Unlimited Source’s 'Down In The Cellar' EP from 1982. Up-front UK jazz-funk fusion via Luton and neighbouring Hertfordshire that cuts across genres and has stood the test of time to cut across generations 35-plus years later and become a dance-floor under-the-radar essential. Features their previously unreleased cover of the Skip Scarborough penned 'Love Ballad' alongside the sought-after top-drawer jazz dancer 'Nicoca Nicola'. Plus some break-beats on that title cut

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True Feelings 'Love Me, Love Me' is available now on 12”, remastered and back as an official reissue for the first time exclusively on Backatcha Records. Released in 1981 in tiny quantities, the song’s history has been an enigma ever-since. A streets ahead, local Harlesden cosmic Brit-Funk sound from producer Smokey T and crew. The real deal spirit of London's underground music land then and now. Jus' listen.

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A teacher by trade, Dr Mary Sullivan Bain recorded her musical works to be used as an educational and motivational tool in the Miami-Dade public school system she taught in. The single was Recorded at Miami Sound Recordings, South Florida and released in small numbers as a self-published 12” pressing for educational purposes. Copies of ‘Do You Know Black History’ did not circulate much further than Florida’s public school libraries and the vaults of some local radio stations when it was released in 1985. Produced with no label constraints, Mary worked alongside her friend and vocalist Herman Attaway. She would give him the words and the melody and together they translated her ideas into song. If one wanted to categorise it they’d have to put a copy in a few different boxes ... 808’s, bass synths, deep chords, live percussion and effects dubbed into the mix. The production leans towards the electronic diy framework that informed the local sound on the south side. Whilst the categories are blurred what’s clear is that the musicians who made this thought outside of the box.

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After seeing her cover of Mariya Takeuchi's "Plastic Love" flying off the shelves (earlier on BLESSYOU0021), Xiaolin is back with another cover version, this time a refreshing take on Hong Kong 80's pop starlet icon Prudence Liew's work - "Afterwards" - originally released in 1990. Xiaolin prepares another tasty recipe for the ear, clearly exposing her seasoned studio knowledge which serves as the foundation over which her powerful vocals can shine. If that wasn't enough, this release also comes with a Dub version and two remixes by non other than Tornado Wallace and Androo. A very generous package - hard to go wrong here, buy on sight.


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Soul Of Haringey 12" EP; comes with printed inner sleeve w/picture sleeve. In 1985, A-Level Economic students at Highgate Wood School in North London ran an advert in Melody Maker looking for material for a school project to release a compilation EP of local artists from Haringey. The result was a 5-track EP 12" released the following year on the 'A.L.E.' imprint that was distributed and sold in local shops before disappearing into obscurity. Featuring a mix of old school electro, pop, funk and soul infused tracks that echo the musical styles of mid-80s London, it's now a highly coveted rarity amongst DJ's and collectors. Whether it's a balearic set, an old school electro hip-hop playlist, a dive into mid-80's British independent soulful pop or the latest nu-disco set, the Sound Of Haringey is on track.


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“Django” and “Japanese Funk Machine” are 2 mid80s outstanding avant-garde dance tracks released by UnknownmiX, a Swiss avant-experimental group with unique vocal, punkish/art-pop/minimal wave atmosphere, solid synth and percussions in an anarchic world.

At the center of the project were the very talented vocalist Magda Vogel and the well-known experimental composer Ernst Thoma, who with this radical project sought to push boundaries and explore extremes with sounds that moved between tribal and distorted far ahead of their time.

The remixes were made by cosmic wizard Daniele Baldelli, assisted by the faithful Marco Dionigi, and Delphi (half of Tiger & Woods).

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

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

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

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

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

Housed in a die-cut sleeve.

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As the Compass Points to Nassau, Track Authority has you covered...

4 more special instrumentals clean cut to heavy black vinyl...

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Turbotito and Ragz's electrifying Naya Beat label has curated a cultured list of remixers to add their spin to the work
of legendary Indian vocalist Asha Puthli. This essential remix album features Yuksek, Maurice Fulton, Psychemagik,
Kraak & Smaak, Jitwam, and Turbotito & Ragz.
Naya Beat, which translates from Hindi as 'new beat', is focused on uncovering foundational electronic sounds from
the subcontinent and South Asian diaspora through reissues, remixes and compilations. It found quick success with its
first release, 'Naya Beat Volume 1: South Asian Dance and Electronic Music 1983 - 1992', followed by a rare 1985
Hindi New Wave album by Pinky Ann Rihal and more recently a ground-breaking compilation ‘Awaaz’ uncovering
Bollywood electro and leftfield 80s original soundtrack recordings.
Hot off their highly sought after EP of Dimitri From Paris’ seminal remixes of Asha Puthli’s iconic track ‘Space Talk’,
the label now offers up the first of two full-length releases based around her music. For this LP, Naya Beat tracked
down the long mythologised original stems and recordings of Puthli's most seminal albums, including ‘The Devil is
Loose’, and working closely with Asha, they have tasked a series of producers inspired by her work to remix her music.
Yuksek opens up with a pumping disco remix of 'I Am Song (Sing Me)' awash with uplifting synths and big claps next
to the original vocals, which soar to the heavens. The seminal 'Space Talk' is remixed by Maurice Fulton into super
steamy and late-night territory. The live drums and jumbled percussion are lit up with soulful chords as Puthli's carefully
delivered vocals seduce up top. 'Lies' (Kraak & Smaak Remix) rides on fat-bottomed drums and bass that unfold with
a dub swagger beneath a nebulous eco-system of cosmic synths and dramatic vocals. Label heads Turbotito & Ragz
flip 'One Night Affair' into a leggy disco celebration with sweeping synths and bright effects, and Psychemagik's 'Right
Down Here' is a pulsating mix of dark, snaking bass and drums with deep space ambience and raw hits making for a
turbulent and tense atmosphere. Lastly, Jitwam closes out with a smooth disco sound laced with dynamic drums and
cruising chords next to another sensuous top line from Asha Puthli.

