BANDCAMP - https://spacetalkmusic.bandcamp.com/album/too-late-kathy-incl-skyrager-jonny-rock-edits

For every musician who tastes significant success, there are countless others who fall through the cracks: artists whose dreams of carving a career out of their passion were dashed, despite the quality, inventiveness and imaginative nature of the music they made. Most never get to see the music they slaved over get released, or a new generation of listeners appreciate the demos they worked so hard on for an extended period of time.

Mila Anatoli is one such artist. Had it not been for Spacetalk’s Danny McLewin grabbing one of only 10 acetates pressed of her early 1980s demo recordings from a record dealer in New Jersey, her remarkable story and impressively off-kilter music would never have seen the light of day. 

Yet Anatoli deserves her moment in the spotlight and a chance to tell her tale. Despite the hand-written information on McLewin’s acetate being almost 40 years out of date, Spacetalk managed to find to find her – Mila had married and changed her name some years ago making the search significantly harder.

The small amount of information the acetate provided led the search to celebrated jazz producer and photographer Hank O’Neal who had hung out with Mila back in the early 80s New York. He regularly took her to events and used his contacts to offer introductions to a mixture of local heroes and global music stars. Through O’Neal, Anatoli met Arthur Russell, Astrid Gilberto, Michael Moriaty and photographers Bert Stern and Berenice Abbot. At one point, O’Neal even took Anatoli to a downtown studio to watch The Clash making a recording with Allen Ginsberg.

Amazingly Hank still had many photographs of Mila taken during their time as friends in NYC and the images used on this new release have all been taken from Hank’s archive.

Completing the reissue package alongside the original songs Danny McLewin in his Skyrager guise and Jonny Rock have added their editing skills to two of the tracks.

SHOP

Mila Anatoli - Too Late / Kathy (incl Skyrager & Jonny Rock Edits)

PRE-ORDER - https://spacetalkmusic.bandcamp.com/album/strange-desire-mannequin

In 2018, Sean Worsey, a successful lawyer in California, began to receive some rather surprising emails. These were not from prospective clients, or about current cases he was working on, but rather queries from record collectors. They wanted more details about a pair of obscure, largely forgotten records he’d made in the mid 1980s as part of a virtually unknown band called Passion Theatre.

To say he was surprised is an understatement. “People from around the world were emailing, calling and messaging us about the music, particularly a track called ‘Vacation Day’,” he says. “Our records were rare and gaining in value, mainly because there were not many manufactured at the time. By 2019, several individuals in the music industry had emailed me about licensing tracks.”

We eventually agreed with Sean to include ‘Vacation Day’, on Charles Bals’ second compilation, Retour Au Club Meduse. Impressed with the quality of the compilation Sean approached us again to discuss whether we would be interested in reissuing both of his old EP’s in full, an idea he’d been considering for a few months already.

We jumped at the idea of course and have spent the last few months putting the reissue project together. The original studio tapes were long gone but a friend of Sean’s had some mint vinyl copies which we had shipped over from California to use as the master source, restored and mastered superbly by Technology Works in London. The striking original artwork from the two EP’s has been faithfully reworked into a gatefold double vinyl LP by designer Asger Behncke Jacobsen and features extensive interview/sleeve notes by Matt Anniss.

In the words of Sean Worsey - “One of the nicest things about the renewed interest in our music is that we can now enjoy it for what it is – back then we were a bit too worried about succeeding.” 
credits

Passion Theatre - Strange Desire / Mannequin

VINYL/DIGITAL - https://spacetalkmusic.bandcamp.com/album/night-city-life-ii

Much has changed for Ilan Pdahtzur since the release of his Night City Life compilation six years ago. Back then, he was a little-known record collector who shared obscure, synth-heavy music that “captured the night-time glow” of the city he calls home, London, via a dedicated Instagram page.

Fast forward to 2025 and Ilan is now a respected member of the international digger-selector community, having delivered must-check mixes for the likes of Bordello A Parigi, Bayete, Hunee’s Lifetones and Sound Metaphors.

It seems a fitting time, then, for Spacetalk to unleash Night City Life II, a second deep dive into Ilan’s distinctive, neon-lit sound world – a place where European synth-pop rarities, Italo-dance treats, dancefloor-focused post-boogie instrumentals soundtrack strolls around shuttered skyscrapers, dockside housing estates and wharf-side warehouse conversions.

In the six years that have passed since the release of Night City Life, Ilan has uncovered many more rarities, private-press gems and slept-on treats, with 14 of these featuring on the dusty-fingered crate-digger’s sublime sequel. As with its predecessor, much effort has been made to track down the artists behind the synth-heavy songs on show, with the vinyl edition featuring extended liner notes where some tell the story of their track in detail.

