French multi-instrumentalist, DJ and producer Jean-Philippe Altier has yet to have his moment in the sun – as Jpye at least. While no newcomer, he’s mainly spent the last few years writing and recording music as Twonk alongside good friends Leonidas, Rob Donelly and Renato Tonini.

We have a feeling that the spotlight could be heading his way soon, though, thanks to his debut album on Claremont 56, a gorgeous set of deliciously summery, laidback and ear-catching Balearic pop gems that will delight all those who dig for dusty, mid-1980s European records that combine sparkling synthesizers and woozy, afternoon-fresh vocals with vintage drum machine beats, glistening guitars and warm, intoxicating bass. 

Fittingly, both of Jpye’s regular studio buddies Leonidas and Renato Tonini both feature on a number of tracks, alongside vocalist e11e, and keys-players Michael Tainturier and Rob Donnelly. 

The album gets off to a stunning start via a trio of delightfully languid, life-affirming, e11e-voiced gems: ‘Samba With You’, a gently Latin-tinged Balearic pop number built around shuffling beats, rising and falling synthesizer lines and bubbly bass; the breezy and blissful ‘Downside Up World’, a slap-bass-sporting chunk of horizontal, mid-‘80s Riviera pop that boasts some stunningly jazzy guitar solos; and Leonidas co-production ‘Oui Non’, where squiggly TB-303 acid lines weave in and out of Pat Metheny style guitars and glassy-eyed synth sounds.

Leonidas also features on another of the album’s most memorable moments, ‘Let The Record Spin’, where tumbling synthesizer lead-lines, synthetic vocals, echoing synth sounds, more bubbly acid lines and Renato Tonini’s fluid hand percussion rumba ride a hybrid electro/dub-disco groove.

Tonini becomes the headline attraction on another trio of killer cuts, where he handles lead vocals. On recent single ‘Cosa Ti Va?’ and the crunchier, more-up-tempo ‘Non Ci Pensare’, Tonini delivers rhythmic, spoken word verses over typically colourful and authentically ‘80s backing tracks; as a result, both tracks recall classic Italian Balearic disco cuts such as Radio Band’s ‘Radio Rap’ and Tullio de Piscopo’s ‘Stop Bajon (Primavera)’. The quality of Tonini’s sweet and emotive singing voice comes to the fore on ‘Don’t Stop (Tiddidam Dub)’, a drowsy, warming and glassy-eyed affair that’s as tactile, groovy and dreamy as they come.

The second half of the album is dedicated to DJ-friendly dub revisions and instrumental takes. It’s on these that the quality of Jpye’s production and arrangement comes to the fore. Highlights include a chunkier and more bass-heavy take on the album’s opening song with added synthesizer flourishes and echoing electronics; the previously released ‘Dub’ of ‘Cosa Ti Va?’, and a fine dub-style revision of ‘Non Ci Pensare’ from label boss Paul ‘Mudd’ Murphy, who wisely lets Jpye’s instrumentation do the talking whilst adding echoing effects to selected snippets of guitar and synthesizer.

Jpye - Samba With You

When Paul Murphy released his critically acclaimed debut solo album, Claremont 56, in 2006, many thought it would be the first of many. In a way, it was, as in the years since he’s released a string of collaborative sets alongside Benjamin J Smith (as Smith & Mudd), Kevin Pollard (as Mudd & Pollard), and as part of underground ‘supergroups’ Paqua, Bison and Hillside. But that second solo album? Well, it just had to wait.

In early 2023, Murphy finally decided to scratch that itch, roping in some of his most trusted collaborators (keyboardist and bassist Michele Chiavarini, percussionist Patrick Dawes, guitarist Dave Noble and HF International’s Kashif included) to lay down a sumptuous set of tracks that not only showcases his now familiar (bit hard to pigeonhole) neo-Balearic sound, but also proves how much he has matured as a writer and producer since 2006.

In The Garden of Mindfulness is richly musically detailed, expertly arranged and full to bursting with fluid instrumental solos, with Murphy and his collaborators serving up tracks that brilliantly blur the boundaries between languid jazz-funk, downtempo, vintage synth-laden krautrock, dubby grooves and sun-splashed soundscapes.

