Buscar:side b

Flying into the new year with the return of The Southside Surgeons - the production team of WeeG & Si Cheeba on the “Echo-Labs” sub label (for collaborations in the Echo Chamber) - with another double header of clubwise 45 action

The A Side “Calling All Dancers” drops a Cosmic-Afro-Boogie sound laced with funky breaks - coming on like Dexter Wansel -vs- Manu Dibango - with a mid 1970s club feel and subtle up to date production.

It certainly lives up to its name, as a rallying call for people to hit the dancefloor, when it’s recently been aired on Test Press up and down the country !

The flipside “Follow Me…” takes you to a late 1970s Brasilian Block Party with a variation on a familiar bass line, cut up with brass stabs and old school rap vocals. It’s proving to be a great party starter with its head-nodding groove and funky chants.

“The group has no niche, it doesn’t fit in anywhere,” explains Necessaries drummer Jesse Chamberlain in a 1980 Melody Maker interview. “We just state the facts about life in America, like The Clash did about England, but we’re not so heavy about it.” The Necessaries rose from the ashes of Harry Toledo & The Rockets, a little-known New York art-rock band playing gigs at Max’s Kansas City during glam’s metamorphosis into punk. —From the liner notes by Michael IQ Jones The Necessaries came together in 1978 and in the too-brief lifespan of the band counted among their members, Ed Tomney (Rage To Live, Luka Bloom), Jesse Chamberlain (Red Crayola), Ernie Brooks (Modern Lovers), Arthur Russell (The Flying Hearts), Randy Gun (Love Of Life Orchestra). First championed by John Cale on the strength of Tomney’s songs, Cale produced their first single for Spy Records (under the I.R.S. umbrella) which was released in 1979. With the forward momentum brought about by the single, the band set about tracking demos intended for Warner Bros., but The Necessaries ultimately would sign to Seymour Stein’s Sire Records. These rough demo basic tracks lacked overdubs, mixes and any finishing touches that would have made them viable for commercial release, but due to tour commitments, the band had to put the sessions on hold to hit the road. While on tour, the band was shocked to discover that Sire had issued the unfinished tracks as their debut album Big Sky (issued in 1981). The band had Big Sky withdrawn and replaced with Event Horizon (issued in 1982) which included half the original tracks from Big Sky and continued to record throughout 1982 aiming for a follow-up. It was not to be and their final studio sessions remained unissued until now. Completely Necessary (Anthology 1978–1982) is the first authorized collection of recordings by The Necessaries and includes 37 tracks, 28 of which are previously unissued. Completely Necessary represents the most accurate musical history of the band laid out across three albums. Disc one is the band-approved first album Event Horizon, followed by Pilots Facing North, a disc collecting studio recordings spanning 1978–1981 and disc three finally sees the release of their final sessions, Songs From The Blue Colony. Album notes by Michael IQ Jones trace the history of the band for this compilation produced by The Necessaries’ Ed Tomney and Cheryl Pawelski (Omnivore Recordings). The audio has been restored and mastered by Michael Graves at Osiris Studio, and both the 3-LP and 2-CD sets feature previously unseen photos across the package. Finally, an essential missing piece of the late ’70s/early ’80s New York scene that was just slightly ahead of the college alt-rock soon to come, is finally available to rediscover—this time it’s authorized and absolutely necessary. BUY! HERE’S WHY! • The first authorized and comprehensive anthology by The Necessaries. • Mid-’70s/early ’80s New York rock/punk/art scene band included members: Ed Tomney, Ernier Brooks, Arthur Russell, Jesse Chamberlain, and Randy Gun. • 37 tracks, 28 previously unissued. • Liner notes by Michael IQ Jones, plus unseen photos.

Cedar Room Party Edits comes back strong with two dance floor weapons.
Side A: “Baby” flips raw house energy into a positive, Latin-disco vibe.
Side B: “Love” delivers a killer jazz/funk edit.