Musically, there’s much to set the pulse racing within Ilan’s superb selections, from the slow-motion shuffle of Playground’s self-released 1984 B-side ‘Rainy Day Woman’ and the brilliance of Shamor’s 1985 South African synth-pop special ‘Close To You (Bwela Pafupi)’, to Sharon & Tracy’s ‘The Sheik’ – a belly-dancing inspired slab of TB-303 bass-driven house – and the kaleidoscopic, piano-rich 1992 Euro-house brilliance of ‘Come Into My Life’ by Jennifer.

Dive deeper into the collection and more under-appreciated musical masterpieces make their presence felt. There’s Sicilian musician Claudio D’Ignoti’s lesser-known boogie-era single ‘Anche Per Noi’, where rubbery bass guitar, Nile Rodgers style disco guitar licks and spacey synths dominate the sound space, Lena’s fashion circuit-inspired, early Pet Shop Boys-esque ‘Embrasse-Moi (Strumentale)’ – one that members of Milan’s Paninaro movement would surely have enjoyed – and a sublime, spaced-out and effects laden dancefloor dub of ‘Rescue Me (Imagination)’ by Jimmy D, a genuinely sought-after jam originally released on a now impossible-to-find seven-inch single.

Offering another genuinely distinctive, carefully curated collection of lesser-known musical treats, Night City Life II is another essential, immersive and synthesizer-powered journey through Ilan’s unique sonic world.

SPACETALK SHOP

Night City Life II

BANDCAMP - https://spacetalkmusic.bandcamp.com/album/traces-of-illusion-compiled-by-skyrager

Compiled by Skyrager // Artwork: Elvis Barlow-Smith

After a bit of down-time, Spacetalk Records returns with something special: a stunning compilation of obscurities, rare cuts and secret weapons compiled by label co-founder Danny McLewin under his Skyrager alias.

Although most widely known as one half of Psychemagik, McLewin has long been regarded as one of the UK’s most decorated crate-diggers – a DJ and record dealer recognised for his ability to unearth slept-on gems, private press obscurities and campfire-friendly curios. He’s already showcased his curatorial skills on a string of acclaimed and now sought-after comps – see Psychemagik’s Magik Cyrkles, Magik Sunrise and Magik Sunset Pt 1 & 2 – but Traces of Illusion marks the first time McLewin has put together a collection as Skyrager.
 
There’s no grand concept behind Traces of Illusion, though McLewin’s selections are universally tactile, sun-baked and effortlessly summery, evoking images of nights spent camped out in the Californian desert or beneath the vibrant canopy of an English forest at dusk. As you’d expect, there are no well-known anthems or ‘big tunes’ here, just an inspired selection of largely unknown musical nuggets oozing in quality.

There are plenty of highlights to savour amongst the 15 tracks on show, from the blue-eyed soul of Rebozhaze’s 1981 gem ‘Second Movement’ and the echo-laden Balearic boogie of Phil McDonnell’s glassy-eyed ‘America’, to the sublime brilliance of Japanese band Tao’s ‘Makin’ Love’, where sweeping violin lines and fretless bass catch the ear, and the bubbly synth sounds and shuffling drum machine grooves of Daniel Sofer’s Dewdrops’ taken from an Oberheim drum machine promotional 7”..

Everywhere you look across the compilation, you’ll find slept-on treats. There’s the seriously atmospheric, practically unknown leftfield synth-pop of YMA’s ‘Tempted’, the synth solo laden folk soul of Michael’s ‘Bluebird of Heaven’ – a cut originally written to be performed by a ‘contemporary Christian’ group in Texas, but instead released as a solo excursion – and the Terry Callier-esque brilliance of Gregory Paul’s ‘Sun’.

And so it goes on, with McLewin flitting between deep and tactile treats (the jazzy Rhodes solos, immersive chords and relaxed grooves of Teatron’s ‘Swing’), spoken word sporting acoustic Americana (Scott Fraser’s inspired 1998 cut ‘Communique’), undeniably Italo-esque (Brenda Kane’s ‘French Kissing’), sub-heavy dancehall-soul (Noel Stone’s impossible-to-find ‘Girl of My Dreams’), enveloping ambient jazz (Larry Yanez’s incredible ‘Xai Jua Jua’) and dub-flecked, synth-sporting prog rock (Bob Bath Band’s highly sought-after ‘Traces of Illusion’, after which the compilation is named). 