It simply sparkles from the moment that opener ‘Eighty Three’ slowly rises like the morning sun, with gentle, undulating synth sounds ushering in a slow-motion jazz-funk excursion rich in twinkling electronics, spacey pads and warming bass. Recent single ‘Katanaboy’, a lusciously layered dub disco-infused dancefloor excursion in Murphy’s familiar style, raises the temperature a touch, before ‘Bonne Anse’ and the sublime ‘Unka Paw’ (whose combination of evocative fretless bass, extended electric piano solos, Clavinet licks and acoustic guitars is genuinely spellbinding) invite a combination of wavy shuffling and flat-on-the-back, eyes-closed appreciation.

And so it continues, with gorgeous title track ‘In The Garden of Mindfulness’ making way for the boogie-influenced, Japanese-British brilliance of ‘Hangsang’ (check the jaunty pianos, yearning breakdown and exotic melodies). Murphy’s long held love of warm, weighty bass, hypnotic disco grooves, colourful analogue synth sounds and jazzy guitars once again comes to the fore on ‘Afternoon Bob’ before the album reaches a fittingly triumphant conclusion with ‘Late In March’. 

A neat sonic summary of all that makes the set such a rewarding and entertaining experience, repeat listens reveals a wealth of musical details, from off-kilter triple-time drums and surprise bass guitar solos, to impeccable piano solos (provided by the immensely talented Chiavarini), fizzing jazz-funk synth doodles and stirring synth-strings. It’s a breathlessly brilliant way to end an album that was genuinely worth waiting for.

Mudd - In The Garden Of Mindfulness

In the midst of a global pandemic that has seen gigs, club nights and festivals cancelled, and tens of millions around the world in some kind of lockdown or quarantine, the need for musical escapism and aural daydreaming is greater than ever. It was this search for creativity and positivity that led to the recording of Sunday in June, the gorgeous and sun-kissed debut album from Hillside.

The outfit’s origins lie in the ongoing friendship and musical relationship of guitarist/bassist Alex Searle, percussionist Patrick Dawes and Claremont 56 founder Paul ‘Mudd’ Murphy, a trio who have been playing on each other’s records since the dawn of the millennium. They began jamming and creating instrumental music together for what would become the Hillside project a few years back, but the pace of production increased during the pandemic year of 2020, with multi-instrumentalist, composer and arranger Michele Chiavarini (an experienced solo artist and long-term member of Dave Lee’s Sunburst Band) coming on board to help shape the sound of their eight-track debut album.

Built around warm, languid grooves, expansive musicality, simmering strings – arranged by Chiavarini and replayed live by Pete Whitfield – and seductive solos provided by a handful of guest musicians (most notably flutist Tamar Osborne and violinist Mike Piggott, who has previously worked with Ralph McTell, Pentangle and Bert Jansch), Sunday in June could be considered an imaginary soundtrack to a long, lazy drive down the U.S West Coast.

The collective’s intent is exemplified by stunning opener and title track ‘Sunday in June’, where soaring strings, eyes-closed guitar solos, expressive keys and subtle percussive touches seemingly dance atop a sun-soaked groove that sits somewhere between jazz-funk and vintage West Coast rock. It can be heard, too, on the low-down hustle of ‘Trinity Strut’ – think Steely Dan doing Blaxploitation movie funk and you’re close – and in the languid drift of ‘Aguila Negra’, with its heart-aching orchestration, jazzy guitars and sunset-ready synths.

Sunday in June has many subtle twists and turns. Check the swelling, flute-sporting, organ-rich breeze of ‘For Daniel’, a track written in tribute to an old friend of Murphy’s who passed away in 2020, and the kaleidoscopic, smile-inducing positivity of ‘1939 Grand Avenue’, whose title references the address of a favourite San Diego hang out. There’s also room for recent single ‘Walpole Days’, a gorgeous downtempo odyssey, and a new album mix of the combo’s most Steely Dan-esque cut, 2019 single ‘Hidden Port’.

Rounding things off is a rather impressive bonus cut: a previously unheard ‘Spiritual Healing Mix’ of ‘Walpole Days’ by the great Joaquin ‘Joe Claussell’. Whereas his previously released versions of the track were largely percussive and dancefloor-friendly, this interpretation takes us deep into the world of weightless new age ambient, with Hillside’s impeccable instrumentation slowly rising above immersive chords and pads.

As usual with Claremont 56, the album’s artwork is every bit as detailed and painstakingly crafted as the music, with the stunning cover illustration coming courtesy of regular label collaborator Mark Warrington. His vibrant vision is naturally a perfect fit with Hillside’s colourful and emotion-rich music.