„SUMMER 1987 - DATA BITS RACING THROUGH YOUR PROCESSOR. BREAKING INTO THE CYBER WORLD AND TURNING THE WORLD UP SIDE DOWN. THE DAWN OF THE DIGITAL ERA HAS JUST BEGUN AND ITS CORE BRAIN EXPANDZ A HACKING COMMUNITY THAT CHANGES THE C64 WORLD. THE SOFT PIONEER, A LIL TEENAGE HACKING DUDE BLOWS UP THE COMPLETE SCENE BY USING THEIR OWN HACKING WEAPONS AND POINTING THEM AGAINST THEMSELVES. THE RESULT IS AN ANGRY FREAKED OUT CONSPIRACY TO KILL THE SOFT PIONEER. THE HUNT HAS JUST STARTED...“

Outer Heaven Sound is a brand new label from Outer Heaven that makes a big impression from the off with Coventry artist going big. His A-side offering 'Badboy Sound' is just that - it has a muscular, rugged low end and freewheeling siren-like sounds with devastating sub bass and rude vocal musings. It taps into jungle roots with unrelenting bass pressure that demands to be played loud. On the flip, 'Droideka' gets even more dark with a minimal take and crushing breaks that are atmospheric and dystopian with real low end broodiness and plenty of smoky atmosphere. A superb first outing.

Imagine it’s 1987.

The neon is glowing, the lasers are cutting through the smoke, and space synth is ruling the dancefloors. Laserdance just dropped their groundbreaking album “Future Generation.” Tracks like “Power Run” and “Humanoid Invasion” are setting clubs on fire, and every bedroom producer dreams of reaching that cosmic perfection.

And in this athmosphere Spacehawk appears shining like an alien spaceship.

Behind the name Spacehawk stands Swedish producer Anton Eriksson, a modern-day craftsman of analog dreams. In his vast studio, packed with vintage synths and drum machines, Anton creates electronic masterpieces so authentic, so rich in melody and power, that even Michiel van der Kuy himself, the godfather of the genre, decided to collaborate with him.

The result? “Space Patrol” – a landmark single that bridges generations of synth lovers.

On the A-side, you’ll find Anton’s stunning original version, pulsating, melodic, and bursting with energy. Flip it over, and you get a remix by Michiel van der Kuy that feels like a time warp straight back to the golden age of Italo-space glory.

“Space Patrol” has it all: soaring melodies, driving basslines, hypnotic rhythm, and that unmistakable intergalactic energy that makes you feel like you’re racing through the stars.

Fans of Laserdance, Rygar, Koto, Syntech, and all things van der Kuy will instantly recognize the DNA of true space synth excellence here.

To top it all off the single comes on a bright yellow vinyl, housed in a stunning retro-futuristic sleeve that looks like it beamed in straight from 1980s sci-fi.

It’s not just a release. It’s a revival.

And if space synth runs through your veins, this is one you simply can’t ignore.

It’s happening – finally! The second pressing of Das ist das Ja. This time, Play Boy Joe and Celli G Hustle join forces to share a record, each taking one side with their own productions. Born in the SoundCloud bubble under the alias Wrank Fright, DIDV002 marks the fourth EP in a growing
catalogue of collab releases from the duo. The „Hustle and Play EP“ is not a direct collab – it’s two visions of club music meeting on one record. Side A by Celli, Side B by Play Boy Joe. Different flavors, same spirit. You can hear how six-plus years of shared grind shaped their sound – raw, playful, and unapologetically underground.

Drummer-composer Tom Skinner announces Kaleidoscopic Visions, his second solo album, out 26th September 2025 via Brownswood Recordings and International Anthem

Kaleidoscopic Visions unfolds across two distinct sonic landscapes. Side A presents entirely instrumental compositions performed by Skinner's live Bishara band—bassist Tom Herbert, cellist Kareem Dayes, and Robert Stillman and Chelsea Carmichael on various woodwinds and reeds—with electric guitar on two tracks courtesy of Portishead's Adrian Utley. A drummer-composer bringing his wealth of experience to bear on the role of bandleader, Skinner composed primarily on guitar, embracing the freedom that came with writing on his secondary instrument.
These compositions include "Auster," dedicated to late novelist Paul Auster, and "Margaret Anne," which honours Skinner's mother Anne Shasby, a former classical concert pianist prodigy who abandoned her own promising career in the face of systemic misogyny, only to impart on her son what Skinner calls "the gift of music."