It all adds up to an eye-opening, head-soothing journey through the dustiest corners of McLewin’s record collection.

A1 Tao - Makin Love
A2 Larry Yañez - Xai Jua Jua
A3 Phil McDonnell - America
A4 Régis Tareau - Music Magic

B1 Reboshaze - 2nd Movement
B2 YMA - Tempted
B3 Daniel Sofer - Dewdrops
B4 Noel Stone - Dream Girl

C1 Brenda Kane - French Kissing
C2 Michael - Bluebird Of Heaven 
C3 Gregory Paul – Sun
C4 Rhythm & Bliss - Song Of Earth And Sky

D1 The Bob Bath Band - Traces of Illusion
D2 Teatron - Swing
D3 Scott Fraser - Communiqué

Traces of Illusion compiled by Skyrager

Traces Of Illusion compiled by Skyrager - Promo Mix

Sharon & Tracy - The Sheik

Cherry Laine - Land of No Return

Shamor - Close to You (Bwela Pafupi)

Spinnaker - The Spirit of America

Natalie Ann - You've Got To Feel

musicm61 - Come Alone

Alison Sheryll - You're Not Alone

Claudio D'Ignoti - Anche Per Noi

Playground - Rainy Day Woman

Fabrithia - I Want You (Strumentale)

Jennifer - Come Into My Life

Methods of Dance - Aggravation (Instrumental)

Lena - Embrasse-Moi (Strumentale)

PRE-ORDER - https://spacetalkmusic.bandcamp.com/album/night-city-life-ii

Much has changed for Ilan Pdahtzur since the release of his Night City Life compilation six years ago. Back then, he was a little-known record collector who shared obscure, synth-heavy music that “captured the night-time glow” of the city he calls home, London, via a dedicated Instagram page.

Fast forward to 2025 and Ilan is now a respected member of the international digger-selector community, having delivered must-check mixes for the likes of Bordello A Parigi, Bayete, Hunee’s Lifetones and Sound Metaphors.

It seems a fitting time, then, for Spacetalk to unleash Night City Life II, a second deep dive into Ilan’s distinctive, neon-lit sound world – a place where European synth-pop rarities, Italo-dance treats, dancefloor-focused post-boogie instrumentals soundtrack strolls around shuttered skyscrapers, dockside housing estates and wharf-side warehouse conversions.

In the six years that have passed since the release of Night City Life, Ilan has uncovered many more rarities, private-press gems and slept-on treats, with 14 of these featuring on the dusty-fingered crate-digger’s sublime sequel. As with its predecessor, much effort has been made to track down the artists behind the synth-heavy songs on show, with the vinyl edition featuring extended liner notes where some tell the story of their track in detail.

Musically, there’s much to set the pulse racing within Ilan’s superb selections, from the slow-motion shuffle of Playground’s self-released 1984 B-side ‘Rainy Day Woman’ and the brilliance of Shamor’s 1985 South African synth-pop special ‘Close To You (Bwela Pafupi)’, to Sharon & Tracy’s ‘The Sheik’ – a belly-dancing inspired slab of TB-303 bass-driven house – and the kaleidoscopic, piano-rich 1992 Euro-house brilliance of ‘Come Into My Life’ by Jennifer.

Dive deeper into the collection and more under-appreciated musical masterpieces make their presence felt. There’s Sicilian musician Claudio D’Ignoti’s lesser-known boogie-era single ‘Anche Per Noi’, where rubbery bass guitar, Nile Rodgers style disco guitar licks and spacey synths dominate the sound space, Lena’s fashion circuit-inspired, early Pet Shop Boys-esque ‘Embrasse-Moi (Strumentale)’ – one that members of Milan’s Paninaro movement would surely have enjoyed – and a sublime, spaced-out and effects laden dancefloor dub of ‘Rescue Me (Imagination)’ by Jimmy D, a genuinely sought-after jam originally released on a now impossible-to-find seven-inch single.

Offering another genuinely distinctive, carefully curated collection of lesser-known musical treats, Night City Life II is another essential, immersive and synthesizer-powered journey through Ilan’s unique sonic world. 

Jimmy D. - Rescue Me (Imagination) (Dub Version)

The crate-digging credentials of Psychemagik’s Danny McLewin are well established. Even so, he’s excelled himself with the first release on Spacetalk, a joint venture with Leng Records’ Simon Purnell and Paul Murphy.

The trio have successfully worked together a lot over the last five years, with Purnell and Murphy releasing a string of superb collections, compiled by McLewin. All three men were keen to continue this partnership, and have founded Spacetalk to re-release long forgotten, little-known or overlooked music, as well as previously unheard archive material from some of the artists involved.