Hillside - Walpole Days

Hillside - Sunday In June

Baiadriatica

Almunia - L & G Psychedelic

Paqua - Late Train (Emperor Machine Special Extended Version - Vocal) 96k

Torn Sail - Birds

It’s some four years since the release of Bison’s acclaimed debut single, “Way To LA”, the result of a series of productive
studio sessions between Paul ‘Mudd’ Murphy, longtime collaborator Ben Smith, krautrock legend Holgar Czukay and
vocalist Ursula Major. Since then, Murphy and Smith have made a number of return trips to Can’s Innerspace Studio in
Cologne, where Czukay famously conjures his out-there musical magic.

The result is ‘Travellers’, the quartet’s long-promised debut album. It is, by anyone’s standards, a deliciously dubby and
intergalactic concoction; a fearlessly atmospheric blend of krautrock and dub disco-inspired grooves, delay-laden horns,
quirky percussion, stargazing electronics and eyes-wide-shut vocals. The dub influence is particularly notable given
Bison’s love of “versioning” tracks. Three of the tracks - “Way To LA”, “New Moon Boy”, and “Familiar Stranger” (the
latter two mixed by Conrad Idjut, who also turns the album’s title track into a clandestine, French-horn-laden late night
masterpiece) - appear in “Day” and “Night” versions. Meanwhile, previous single “Mandy” - a murky spaced-out stroll
though the collective Bison hivemind - is also included in two forms, with the Balearic stoner rock of the “Power Boy Mix”
offering a sun-kissed (but still deliciously atmospheric) reinterpretation.

Highlights are naturally plentiful, with Ursula Major’s half-spoken, half-whispered vocals wrapping themselves around
spacious rhythms, shuffling drums, twinkling, effects-laden guitars and low-slung basslines. ‘Travellers’ is an album rich
on other-worldly intent, sparse grooves and thick, enveloping production. It’s exactly the sort of album you’d expect from
musicians and producers of this calibre. We may have been waiting a while, but Bison have definitely delivered.

1. Way To LA (Day)
2. Way To LA (Night)
3. Mandy
4. Mandy (Power Boy Mix)
5. Familiar Stranger (Day)
6. Familiar Stranger (Night)
7. New Moon Boy (Day)
8. New Moon Boy (Night)
9. Travelers

Vinyl gatefold released September 1
Digital released September 8
C56LP007 © Claremont 56 2014
www.claremont56.com

Familiar Stranger (Day)

Familiar Stranger (Night)

When Paul Murphy released his critically acclaimed debut solo album, Claremont 56, in 2006, many thought it would be the first of many. In a way, it was, as in the years since he’s released a string of collaborative sets alongside Benjamin J Smith (as Smith & Mudd), and as part of underground ‘supergroups’ Paqua, Bison and Hillside. But that second solo album? Well, it just had to wait.

In early 2023, Murphy finally decided to scratch that itch, roping in some of his most trusted collaborators (keyboardist and bassist Michele Chiavarini, percussionist Patrick Dawes, guitarist Dave Noble and HF International’s Kashif included) to lay down a sumptuous set of tracks that not only showcases his now familiar (bit hard to pigeonhole) neo-Balearic sound, but also proves how much he has matured as a writer and producer since 2006.

In The Garden of Mindfulness is richly musically detailed, expertly arranged and full to bursting with fluid instrumental solos, with Murphy and his collaborators serving up tracks that brilliantly blur the boundaries between languid jazz-funk, downtempo, vintage synth-laden krautrock, dubby grooves and sun-splashed soundscapes.

It simply sparkles from the moment that opener ‘Eighty Three’ slowly rises like the morning sun, with gentle, undulating synth sounds ushering in a slow-motion jazz-funk excursion rich in twinkling electronics, spacey pads and warming bass. Recent single ‘Katanaboy’, a lusciously layered dub disco-infused dancefloor excursion in Murphy’s familiar style, raises the temperature a touch, before ‘Bonne Anse’ and the sublime ‘Unka Paw’ (whose combination of evocative fretless bass, extended electric piano solos, Clavinet licks and acoustic guitars is genuinely spellbinding) invite a combination of wavy shuffling and flat-on-the-back, eyes-closed appreciation.

And so it continues, with gorgeous title track ‘In The Garden of Mindfulness’ making way for the boogie-influenced, Japanese-British brilliance of ‘Hangsang’ (check the jaunty pianos, yearning breakdown and exotic melodies). Murphy’s long held love of warm, weighty bass, hypnotic disco grooves, colourful analogue synth sounds and jazzy guitars once again comes to the fore on ‘Afternoon Bob’ before the album reaches a fittingly triumphant conclusion with ‘Late In March’. 

