Beautifully stark and intense steppers cut of the Heptones classic, complete with two dubplate mixes. All previously unreleased.

Three edgy, hard-nosed Wackies steppers.
The propulsive version of Home To Africa here is new to the world, from the original session tapes; and twinned with a nuggety version dusted down and polished especially for this release by Lloyd Barnes himself.

‘Eight tracks of jagged electronics, heavy basslines, and fractured spoken word collide in a body-jerking soundclash that is both raw and vital.’

Good On Paper enjoyed ‘Baldauf’s crisp, distanced tones accompanied by Roe’s ominous, pulsating programmed bass line and four-to-the-floor whack, coaxing pure pop out of tension and incongruity.’ Electronic Sound Magazine hailed the LP as ‘a blistering, club-forward workout’, with ‘top-drawer, nose-bloodying electronics,’ positioning the Stroud duo as ‘rather like a wonky Tom Tom Club with added grit.’

The ‘un-muting’ or ‘sonic restitution’ of African instruments held in Western museum collections, this project began with a recording session in October 2023 at the British Museum in London, when Hoyt was granted access to instruments from the Department of Africa, Oceania, and the Americas. These recordings were then developed in his studio, blending in African and Western instruments from his own collection.

‘This record is not an album but a diagram, a blackground score for a people who have never stopped dancing. Instruments exiled into the vitrines of empire, their voices stilled by taxonomic theft, now murmur and hum again. This is restitution by vibration, and the sounds you hear refuse to be forgotten, to be fixed, to refuse to die. You won’t find Western time signatures here; you’ll find time folding, spilling, catching fire. His compositions bespeak an afro-sonic-philo-sophy, more drastic than gnostic. These desperate times call for desperate pleasures.’

Her 1968 masterwork, arranged by Jean-Claude Vannier, originally released on Saravah. Approved by Brigitte, this expanded edition features the original album, newly remastered from the original tapes, along with a second album of demos, instrumentals, and a live rendition of Il Pleut recorded for France Inter/ORTF. With a twenty-page bilingual booklet, including an introduction by Laetitia Sadier, plus full lyrics and rare archival photos.

Ruggedly funky, tantalisingly rare do-over of Sly & The Family Stone, by Jackie Mittoo and the crew.

Leroy Brown’s killer detournement of Bobby Bland’s classic Ain’t No Love In The Heart Of The City, plus Clint Eastwood’s storming deejay excursion.
It’s a shame there’s no room for the stunning dub on the original Stagesound release of the Clint, but you can’t have everything.
It’s a must.

‘The opener is a statement of intent — frazzled, shuffling drums, ketamine oud, heavy sub bass — something like Wordsound’s Scarab zooming out of the 90s into the future. Tombaroli is a head nodder, with insistent percussion and banging pulse. A lysergic fever-dream, Bullet Holes dips into spooked psychedelia; No Minus sounds like a distant cousin of DJ Premier’s production Come Clean, for Jeru.
‘Channel 83 lands us back in the club for a rib-rattling stomp, weaving mystical soundsystem magic with its stunted horns and swirling voices. The grimy judder of Expect Excerpt slides proceedings down to a bleary-eyed half-speed, like a party which won’t let you leave. Mount Point is a welcome release, an early morning sunrise — rich, slow, and shimmering — before Landings Dub signals the end of the journey with a metallic elegy; both a summing up of the record, and the contemplation of your flipping it, and re-entering the world of Detraex Corp.’