The label’s first release is as obscure as they come. Morrison Kincannon’s To See One Eagle Fly is stupidly rare, having initially been released by its’ creators as a private press record during the early 1970s. The song was inspired by both the plight of the bald eagle, and the ongoing Watergate scandal, and was written by Norman Morrison during his senior year in High School. After friend and song writing partner Terry Kincannon worked some more on the composition, the duo recorded it with a hastily arranged band that included a number of former High School friends.

For the Spacetalk re-issue – the first commercial release of the sought-after track – To See One Eagle Fly has been re-mastered from the original 1970s multi-track master tapes, which were baked and digitised before being worked on.

To say that the song has never sounded better is an understatement. The track’s rich, low-slung space-rock groove has never sounder warmer, whilst the accompanying funk-rock guitar riffs, stretched-out organ chords and hazy vocals simply sparkle.

On the flip, Paul Murphy has donned his now familiar Mudd alias to present a specially extended remix, constructed utilising the multi-track master tapes unearthed by Norman Morrison. Effortlessly emphasizing the undulating groove, fluid organs, cascading violin parts and Terry Kincannon’s killer guitar solos, Murphy’s brilliantly judged extension rises to an emphatic conclusion using elements from the recording session previously unheard on the original version. 

Over the weeks and months to come, you can expect more high-grade material from Spacetalk, including more unreleased material from Morrison Kincannon, a reissue of an ‘80s single from Avant Garde (with accompanying remix by Mudd and Jaz & Party Dad), and a killer compilation of soul, funk and disco from esteemed French crate-digger Jeremy Underground. Oh, and plenty more besides.

To See One Eagle Fly (Mudd's Extended Mix)

After launching with a killer reissue of a private press gem from Morrison Kincannon, Spacetalk presents its’ first compilation: a superb selection of soul, disco and boogie obscurities curated by noted Parisian crate-digger and DJ Jeremy Underground. 

Beauty has its’ origins in a chance encounter between Jeremy and Spacetalk co-founder and Psychemagik Danny McLewin at Bestival on the Isle of Wight in the UK. Having completed his regular festival set – keeping the dancefloor moving with his more familiar house and U.S garage sound – Jeremy was treating the crowd at Maceo’s, the renowned backstage bar usually found at Glastonbury, to a tasty selection of soul, disco and boogie obscurities. Danny was getting crazy on the tunes and at some point went over to Jeremy to tell him how much he was loving it, they started talking which went on for hours and that's where the idea of Spacetalk's first compilation came from. 

Jeremy Underground is well regarded within the record collecting community, and counts a number of high-profile “diggers” amongst his friends. He famously played alongside Red Greg at Floating Points’ first You’re A Melody party at Plastic People back in 2013, the four-hour recording of which is still available on the Eglo website. 

The Parisian is also no stranger to putting together high quality compilations, having previously mined his house collection for two volumes of My Love Is Underground on Favorite Recordings. Beauty, though, is the first collection to showcase the depth and variety of his record collection. Stuffed full of rare, hard-to-find and little-known gems, it confirms the Frenchman’s status as one of Europe’s most open-minded record collectors. 

Amongst its’ 15 tracks you’ll find the Creative Arts Ensemble’s spiritual soul-jazz gem “Unity”, the samba sunshine of Leila Pinheiro, the folksy, Latin-tinged breeziness of Ron Rinadli’s “Mexican Summer”, and the dewy-eyed, late night soul of Nu-Cleus’s ridiculously hard-to-find “Needing A Woman”. 

The beating heart of the compilation, though, is a selection of heady, heart-warming cuts that blur the boundaries between Philly soul, disco, jazz-funk and boogie. These include the sparkling, synth-laden 1981 boogie of “Do Your Own Dance” by Shades Of Love (whose members included future ‘80s soul/disco star Meli’sa Morgan), the jazz-funk inspired library grooves of Christer Norden’s “Lay Back”, and the smooth, post-boogie soul of Richardi Mac’s superb “Told You So”. Oh, and “Let Love Flow” by Jamaican singer Sonya Spence, a deliciously sweet and loved-up disco-soul shuffler infused with the distinctive swing of the Caribbean. 

These are just some of the highlights; repeat listens will uncover new favourites, hidden gems, and impossible-to-find cuts from the crates of one of Europe’s most celebrated DJs.