A1. I Am Song (Sing Me) (Yuksek Remix)
A2. Space Talk (Maurice Fulton Remix)
A3. Lies (Kraak & Smaak Remix)
B1. One Night Affair (Turbotito & Ragz Remix)
B2. Right Down Here (Psychemagik Remix)
B3. I'm Gonna Dance (Jitwam Remix)

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DJ Monchan returns with a killer two track EP.

The sound experience is similar to his previous releases and continues to explore the void between old-school 80's house and 70's disco.

'Love Me' has that 80's house backbone but loops and filters the disco samples into a real journey...proper Loft biz if you ask us.
'U&Me' is a serious boogie stepper that is as bumpy as it gets and together with the smooth vocals this will sound ace at any disco jam :)

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Fully remastered and licensed, ltd to 500 copies. Re-issued on vinyl for the very first time the seminal EP "In Rhythm", the sole 1982 release by post punk/mutant disco wizards Scream And Dance. A necessary addition to the influential Bristol scene dominated by Rip Rig and Panic, Pop Group and the likes.

Originally recorded and released in 1982 on Recreational Records, this maxi single was produced by Steve Street, who began his career in 1976 on the Bristol music scene by recording demos for The Pop Group, and later in 1978/9 for Glaxo Babies. This dub-inflicted takes on classic indie/funk/wave still sounds refreshing today, check it out on your own !

Side A

In Rhythm (extended version)
In Pink & Black

Side B

Giacometti
Giacometti (wicked mix)

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Repress!

Following the huge succes of “Serious”, remixed by Michael Gray, we now dive into the enchanting world of “Joy & Pain,” a timeless masterpiece penned by the legendary Frankie Beverly of Maze-fame. The brilliant Donna Allen and expertly remixed by the maestro himself, Dr Packer. With his trademark nu disco groove, Dr Packer unleashes an irresistible sonic force, propelling you into a realm where Donna effortlessly takes the reins with her divine R&B prowess. Together, they embark on an awe-inspiring journey, catapulting you into the very heart of dance floor ecstasy. Dr Packer unveils a package of unparalleled excellence, breathing new life into this classic gem and ensuring its enduring legacy. Get ready to surrender to the irresistible allure of pure dance floor heaven!

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The smooth and funky sound of prime-time Japanese reggae pop in the 1970s and ‘80s fired up an obsession with Jamaican music that persists to the present day.

If there is a year zero for the introduction of reggae music to Japan, you’d be forgiven for thinking it was 1979 when Bob Marley and the Wailers toured the country, trailed by an entourage of journalists, photographers and fans ready to spread the message of the music into all corners of Japanese society.

But the story of Japanese reggae is not a linear one, and the music that is collected on Tokyo Riddim 1976-1985 captures the moment J-reggae entered the broader public consciousness, merging commercial city pop style with an infectious backbeat, that has drawn comparisons with the emergence of Lovers Rock in the UK.

Rather than look directly to Jamaica, many producers and artists in Japan were inspired instead by the more approachable sounds of The Police and UB40, their reggae fix arriving pre-filtered through the lens of new wave pop from the UK. Playful and groovy, these album deep cuts have been overlooked for too long.

Among them are Miki Hirayama, the idol singer who borrowed the bassline from Bob Marley’s Natural Mystic on ‘Denshi Lenzi’, Chu Kosaka, who headed to Hawaii to cut the Jimmy Cliff-inspired ‘Music’ and Marlene, the Philippine songstress whose cover of Roberta Flack’s ‘Hittin’ Me Wear It Hurts’ owed much to her producer’s obsession with Sly & Robbie’s Compass Point sound.

Then there was Izumi “Mimi” Kobayashi, who enlisted the Babylon Warriors to perform on a dubbed-out version of her own track ‘Lazy Love’, the city pop-meets-new wave reggae sound of Miharu Koshi’s ‘Coffee Break’, Junko Yagami’s anti-apartheid deep cut ‘Johannesburg’ and Lily, whose ‘Tenki Ni Naare’ was produced by Ryuichi Sakamoto and closes out the compilation with a flourish.

While these stories may not always conform to neat narratives, they do provide a more accurate reflection of the indirect ways in which styles infiltrate one another and, in their naivety, have the potential to create something beautifully strange and entirely new. Previously only available in Japan, the tracks on this compilation are a testament to that curious alchemy.

Tokyo Riddim 1976-1985 is released on vinyl and as a full album download (no streaming), featuring original artwork by Japanese Fukuoka-based artist Noncheleee, whose cover pays homage to the iconic dancehall album art of Wilfred Limonious.

Released on 1st September, Tokyo Riddim 1976-1985 is a part of Time Capsule's Nippon Series, a loose series of compilations exploring different musical scenes from Japan between the 1960s and 2010s.

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