature, regardless of the genre she explores, she fully commits, moves on, and reinvents herself, always progressing. Looking back on Asha's career, it is evident what a trail-blazer she was, opening doors for her contemporaries and those who came later to step through. Whether it was conscious or not, you can recognise Asha’s influence in aspects of Kate Bush's ethereal image and performance, in Donna Summer’s high-smooth vocal sound and disco stylings, and in the gumption and power of Grace Jones.

Kick-starting the compilation is ‘Pain’, the Indian psychedelic garage rock sounds of The Savages featuring Asha. We have to admit, we had to strongarm Asha into letting us include this track at first; also due to its rare nature (and lack of any master tapes) the recording we present here is raw and low-fi. However, we felt its inclusion was important to fully represent the journey of Asha's career, the same consideration was also applied to two of the Asha & The Surfers’ songs that we have included in this collection.

Asha saw a link between jazz and classical Indian music "the improvisation, the minor chords, the free form, the liberalness of the art" we showcase her love of jazz here with seminal works with the legendary Ornette Coleman, taken from the revered 'Science Fiction’ album. Asha's 'CBS years' are represented here, how could we not include 'Space Talk' on this collection, and how these years progressed into her amazing disco offerings such as 'I'm Gonna Dance' & 'Music Machine'. The bizarre 'We're Gonna Bury The Rock With The Roll Tonight' from 1980 has also won us over. A pseudo-50s throw-back song that sounds not un-similar to the post-modern, leftfield, pop of an MIA production to come years later. Rounding off the compilation we have Asha's interpretation of a Michael Jackson classic that sat lost on a cassette-only released in India.

ANZOLA is a recording artist whose loop-based neo-psychedelic music incorporates elements of Instrumental Hip Hop, Electronic, Jazz and Latin influences. The multi-instrumentalist creates a groove-heavy and laid back landscape utilizing samplers, classic synths, drum machines and live instrumentation. His new EP Caracas finds him in a reflective mood, looking back at his youth spent growing up in the city of Caracas, and his experience immigrating to Canada. Entirely self-produced, these six tracks transport us into ANZOLA's kaleidoscopic vision of his youth: a world of heat and haze, colour and texture, of lazy afternoons and late-night dances, languid jungles and chaotic streets. All created instrumentally utilizing drum machines, bass, synths, electric pianos and samplers. "I've always been better at communicating through chords and rhythm than with words. On this record, I followed my feelings and memories to return home."

Time Cow & Ossia take 2 tracks from Jabu’s 2020 album ‘Sweet Company’ into unfamiliar (and dance floor friendly) territory. Side A sees ‘Us Alone’ gets transformed by Time Cow from slo-mo tearjerker into syrupy disco wrecker, managing to somehow touch on reference points everywhere from east LA lowrider anthems through 00s garage and all propelled fwd by an eyeball shaking low end pressure. On the flip Ossia takes snatches of the original ‘Slow Down’ and flashes them in around a 4/4 and a synth melody, fragments of Daniela’s vocal floating like a half remembered conversation. Later Rakhi’s strings come in but in a more unsettling way than the original, eventually dissolving to a kind of Majora’s Mask (in dub) conclusion. All terrain / all weathers - club / bbq / afterparty / late night introspection sessions.

The Lost Daughter is a critically acclaimed 2021 psychological drama film written and directed by Maggie Gyllenhaal in her feature directorial debut, based on the 2006 same-titled novel by Elena Ferrante.

The film stars Olivia Colman, Dakota Johnson, Jessie Buckley, Paul Mescal, Dagmara Domińczyk, Jack Farthing, Oliver Jackson-Cohen, with Peter Sarsgaard, and Ed Harris. Colman also serves as an executive producer on the film. The film follows Leda (Colman) who is on a solo-vacation at the seaside and becomes consumed with a young mother and daughter as she watches them on the beach. When a small, seemingly meaningless event occurs, Leda is overwhelmed by memories of the difficult, unconventional choices she made as a mother and their consequences for herself and her family. The seemingly serene tale of a woman’s pleasant rediscovery of herself soon becomes the story of a ferocious confrontation with an unsettled past.

The Lost Daughter premiered at the 78th Venice International Film Festival, where Gyllenhaal won the Golden Osella Award for Best Screenplay. At its opening night world premiere, the movie received a four-minute standing ovation from Venice Film Festival attendees. The film also received three nominations at the 94th Academy Awards for Best Actress (Colman), Best Supporting Actress (Buckley), and Best Adapted Screenplay.

Thescore is composed by Dickon Hinchliffe, founding and former member of Tindersticks. Dickon’s unique style of composition and arrangements developed from his classical study of the violin and song writing and recording in bands.

The Lost Daughter is available as a limited “Peal it like a snake, don’t let it break” edition of
750 individually numbered copies on orange marbled vinyl. The LP features alternative artwork designed by Yelena Yemchuk, a Ukranian professional photographer, painter and film director, best known for her work with The Smashing Pumpkins. The vinyl package includes an inset with pictures and liner notes by both Maggie Gyllenhaal and Dickon Hinchliffe.