A1. Ron Rinaldi – Mexican Summer
A2. Leila Pinheiro – Tudo Em Cima
A3. Christer Norden – Lay Back
A4. N C C U – Superstar

B1. Shades Of Love – Do Your Own Dance
B2. Sonya Spence – Let Love Flow On
B3. Nu-Cleus – Needing A Woman

C1. Al (Alonzo) Wilson – Love You Girl
C2. Richardi Mac – Told You So
C3. Maureen Bailey – Takin’ My Time With You
C4. Fein – Stonedage

D1. June Evans – Hardly Need To Say
D2. Starcrost – Quicksand
D3. Creative Arts Ensemble – Unity

releases September 9, 2016

Jeremy Underground presents Beauty - Mini Mix

Vinyl - https://spacetalkmusic.bandcamp.com/music

A1. Jaz & Party Dad Remix
B1. Mudd's Dub

When Psychemagik’s Danny McLewin decided to launch Spacetalk Records, he didn’t just want to reissue rare material. From the start, one of his stated aims was to deliver fresh new versions of obscure cuts from his record collection.

It’s perhaps fitting, then, that the label’s second 12” breathes new life into a suitably little-known gem: Avant Garde’s 1982 Euro-boogie B-side, “Everybody’s Lover”.

The track was originally featured on the flip of the seven-piece Dutch outfit’s second and final 7”, “Walking Back To Happiness”. It has been a feature of McLewin’s DJ sets for years, inspiring countless track ID requests from excited clubbers.

Earlier this year, McLewin set out to track down the songwriter-turned-producer behind the record, Avant Garde mastermind Hans Van Hemert. Happily, the search was a fruitful one; not only did Van Hemert own the rights to the song, but he’d also kept hold of the tapes from the original recording sessions.

With the Dutchman’s agreement, McLewin asked old friends Jaz and Party Dad, and label co-owner Paul ‘Mudd’ Murphy, to put their own spin on the super-smooth ’82 original. Predictably, they’ve done a bang-up job.

On the A-side you’ll find Jaz & Party Dad’s version, which is little less than the extended 12” version that “Everybody’s Lover” always deserved. Smooth, soulful and tactile, the duo’s rework makes full use of the Dutch band’s wonderful vocals, loved-up chords, sparkling synth flourishes and killer bassline, adding a touch of delay to the beats for added ‘80s boogie effect. 

Murphy takes a different approach on the flip, drawing influence from the pioneering 1980s “proto-house” dubs of acclaimed New York producers Paul Simpson, Winston Jones, Boyd Jarvis and Timmy Regisford. Delay-laden guitar flashes and synthesizer flourishes echo in and out of the mix, whilst saucer-eyed pads rub shoulders with reverb-heavy beats and Avant Garde’s rolling bassline. It’s one of Murphy’s most confident remixes of recent times, and makes a fitting partner to Jaz & Party Dad’s vocal-heavy A-side interpretation.

Avant Garde - Everybody's Lover (Jaz & Party Dad Remix + Mudd's Dub)

Taken from the Crown Ruler Sound album compiled by Jeremy Spellacey. 

Released July 14th

Our first compilation, Beauty, offered listeners the chance to take a trip through the record collection of noted Parisian crate-digger and DJ Jeremy Underground. It was well received so we've decided to repeat the exercise. This time, though, we’ve turned to a lesser-known hunter of rare and obscure records, namely Crown Ruler Records co-founder Jeremy Spellacey.

Don’t be fooled by Spellacey’s lower profile: amongst those who know, the Melbourne-based New Zealander is widely regarded as a seriously dusty-fingered digger, capable of unearthing and championing ridiculously good records from all four corners of the globe. He sells some of these exceptional finds through his Crown Ruler online store, though there are many more that he keeps hidden from the public.

Spellacey has previously shied away from sharing the secrets of his extensive record collection. Crown Ruler Sound, then, is a rare treat: a gloriously colourful, sun-baked compilation of tropical treats from Africa, the Caribbean and beyond, hand-picked by the man who helped license this year’s most essential reissue, the South African boogie brilliance that is Focus’s Zulu. 

From synth-laden Zambian reggae and sumptuous orchestral Afro-soul, to humid Trinidadian boogie and horizontal Italian jazz-funk, Spellacey offers a whirlwind trip through the most kaleidoscopic and exotic parts of his epic collection.

As you’d expect from a man who has traveled the world hunting down records, the majority of the 15 tracks will be unknown to all but a handful of similarly minded crate diggers. In fact, some are so obscure that you’ll struggle to find any mention of them at all online. 

This could be your only chance to own some of these records and we don’t want to spoil the surprise but suffice to say, Crown Ruler Sound will surprise and entertain you in equal measure.