Skinner’s musical world opens further on Side B, where a collection of poised vocal collaborations stretch out from jazz and improvisation towards a more dream-like, soulful sound. The centerpiece is "The Maxim," a ten-minute collaboration with Grammy Award-winning Meshell Ndegeocello, a dubby, spacious meditation on life and death, delivered with a free-spirited grace. For Skinner, working with Ndegeocello—whom he first saw at Glastonbury as a teenager in 1994—represents a full-circle moment, indicative of the indirect paths and inspirational detours that have shaped his life.
The album goes on to feature South Carolina-based singer Contour (Khari Lucas) who appears on the low-lit soul ballad ‘Logue’, and closes with ‘See How They Run’, featuring London keyboardist-vocalist Yaffra (Jonathan Geyevu). It is the album’s most overtly lyrical track, an articulate exposition of jazz-inflected spoken word that speaks not only to the genre-fluid nature of the music but the breadth of Skinner’s palette.
This should come as no surprise. On Kaleidoscopic Visions, one of London’s most vital musical figures gives us a sparkling glimpse of the multi-coloured lens through which his unique sound is now refracting.

Achievement presents a vinyl edition combining selected originals from Wigbert's Momentum album with remixes from the Momentum Remixes series. The A-side features reworks by Cirkle, Linear System, and Red Rooms. The B-side includes Wigbert's originals Synapse Impulse and Pattern Cycle, alongside Linear System's Deep Version of Supercell. The release highlights the core material of Momentum in both its original and reinterpreted forms.

Casabianca launches its vinyl imprint with “Irma’s Disko,” the debut EP from Zagreb-based DJ and producer MIMI.

Channeling the deeper corners of contemporary club music, the EP moves between hypnotic percussion, atmospheric tension and moody, slow-building grooves.

“Treshold Chant” opens with ritualistic rhythm and forward-driving momentum, while “S04E04” explores a darker, more introspective space.

The B-side centers on the title track “Irma’s Disko,” where MIMI combines tight, minimal drum work with unsettling synth motifs and a steadily expanding rhythmic architecture.

Closing the record, Düsseldorf’s Tolouse Low Trax reshapes the track into his signature off-kilter style — sparse, shadowy and unmistakably physical.

Daybreakers return with another one for the deep heads, welcoming Chicago legend Vick Lavender to the fold for Essential Traxx Vol. 1. A musician, producer and DJ with over three decades in the game, Vick’s music lives in that space where house, jazz, and soul connect.

Back in the 90s, Vick came up alongside Glenn Underground and Boo Williams as part of the influential Strictly Jaz Unit, helping shape a sound that still echoes through dancefloors today. In the years since, he’s built his own world through Sophisticado — music rooted in live musicianship, deep feeling, and that unmistakable Chicago soul. It’s real house music.

On the A side, 1.4.4.5 (Where It Started) lays down that signature Chicago pulse — rolling percussion, Rhodes chords, and basslines that unfold like a live jam. Deep, patient, the real Vick Lavender sound.

Flip it for Tiano Nuevo featuring Spike Rebel, a lush meeting of house, Latin, and jazz sensibilities. Guitars, percussion, and keys come together, the kind of tune that keeps a dark room or a sunrise session dancing.

Essential Traxx Vol. 1 captures what Daybreakers is all about. Deeper than deep house.
Buy or cry

A heavyweight library record delivered straight from the Gods; truly, we are all blessed: Dubmaster Dennis Bovell presents cLOUD mUsIc. A miraculous set of loose limbed, slinky funk-forward dub on the A-Side with totally blunted, spaced out trippiness on the grooving versions gracing the flipside.

A pioneer of dub and progenitor of lovers rock, genius producer-arranger Dennis 'Blackbeard' Bovell's prolific and eclectic career encompasses a huge range of music: from dub poetry to lovers rock, afro-beat to post-punk, disco to pop and beyond.