It’s been a long way. All seems to blend naturally with ‘A Long Way’, the debut album from Parisian duo Jacques Bon & Drux.

Jacques is a long term friend, who was running the Paris branch of the Smallville record store for 13 years (2006 – 2019). He made himself a name also outside of Paris as a DJ and with music released on Giegling, Kann, Mule Musiq and of course Smallville. Jacques shares his studio in Paris with Vincent Drux, a producer and sound engineer, who recently started his own imprint Cabale Records. Both got together naturally in the studio for hour-long sessions to craft an album together. House music at its most meticulous form.

First, as a short form, in which every track captures another time zone of the dancefloor experience. And then as longform, as a whole album with a narrative that combines futuristic aesthetics, classic ethos and human warmth.

From the rolling percussion and windy-city style bassline of opener ‘Distant Voices’, with its cut yet longing distant voices, through deepy, dubby and raw ‘Celeste’, the haunting synths of ‘Mirage’; The snares that arrive mid through ‘Space Ways’ and launch into another level; ‘Radiance’’s Techy vibe ride; The late night chords and peak time beat programming of ‘Your Wings’; And then final couple stick the landing with enough energy, deepness and beauty - ‘Elevate’, which channels Bon and Drux’s inner Fred P, and ‘Sandstorm’, a mastery percussive tale with a long, repetitive chord that opens and closes, teases until it disappears and remains nothing but a whispery dying effect.

Words by Niv Hadas


All Tracks are written, produced and mixed by Jacques Bon & Vincent Drux

(Incl. Nick Holder & AceMo Remixes)

BURNING HEAT is a potent tincture, a focused distillation now years in the making. Carefully chosen from over 20 new productions and extensively play-tested at parties across New Orleans and beyond, BURNING HEAT is the latest collaborative effort by locals Quickweave (Jalen Dilosa) and Redance (David Yaconi); a split EP forthcoming on Hiatt dB’s New Orleans-based Mystery Zone Records July 1st 2022.

The 180-gram 12 inch features 2 tracks from each artist along with a pair of remixes split evenly between the “WHITE HOT” and “RED HOT” sides courtesy of Toronto’s Nick Holder and NYC’s AceMo, respectively. Its sound draws inspiration from the lessor-dug House stylings of the early 00s. With BURNING HEAT, Quickweave and Redance have repositioned the era’s lush textures and sensual atmosphere against heavier rhythms and more circular, hypnotic arrangements. The result? Deep club workouts focused on fostering connection, joy and romance on the dancefloor.

These hard-hitting, DJ-friendly productions were made in part to power the duo’s post-lockdown come-back party venture, Mercy. Early demos and updated edits became part of the sound of our collective reconnection as lockdowns relaxed and infection numbers fell in Summer 2021. On BURNING HEAT you’ll hear late-night New Orleans in the dead of Summer – warm and inviting club cuts to soundtrack a low-lit, neighborhood backroom disco-dive. Polished from a trove of DJ tools made for the artists’ personal sets, this selection features nothing but guaranteed party-starters, vetted both in the studio and behind the booth.

When angels meet the devil. When a voice is touching your soul and grooves are here to make you dance like there is no tomorrow: this is how we would describe CAIVA's first EP on NALI. With rave-infused cuts, ethereal soundtracks and pulsing breaks, CAIVA delivers a full journey for your long summer nights.

Pressed with Green Vinyl Records
100% recyclable records / 90% energy saving / less waste during production process.

Back in stock on Black Vinyl !

Stars Are the Light, the luminous seventh album by the American psych explorers Moon Duo, marks a progression into significantly new territory. From a preoccupation with the transcendental and occult that informed Ripley Johnson and Sanae Yamada’s guitar-driven psych rock, and reached its apotheosis in the acclaimed Occult Architecture diptych, Stars Are the Light sees the band synthesize the abstract and metaphysical with the embodied and terrestrial.

Branching out from Occult Architecture Vol. 2, the album has a sonic physicality that is at once propulsive and undulating; it puts dance at the heart of an expansive nexus that connects the body to the stars. These are songs about embodied human experience — love, change, misunderstanding, internal struggle, joy, misery, alienation, discord, harmony, celebration — rendered as a kind of dance of the self, both in relation to other selves and to the eternal dance of the cosmos.

A lot has been said and repeated about the interiority of this club music - how the joyful tremor of the "Raingurl" refrain holds hands with such soft and doubtful verses. How special it is that house music so of New York can contain storytelling cultivated so far away. That repetition is born of people all over the world going out, and staying in, with this music as a compass; songs that define so many late night hangs for crews of friends, singalongs in DJ booths, contemplative 5am walks home from the club. What can get lost in that repetition, in the shifting canonization of these recordings as symbols of any one scene or moment, is what was behind the pair of round glasses reflecting so tirelessly outwards. Yaeji, an exceptional friend only at the very beginning of finding her path as a cross-disciplinary artist and collaborator. Yaeji wrote this music while going out nearly every night of the week to DJ and support her own NYC community of friends at their turns behind the decks. These tracks originated from explorations in dancefloor anonymity, growing from seeds planted by sharing her first musical experiments online.