Crown Ruler Sound compiled by Jeremy Spellacey

Ezy & Isaac - Let Your Body Move (Oba Balu Balu)CLIP

CD/LP Order - https://spacetalkmusic.bandcamp.com/album/crown-ruler-sound-compiled-by-jeremy-spellacey

A1 Ezy & Isaac - Let Your Body Move (Oba Balu Balu)
A2 Stimela - I Love You
A3 Kosmik 3 – I’m Gonna Pack (Jeremy Spellacey Edit)
A4 Mike Fabulous - Wang East (Instrumental)

B1 Feladey - Forest Music (Anambra Na-imo)
B2 Larry Maluma & Kalimba - Kamusale
B3 Acayouman - Funk Around
B4 J.K. Mandengué – Afrika

C1 The Staple Singers - Slippery People (Club Version)
C2 Brother Resistance - Can I Get A Witness
C3 Legacy - Monday Blues

D1 La Banda de Martin - Mi Dueño
D2 Devon Russell - Move On Up
D3 Costa & Chyps - Detroit City Cats (Instrumental Long Version)
D4 Wilfred Percussion – Andei

Our first compilation, Beauty, offered listeners the chance to take a trip through the record collection of noted Parisian crate-digger and DJ Jeremy Underground. It was well received so we've decided to repeat the exercise. This time, though, we’ve turned to a lesser-known hunter of rare and obscure records, namely Crown Ruler Records co-founder Jeremy Spellacey.

Don’t be fooled by Spellacey’s lower profile: amongst those who know, the Melbourne-based New Zealander is widely regarded as a seriously dusty-fingered digger, capable of unearthing and championing ridiculously good records from all four corners of the globe. He sells some of these exceptional finds through his Crown Ruler online store, though there are many more that he keeps hidden from the public.

Spellacey has previously shied away from sharing the secrets of his extensive record collection. Crown Ruler Sound, then, is a rare treat: a gloriously colourful, sun-baked compilation of tropical treats from Africa, the Caribbean and beyond, hand-picked by the man who helped license this year’s most essential reissue, the South African boogie brilliance that is Focus’s Zulu.

From synth-laden Zambian reggae and sumptuous orchestral Afro-soul, to humid Trinidadian boogie and horizontal Italian jazz-funk, Spellacey offers a whirlwind trip through the most kaleidoscopic and exotic parts of his epic collection.

As you’d expect from a man who has traveled the world hunting down records, the majority of the 15 tracks will be unknown to all but a handful of similarly minded crate diggers. In fact, some are so obscure that you’ll struggle to find any mention of them at all online.

This could be your only chance to own some of these records and we don’t want to spoil the surprise but suffice to say, Crown Ruler Sound will surprise and entertain you in equal measure.

Crown Ruler Sound compiled by Jeremy Spellacey - Mini Mix

Order - https://spacetalkmusic.bandcamp.com/album/beneath-the-redwoods

Spacetalk is proud to reveal its most exciting release to date: a collection of long-lost recordings from forgotten Californian duo Morrison Kincannon, rescued from the dusty tape archives of the pair’s lead songwriter, Norman Morrison.

With only a handful of sought-after private press 7” singles to their name, Morrison Kincannon are all but unknown outside record collecting circles. Yet Norman Morrison and Terry Kincannon wrote and recorded some superb songs during the 1970s and early ‘80s, desperately hoping for the break that would see them released on vinyl. Now, at last, their time has finally come. Morrison and Kincannon first started working together as teenagers almost 50 years ago. Every Saturday, they would get together to jam and write songs. This led to recording sessions at a friendly studio in San Francisco and a management and publishing deal with Manny Greenhill, a man who had previously nurtured the careers of Bob Dylan and Joan Baez.  Sadly, their hoped-for-success never came, and by the early 1980s both members had re-focused on work and family. As the years rolled by, their original multi-track recordings lay idle in Morrison’s loft, seemingly never to be released.

All that changed when Morrison received an email from Spacetalk Records two years ago, asking about the possibility of reissuing “To See One Eagle Fly”, the B-side to one of their 7” singles that has long been a favourite of label co-founder Danny McLewin.  Once a deal had been done, Morrison mentioned that he had hours of unissued recordings in his loft; a treasure trove of ultra-rare multi-track master tapes that could be freshly mixed and mastered for release. When the Spacetalk Records’ team finally got a chance to listen, they were astonished by the timeless quality of the songs. Put simply, they just had to be released.