A neat sonic summary of all that makes the set such a rewarding and entertaining experience, repeat listens reveals a wealth of musical details, from off-kilter triple-time drums and surprise bass guitar solos, to impeccable piano solos (provided by the immensely talented Chiavarini), fizzing jazz-funk synth doodles and stirring synth-strings. It’s a breathlessly brilliant way to end an album that was genuinely worth waiting for.

Afternoon Bob

In The Garden Of Mindfulness

Hangsang

Katanaboy

Eighty Three

A Gentle Flow

Zielgerade

Feeling Forst

Nalut

Von Der Morgenröte

Unterführung

Bassrutscher

Crossings

Paul Murphy’s Claremont 56 label welcomes a genuine legend of UK music to its roster – Chaz Jankel, the man whose dizzying musicality and love of soul, funk and disco did much to shape the sound of Ian Dury’s Blockheads band in the late 1970s and early ‘80s.

A virtuoso keyboardist with a deep love of Black American music, Jankel’s arrangements and compositional skills were key to the success of their records, the funkiest of which not only became crossover pop hits – see ‘Hit Me With Your Rhythm Stick’ and ‘Reasons To be Cheerful, Part 3’ in particular – but also saw heavy rotation in now iconic New York clubs including the Paradise Garage and Studio 54. 

This continued during the formative years of his solo career, with ‘My Occupation’, ‘Questionnaire’ and ‘Glad To Know You’ (later famously re-edited and dubbed out for nu-disco dancefloors by Todd Terje) all becoming club hits. The great Quincy Jones also covered Jankel’s infectious single ‘Ai No Carrida’, while experimental, club-ready synth-jam ‘3,000,000 Synths’ was also influential during the early years of the electro movement.

For his Claremont 56 bow, Jankel has delivered an all-new workout recorded earlier this year, the simply titled ‘Rhumba Jam’. A typically warm, groovy and rolling affair, it features Jankel delivering infectious, stretched-out Rhodes electric piano solos over toasty bass, clipped guitar licks, warm bass, accordion-style synth motifs and a densely layered Rhumba rhythm. While relaxed and sun-soaked, it also has bags of Balearic dancefloor potential.

Murphy remixes under his now familiar Mudd alias, leaning into the track’s languid Balearic vibe while keeping a firm focus on the dancefloor. Beginning with an enticing mix of metronomic drums and jangly acoustic guitars, Murphy slowly layers up key elements of Jankel’s original – think rubbery bass, rhythmic handclaps, mazy synth sounds and those wonderful, stretched-out solos. It’s a version that pays due reverence to the quality of Jankel’s musicianship, production and arrangement while subtly extending it and reframing it for 21st century Balearic dancefloors.


Chaz Jankel - Rhumba Jam (Mudd Remix) (Clip)

Chaz Jankel - Rhumba Jam (Clip)

As Claremont 56 speeds towards its’ ten-year anniversary, label founder Paul Murphy continues to champion little known producers and previously unheard artists.

Over the past 12 months, the label has showcased material from rising talents such as Bella Figura, Simon Peter, Paraiso and Oma &amp; Amberflame. Now, Claremont 56 is adding another new name to the roster: Statues.

Essex-based trio Bradley Lucke (production/bass/percussion/keys), Mark Crooks (keys/production) and Grant Carruthers (vocals/guitar) has been making music on-and-off together since they were teenagers, and last year decided to come together under the Statues alias. They submitted a number of demos to Paul Murphy, who was so impressed by what he heard that he offered to help produce and write an album with them.

As debut singles go, “Alaula” is stunning. Reminiscent of many softly spun moments from the Claremont 56 back catalogue, it builds slowly and breezily via subtle waves of organic and electronic instrumentation. Carruthers’ impassioned vocals pop in and out of the mix at opportune moments, peeping above alluring acoustic guitar, bass, synthesizer and Rhodes parts. Throw in tumbling, life-affirming piano lines and swelling cello parts – both provided by friend-of- the-family Robin Lee of Faze Action – and you’ve got another near-perfect chunk of sunset-friendly, horizontal brilliance.

On the flip, Murphy dons his familiar Mudd alias to provide a superb Piano Dub. Building the action around a sparse, delay-laden percussion track, Murphy teases out the track’s most potent moments, in the process creating something that lingers even longer in the memory. Lee’s superb piano and cello work naturally takes pride of place, as Murphy expertly emphasizes the track’s impeccably atmospheric nature.