His production work encompasses such diverse figures as Ryuichi Sakamoto, The Slits, Fela Kuti, Linton Kwesi Johnson, The Pop Group, Janet Kay, Saada Bonaire, Orange Juice, Golden Teacher, I Roy, Maximum Joy, Steel Pulse and more.

cLOUD mUsIc features 8 new, deep, never-heard heaters, initially created for upstart UK library label FOLD. Dennis had written some music under the influence of Cloud-watching and presented it to FOLD with a view to them presenting it as Library Music to be utilised by anyone interested in having music for incidentals, films, TV and advertising etc.

cLOUD mUsIc represents Dennis expressing himself freely and inviting others to join and express themselves. As Dennis explains: "Library music is what makes the difference between creating for specific reasons and creating for your own individual enjoyment. cLOUD mUsIc was created whenever I felt the urge to create music that I wanted to, with no pressure. It was recorded at various times and in various studios around the world with various musicians’ assistance. Much sonic indulgence with many different recording devices."

Who doesn't like the sound of that?

Farfalla Records presents “Kaleidoscope”, its new compilation dedicated to the composer Jack Arel. His name belongs to a constellation of composers whose writing has hot stamped sixties and seventies pop music. Variety, television, cinema, ballet and theatre have all been touched by Jack Arel’s signature.

Take a trip through a psychedelic pop musical journey featuring 12 tracks recorded during his long and productive collaboration with the Chappell label and with his friends Pierre Dutour and Jean-Claude Petit by his side throughout.

This compilation features tracks such as ‘Psychedelic Portrait’, famously used as a music cue in the avant-garde cult British TV series The Prisoner.
The track ‘Strange Galaxy’ was utilised as the opening and closing theme for the Australian science fiction TV series Phoenix Five.
‘Purpose’, ‘May Be’ and ‘Something Happen’ are taken from the ultra-rare French soundtrack of the musical Je fus cet enfant là.
While the more adventurous may recognise the tracks ‘Picture of Spring’ and ‘Picture of Summer’ from the Danish underground horror film The Sinful Dwarf.

Veteran DJ, producer and Kyiv's K41 booker Christoph Faust showcases the diversity of House music across four tracks. From tech house to clicky minimal, mysterious deep house, and classic Chicago style, "The Window Upstairs" has it all.
On the B-side, there's a surprise remix by Berghain regular and Room Trax co-founder BLANKA, adding a dubby tech housetwist.

Veteran DJ, producer and Kyiv's K41 booker Christoph Faust showcases the diversity of House music across four tracks. From tech house to clicky minimal, mysterious deep house, and classic Chicago style, "The Window Upstairs" has it all.
On the B-side, there's a surprise remix by Berghain regular and Room Trax co-founder BLANKA, adding a dubby tech housetwist.

Warehouse Find!

Same track on both sides :).

NDATL Records continues with the return of Detroit legend Reggie Dokes with his new 12", The Alkebulan EP—a deep, spiritual, and sonically adventurous record that finds Dokes fully in his element while pushing into new emotional territory.

Side A opens with “Unknown Valley,” where shimmering chords and a haunting vocoded voice glide across a hypnotic groove, setting the tone for an EP rich in warmth and mystery. Dokes follows with “Still Exist,” an excursion into his darker instincts—moody, driving, and steeped in the grit that has defined his most revered work.

Flipping the record reveals Dokes in a more expansive, jazz-inflected mindset. “Soul Searchin” stretches into expressive harmonic territory, showcasing his ear for introspective, cinematic sonics. The journey culminates with title track “Alkebulan,” both featuring longtime collaborator Skip Pruitt, whose saxophone floats and weaves through Dokes’ musical landscapes, forming a Psychostasia blend of jazz, deep house, and spiritual energy the dancer simply cannot resist.

The Alkebulan EP is both a celebration of lineage and a forward-moving statement—classic NDATL quality with Reggie Dokes’ unmistakable fingerprint.