The resultant album is a stunning set: an intoxicating glimpse into the world of two previously unheralded master songwriters whose musical vision encapsulates all that was good about Californian music during the late ‘60s and early ‘70s. Rooted in the American folk revival and folk-rock movement of the late ‘60s, the album’s 15 thoughtful, heartfelt songs are laden with sly nods to the likes of Crosby, Stills, Nash & Young, Ned Doheny, Michael Deacon, Cy Timmons, Gene Clark and Buffalo Springfield. The tracks were recorded at various times between 1970 and ’82 and gives a small glimpse of the duo’s total body of unissued work. The release comes with extensive liner notes telling the remarkable story of two lifelong friends and musical collaborators who thought their moment had passed.

Beneath The Redwoods

Morrison Kincannon - Beneath The Redwoods

For the third volume of compilations curated by confirmed crate diggers, Spacetalk invites you to take a trip to the magical Mediterranean resort of Club Meduse in the company of Beachfreaks Records co-founder Charles Bals. 

A creative director, designer and curator by trade, Bals spends the majority of his spare time searching for superb, unknown, small-run music releases made between the 1970s and 1990s. While some of these are made available for other enthusiasts to buy via Beachfreaks’ mail-order service, many more make it into the racks of Bals’ private collection. With Club Meduse, Bals is sharing rare, hard-to-find and just plain brilliant gems from his personal stash for the very first time. 

For Club Meduse, Bals was inspired by countless magic childhood summers spent playing amongst the rocks, beaches and warm seas of the Cote D’Azur. The compilation, then, is a soundtrack to the greatest soft-focus, sunlit teenage summer holiday you’ve never had, with a gaggle of forgotten musicians and overlooked artists for company. 

Take a barefoot stroll from the campsite to the beach with Ara Macao, whose warm and lucid “Canyon” is a softly-spun delight, before splashing in the crystal clear waters to the accompaniment of The Clean-Hands Group and their 1984 Balearic blue-eyed soul gems “Night Fly” and “Shake It On”. 

As the sun comes down, clamber across the cooling rocks with the tumbling, sun-kissed guitar solos and sparkling analogue synthesizer motifs of The Keyboys’ leisurely “Savannah” ringing in your ears, before using the words of Gemini’s “Take A Chance” – undoubtedly the most Balearic record to emerge from Sweden in the last 50 years – to get flirtatious under the moonlight. 

Should you fancy a dance down the camp disco, Bals’ selections will gently ease you onto the dancefloor and into the gaze of the boy or girl of your dreams. The fuzzy Italo-boogie of the C.V.Q Band’s “Whatever You Do (Instrumental)” will get you going, while Miss’s 1984 French electro gem “Hip Hop” should guarantee a celebratory conclusion to the night’s party. 

No perfect holiday evening is complete without a stolen kiss in a secluded cove, and happily Bals has it covered. Check the seductive, dub-powered Balearic synth-boogie of Gigi Flag’s brilliant “Nymphomaniac (Instrumental)”, the steamy sweetness of Bals’ own edit of The One “O” Ones “Radio Cosmo 101” – possibly the greatest tune recorded to promote an Italian radio station – and the undulating electronic rhythms and exotic synthesizer lines of Eddy La Viny’s overlooked ‘80s zouk classic “Havan’ Havac”. 

A1 Bastion – Molitva 
A2 The Keyboys – Savannah 
A3 Ara Macao – Canyon 

B1 Chris & Kylie - Feelin' Good 
B2 The One “O" Ones - Radio Cosmo 101 (Bals Edit) 
B3 Gemini - Take A Chance 

C1 The Clean Hands Group - Night Fly 
C2 The C.V.Q Band – Whatever You Do (Instrumental) 
C3 Miss – Hip Hop 
C4 Metal Voices – At The Banks Of The River 

D1 The Clean Hands Group - Shake It On 
D2 Gigi Flag – Nymphomaniac (Instrumental Version) 
D3 Eddy La Viny – Havan’ Hamac

Club Meduse compiled by Charles Bals - Mini Mix

SHOP - https://spacetalkmusic.bandcamp.com/album/night-city-life-compiled-by-ilan-pdahtzur

Should you find yourself taking a Thames-side stroll in the shadow of the City of London, keep an eye out for the headphone-clad figure of Ilan Pdahtzur. While be-suited bankers and frustrated office workers scurry home to their families, Ilan can frequently be found casting admiring glances towards the blinking lights of towering skyscrapers while filling his ears with the synthesizer-driven sounds of lesser-known 1980s dance music. 

Ilan, an avid but little-known record collector best known for sharing the artwork of obscure and under-appreciated early-to-mid ’80s club cuts on his popular Instagram feed, has been digging for vibrant, kaleidoscopic records since his teens. Now, thanks to Spacetalk, he’s been given a chance to offer a glimpse into his neon-lit nocturnal musical world. 