Statues - Alaula

After eight years, Claremont 56 is proud to present its’ 50th 12” single release – a special collaborative 12” that’s been some nine years in the making. Seu Torriso marks the debut from Paraiso, a project schemed up in the hilltops of Derbyshire, the sun-soaked beaches of Brazil and the bustling metropolis of Hong Kong.

The story begins in 2006, when then Matlock-based producer Ant Harrison (now resident in Hong Kong) began daydreaming about South American music. The veteran studio maestro – best known for his deep house partnership with Matt Rhythm under the Rhythm Plate guise – took to the Internet in search of inspiration, and found a Brazilian duo, guitarist Carlos and vocalist Nego. Having offered to produce some tracks from their jamming, he put together a range of tracks, adding drums, bass, Rhodes, strings (expertly played by Richard Hancock) and additional percussion.

Now those tracks, expertly mixed from the stems by Claremont 56 boss Mudd, are finally available. Both are deliciously breezy, with the duo’s loose samba vibe enhanced immeasurably by Harrison’s deft production and sympathetic rhythms. The title track kicks things off, delivering a jaunty, sun-kissed blend of shuffling acoustic guitars, cheery vocals, lilting saxophone and undeniably Balearic grooves. Mudd delivers an extended mix of “Filhas De Oxhum” on the flip, stretching out Harrison’s groove seductively, whilst leaving enough space in the mix for Harrison, Carlos and Nego’s original instrumentation and vocals to breathe. The result is a mesmerizing chunk of shuffling dancefloor Balearica, in true Claremont 56 style.

Paraiso - Teu Sorriso (56 Mix)

To celebrate Record Store Day 2016, Claremont 56 is proud to present something rather special - a killer single-sided release whose origins are shrouded in mystery.

“Tropic Of Capricorn” arrived at C56 HQ with little or no information. While its’ humid sound effects and glistening, unfurling melodies evoke hazy memories of Mediterranean sunsets and Adriatic sunrises, the track’s creators live East of Ukraine, in the colder surrounds of the Russia.

Regardless of who made it, you’ll struggle to find a single that’s quite as warm, tactile and seductively groovy. Built around a hypnotic, slo-mo groove, “Tropic of Capricorn” soothes and sedates from start to finish. Its’ ingredients are relatively sparse – think gently undulating beats, toasty chords and an electric harp that gently ebb and flow like the waters of a mountain stream – but the results are nothing less than stunning.

Oma & Amberflame - Tropic Of Capricorn

You’d be forgiven for not knowing the newest addition to the slowly expanding Claremont 56 roster. You see, there’s been no recorded output from German combo Bambi Davidson since the release of their largely overlooked “minimal post-rock” debut album, El Faco, in 2000. Until now, that is.

Following the release of their debut set, founder members Robin van Velzen (guitar/vocals) and Hans Christian Fuss (drums) became frustrated with their lot. Bored with “rocking out” as a two-piece, they decided to start inviting other musicians to join them on stage. That meant that each performance was unique, with new tunes – often improvised on the spot – being developed for, or at, every gig.

It’s an approach that frequently paid dividends. One particular collaborative gig, with Mountaineer) and Sofia Fuss, went so well that both were asked to become permanent members of the band.

into the studio to record a new album, some 15 years after they’d recorded their debut. As you’d expect with a new line-up, things are a bit different this time round. Whereas El Flaco was a stripped-back affair with most tracks featuring just guitar, drums and vocals, Bambi Davidson features additional bass, electronics and keys provided by Frank and Sophia. The result is an expansive but atmospheric album built around sensual, undulating production.

Often magical and always immersive, the six tracks that make up Bambi Davidson are delightfully contrary. While pleasingly accessible and capable of inducing broad smiles on on each listen. This is particularly true of “Foxhunting” – reminiscent of fellow Claremont 56 with Van Velzen’s weary, emotional vocals riding a wave of vibrant colours. Hazy, intoxicating and evocative, it sounds like a horizontal anthem in the making.

There are plenty of other highlights, too, from the hypnotic, pitched-down dub-disco-meets- touchy-feely rhythms and stargazing chords of “Hubble”, the four-piece’s most intergalactic cut yet. Give it time, and we guarantee that you’ll fall in love with Bambi Davidson as much as we have.

