Increasingly interested in making reggae, the Basic Channel duo first recorded with Tikiman in 1995, laying the foundations of Burial Mix.

With Tiki.

The recording debut of a collaboration between Jordan ‘Jordache’ Czamanski and Ilya Ziblat Shay. Three freestyling chunks of hallucinatory electronica and freaking jazz; plus a sublime remix by Parisian maestro I:Cube, with MT’s wild keyboard lines, distant bells and general insobriety threading a tactile, sunrise-friendly house groove. Tropical jazz-funk for the synthesizer generation. Call it Balearic and die.

Excellent, tastily apportioned EP, kicking off with a synthy dancefloor chugger from Moon’s back pages, and debuting a fresh, desolate Purpleness, in Art Direction.

An all-time Italo Disco club classic — beloved by Carl Craig and numerous house and techno deejays — made in 1983 by three post-punks looking for a new direction, aided by the producer Mauro Malavasi (famous at that time for hits with Macho, Peter Jacques Band, Change, Luther Vandross, Ritchie Family…).
Four versions, including Frankie Knuckles’ 1987 Powerhouse Mix.

Top-notch deep house in a limited, one-sided, numbered edition, the flip silk-screened.

A mouth-watering collaboration; plus flips from Al Wootton and Ottomani Parker.
‘The opener Last Breath is a late-hour pelter: relentlessly moody and hypnotic, with heaving sub-bass pulses. Tunnel Drift switches lanes with its distinctive tech-stepping 90’s throwback style; a forward-thinking take on a nostalgic sound.
‘Al Wootton’s contribution is characteristically fresh and inventive dubbed-out house, with his signature layering of atmospheric textures, and a deep and groovy bassline.
‘After a blissful opening, the Ottomani Parker excursion overlays driving percussion with horns, keys and live hand-drumming; an uplifting finale.’

In which Actress douses the rejoicing Noah with gallons of water, slips him a stiffener, and pulls him by the marimbas straight onto the dancefloor. Cracking remix.

‘The first collaborative release by Pretty Sneaky and long-time friend and co-conspirator Koldd, aka Norman Levy.
‘Seven themes lysergically weave field recordings of bird calls and wind/water together with pastoral synth lines and resonating modular patches on occasion sideswiped with a bass-heavy thump and stripped back percussion.
‘A mysterious offering for outward-bound heads with lodgings on the dance floor. The sort of thing you might play for your friends after a night out, which blows them to smithereens.’