Overlooked 2018 cali funk which has been steady creepin over here for awhile now. Lyrics by Mic (Microphone) and Ricky (Moses Constable). Previously released as a digi demo only... but PPU got you with this single sided 7".. thanks to manny from pushers avenue

Another DINTE tape curated by cult WFMU show and blogger Bodega Pop; Gary Sullivan's long-running project rooted in a passion for digging for music in bodegas and cell-phone stores across NYC's boroughs. This edition focuses in on late 1990s and early 00s hip-hop & rnb from across Southeastern Asia.

"While on a work trip to Chicago in the mid-2000s, I was craving a bowl of pho. A bit of sleuthing led me to hop on the red line "L" up to Argyle Street, ground zero of Chicago's Little Saigon. In the 1960s, Chicago restaurateur Jimmy Wong invested in property on Argyle Street with a vision to build the city's new Chinatown, a kind of mall with pagodas, trees, and reflecting pools. In 1971, the Hip Sing Association, a labor/criminal organization, established itself in the area, and along with Wong, they bought up 80% of the buildings on a three-block stretch of the street. Wong reportedly broke both hips in an accident, leaving his dream to wither; in 1979, Charlie Soo of the Asian American Small Business Association brought it back to life.

Soo expanded the area into a vibrant mix of Chinese, Vietnamese, and other Southeast Asian businesses, pushing for renovations, including an Argyle station facelift and the Taste of Argyle festival. At the time I exited the station and crossed the street to get a better look at a shop with a poster for A Vertical Ray of the Sun in the window, the area was home to some 37,000 Vietnamese residents.

Opening the door, I was gobsmacked by a cavernous Southeast Asian media store, bigger than any I'd been to in Dallas, Montreal, New York, or Seattle. I spent some time at the bins, pulling out collections by some of my then-favorite singers — Giao Linh, Khánh Ly, Phương Dung — before approaching the register to ask the young woman behind the counter if the they carried any Vietnamese rap. It was a longshot, I knew, but if such a thing existed on physical media and anyone carried it, it would be this place.

'Have you heard Vietnamese rap?' she replied, her tone of voice and facial expression betraying a comically exaggerated level of distaste. I admitted my ignorance but assured her that I had long cultivated a high threshold for cheesy pop music of all kinds and genuinely tended to like hip hop from around the world.

She rolled her eyes and pointed to an area I had missed. I walked toward a far corner of the store and knelt over a small box on the floor sparsely populated with CDs, VCDs, and cassettes. I pulled out half a dozen Vietnamese hip hop compilations and a strange-looking CD with a cavalcade of odd typefaces in a queasy multitude of colors: THAILAND RAP HIT, it boasted, with 泰國 "燒香" 勁歌金曲 below it. The information on the back provided an address in Kuala Lumpur and the titles in Thai and English translation. The first track included three simplified Chinese characters after the English-language version of the title, "The Chinese Association": 自己人.

WTF was going on here? Walking back to the register, I waved the CD, asking "What's up with this one?" She gave me a look. I placed it on the counter so she could bask in the cover's full glory. She shrugged. "I'm guessing it's Thai rap?" She looked disappointed in me when I said I'd take it.

It turned out to be a Malaysian pressing of half-Chinese Thai hip hop artist Joey Boy's third album, Fun Fun Fun from 1996, and it completely changed my sense what the genre could sound like. The rapper's self-assured, effortless, silly-but-cool rapid-fire delivery weaved in and out of the most bizarre, antic beats I'd ever heard. The six Vietnamese hip hop CDs were a mixed bag, mostly "serious" sounding mimicry of US rapping over predictable production, but the highs were very high. When I got home and listened to it all, I made a point to find as much hip hop from this part of the world as I could.

The tracks collected here provide a limited but potent reflection of the two-decade ascendency
and ultimate world-takeover of hip hop, as it displaced rock and its endless variants for millions of listeners. This not a fair and balanced overview of regional production: I've only included tracks from Cambodia, Indonesia, Myanmar, Philippines, Thailand, and Vietnam. Nor is this a biggest or most important artists collection; instead, I've tried to recapture the pure visceral thrill of that first time I heard Joey Boy, choosing bangers that sound like nothing else, from nowhere else."

—Gary Sullivan