The result is Night City Life, a killer collection of 1980s synthesizer songs inspired by Ilan’s admiration for the glow of London’s late night skyline. Over the course of 13 essential tunes, Ilan escorts us on a vibrant sprint through rare Italo-disco, steamy South African synth-boogie, fizzing American freestyle, oddball Austrian electrofunk and so much more. 

There are naturally a fair few sought-after cuts present, but also a fine selection of under-appreciated gems that for one reason or other have been all but ignored since they were released three and a half decades ago. In fact, some selections are so obscure that barely any information exists about them online. 

Check for example Preludio’s “Mysterious Nights”, an evocative fusion of slow electronic grooves, dreamy chords and twinkling piano motifs previously buried on a lesser-known album of unremarkable German synth-pop, or the dollar-bin brilliance of Fragile’s sweet synth-pop gem “We’ve Got Tonight, Boy”, a cut that Ilan says is capable of “wrapping itself like tendrils around your soul”. He’s not wrong. 

At the other end of the scale you’ll find the ultra-rare Italo-disco breeziness of Friend of Mine’s incredible “Just Your Pride” and Mac & Monica’s soulful 1986 South African synth-boogie cut “You’re So Good To Me”, copies of which regularly change hands for hundreds of pounds online. Ilan originally reached out to the men behind the record last year to tell them how one of their other forgotten gems had been played on a Boiler Room session; naturally, they were thrilled. 

There’s plenty to admire elsewhere on the compilation, too, from the waves of analogue synths, bubbly melodies and bobbing beats of the instrumental dub version of Brian Tatcher’s “Hot Love” – a cold-war era cut inspired by the idea of love blossoming in the midst of a nuclear meltdown – to the Bobby Orlando-esque freestyle bustle of Janelle’s “Don’t Be Shy (Dub)” and the sparkling post-boogie brilliance of Jarmaz’s “Night City Life (Disco Remix)”, a track Ilan has listened to countless times while admiring the midnight skyline of his home city.

A1. Catherine Brénot - Et Tout Est Yin Et Tout Est Yang (Club Mix)
A2. 1 Plus 1 – Coming Up For Air (Instrumental)
A3. Fragile – We’ve Got Tonight, Boy
B1. Jarmaz – Night City Life (Disco Remix)
B2. Friend Of Mine – Just Your Pride
B3. Mac & Monica – You’re So Good To Me
B4. Sala & H – Feel The Love
C1. Alexandra - Fantasia (Fantasy)
C2. Gioia – No Secrets (Instrumental)
C3. Janelle – Don’t Be Shy (Dub)
D1. Alessandro Scellino - Dinner In The Jungle (Erotic Mix)
D2. Brian Tatcher - Hot Love (Instrumental Dub Version)
D3. Preludio – Mysterious Nights

Night City Life compiled by Ilan Pdahtzur

Night City Life compiled by Ilan Pdahtzur - Mini Mix

Mila Anatoli

To Be Cruel

Kathy

Too Late

Kathy (Jonny Rock Edit)

Too Late (Skyrager Edit)

In 2018, Sean Worsey, a successful lawyer in California, began to receive some rather surprising emails. These were not from prospective clients, or about current cases he was working on, but rather queries from record collectors. They wanted more details about a pair of obscure, largely forgotten records he’d made in the mid 1980s as part of a virtually unknown band called Passion Theatre.

To say he was surprised is an understatement. “People from around the world were emailing, calling and messaging us about the music, particularly a track called ‘Vacation Day’,” he says. “Our records were rare and gaining in value, mainly because there were not many manufactured at the time. By 2019, several individuals in the music industry had emailed me about licensing tracks.”

We eventually agreed with Sean to include ‘Vacation Day’, on Charles Bals’ second compilation, Retour Au Club Meduse. Impressed with the quality of the compilation Sean approached us again to discuss whether we would be interested in reissuing both of his old EP’s in full, an idea he’d been considering for a few months already.

We jumped at the idea of course and have spent the last few months putting the reissue project together. The original studio tapes were long gone but a friend of Sean’s had some mint vinyl copies which we had shipped over from California to use as the master source, restored and mastered superbly by Technology Works in London. The striking original artwork from the two EP’s has been faithfully reworked into a gatefold double vinyl LP by designer Asger Behncke Jacobsen and features extensive interview/sleeve notes by Matt Anniss.

In the words of Sean Worsey - “One of the nicest things about the renewed interest in our music is that we can now enjoy it for what it is – back then we were a bit too worried about succeeding.” 
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Spacetalk

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