Brunswick

In the spring of 2007, musician and producer Paul ‘Mudd’ Murphy decided to launch his own label. Named after the house he grew up in, Claremont 56 would release beautiful music by friends, associates, collaborators and like-minded musicians.

In the 10 years that have passed since, Claremont 56 has more than surpassed Murphy’s modest expectations. It has built up a cult following around the world, with listeners responding positively to the label’s combination of magical music, beautiful artwork, and impeccable packaging.

To mark the label’s first decade, Murphy has put together a sumptuous vinyl box set of previously unheard material, produced and presented with the same attention to detail that listeners have come to expect.

Each copy of Claremont 56: 10 Years contains five weighty slabs of wax and a bespoke info sheet, housed in a specially designed, hand-numbered box with de-embossed logos on the front and rear. There is also a limited-edition run of 200 copies which come with an additional 12” containing exclusive remixes and a brand new Paqua track, ‘Dalas’.

However impressive the packaging, it’s the music that makes Claremont 56: 10 Years stand out. Featuring a mixture of unreleased tracks and brand new remixes of vintage label releases, the highlights come thick and fast.

As you’d expect, some of the most impressive contributions come from those artists you could describe as “legendary”, including Chicago deep house originators Larry Heard and Ron Trent. Can legend Holger Czukay kindly contributes one of the standout moments, the eccentric ‘Music To Be Murdered By’, from his own unreleased catalogue, while Afro-cosmic pioneer Daniele Baldelli joins forces with Marco Dionigi to deliver a typically spacey remix of Bison’s ‘Familiar Stranger’. There’s also an epic, Afro-tinged dub disco remix of Smith & Mudd’s ‘Nether’ by Norwegian scene founder Bjorn Torske.

Elsewhere, Good Timin’ man Jex Opolis turns an overlooked track by Paraiso into a samba-boogie killer, Sean P dubs out Zee Erf’s beautiful cover of ‘Southern Freeez’, and Phil Mison turns FreshRo’s laidback electrofunk cut ‘Pacific State’ into a breezy, Balearic gem. Look out too, for the emotion-rich beauty of Statues’ ‘River Darkness’ – a track arguably worth the cost of the box set on its own – and the deep space explorations of Almunia’s Leo Ceccanti.

We could go on, but we’re running out of space. Suffice to say, Claremont 56: 10 Years is a lovingly compiled, curated and presented celebration of the label’s first decade.

Paraiso - Teu Sorriso (Jex Opolis Remix) Clip

Holger Czukay & U-She - La Premiere (Mudd's Ode To Phreek Mix)

Mudd & Ahmed Fakroun - Drago (Mudd's Teriwala Mix)

BISON - Soup Fiction (Instrumental)

Smith & Mudd - The Surveyor

Sillyboy’s Ghost Relatives can proudly claim to be “Greek radio’s favourite soft rock band”. The Athens-based quartet – fronted by bass-wielding former TV commercial composer turned Balearic popster Charalambos Kourtaras – are rising stars in their home country, with listeners warming to their distinctive blend of atmospheric guitars, retro-pop synths and head-in-the-clouds grooves.

So far, international stardom has passed them by, though their distinctive songs have caught the ear of a range of DJs across the globe. One was Claremont 56 founder Paul ‘Mudd’ Murphy, who has worked his magic on one of the band’s previously unreleased gems, “In A Small Place”.

Perfectly capturing the claustrophobic reality of life in a small, remote town or village where everyone knows everyone else’s business, the song sees Sillyboy plan his escape over a mesmerizing backing track rich in ghostly synthesizers, chunky bass guitar, spacey electronics and a shuffling groove that sits somewhere between pitched-down dub disco and early ‘80s West Coast AOR.

Murphy’s “Extended Version” allows the track room to breathe, teasing out the clandestine and atmospheric instrumentation – eyes-closed guitar solos included – before introducing Sillyboy’s rueful and paranoid vocals. You’ll find the Greek band’s slimmed-down – and arguably even more trippy – original version on the B-side, completing a fittingly high quality musical package to kick-start Claremont 56’s 2019 release schedule.

In A Small Place (Mudd's Extended Mix)(Clip)

The Popes - Bastards (Mudd's Moule Frite Mix)

Mudd & Pollard - Mawson's Walk

Four hands - Hizou

Almunia - New Moon

Jpye & Renato - Non Ci Pensare

Jpye & Renato - Cosa Ti Va?

Jpye, Leonidas & e11e - Oui Non

Jpye & e11e - Downside Up World

Jpye & e11e - Samba With You

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