‘The star of the show is Noah’s mesmerising hand drumming, especially on the headspinning Microdosing’ (The Guardian).
‘Easily AHC’s most accessible, vivid approximation yet of Brian Eno’s fabled ‘vision of a psychedelic Africa’’ (Mojo).
‘A ceaselessly unpredictable and eclectic record that manages to sound as traditional as it does experimental’ (Uncut).

‘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.’

Bumptious sauce recorded for Paramount in 1929 by different lineups including Leroy Carr, Scrapper Blackwell, Tampa Red and Blind Blake, and Bob Robinson on banjo and clarinet. Archetypal Crumb; 180g.

Larry Marshall and Alvin Leslie, backed by The Revolutionaries and blazing horns, produced by Alvin Ranglin.
Accomplished late-seventies reggae, never properly released till now; shot through with Marshall’s moody intensity and craftsmanship.

Her third, 1970 album, the brilliant summation of her folky start — with favourites like Woodstock, Big Yellow Taxi and The Circle Game.
The LP is newly remastered by Bernie Grundman under the supervision of Joni Mitchell.

‘*****’, The Times, Independent On Sunday, Daily Telegraph, What’s On, Evening Standard, The Independent. ‘Marvellous pop — catchy, fun, young, effortless’, The Times; ‘one of the delights of the age’, Songlines.

‘So it is that Honest Jon’s has (again) unearthed an episode of black music history in Britain: these are tough cuts — in no way easy listening, but absolutely essential’ (**** The Observer).