Claremont 56 Vinyl, CD & Tape 12 Items

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Bison (Holger Czukay of Can & Smith & Mudd) - Salmon Sprungcake
Bison (Holger Czukay of Can & Smith & Mudd)
Salmon Sprungcake
12" | 2019 | UK | Original (Claremont 56)
15,99 €*
Release:2019 / UK – Original
Genre:Electronic / Dance
Claremont 56’s latest release is very much a family affair. It sees Idjut Boy Conrad McDonnell – a regular remixer of Claremont 56 releases since the label’s inception – serve up two spaced-out, dub-wise revisions of a little known cut by Bison, the imprint’s very own “super-group”. The 12” has extra emotional resonance for Bison’s Paul ‘Mudd’ Murphy and Ben Smith, as it marks the band’s first release since the passing of fellow founder members Holger Czukay and Ursula Kloss.
Clutching his cherished space echo and tape delay units, McDonnell has delivered two tasty new dubs of “Salmon Spungcake”, a spacey, gently throbbing Bison cut that he co-wrote, produced and mixed for Claremont 56’s 10th Anniversary box-set in 2017.
While the original version shied away from the dancefloor in favour of creating a hazy, horizontal mood, McDonnell’s “Zip It Shrimpy Mix” re-invents the cut as a hypnotic dub disco shaker rich in weighty bass, layered hand percussion, locked-in kick drums and spaced-out vocal snippets. In true dub fashion, flashes of the band’s original instrumentation – effects-laden guitars, hazy electronics and meandering, deep space chords – float in and out of the mix at irregular intervals. It’s the kind of remix you want to get lost in while wearily shuffling at 5am in a dark, sweaty basement.
The glassy-eyed, head-in-the-clouds fun continues on the “I Think I’ve Got Gout Mix”, an even more spaced-out affair that recalls some of the other inspired dancefloor dubs McDonnell has produced alongside Idjut Boys partner Dan Tyler. Stripped back, heavy, percussive and driven forward by sturdy kick-drums and the track’s rich, warm bassline, this is a deep space dub disco tailor-made for space cadets and intoxicated sunrise dancers.
V.A. - Claremont 56: 10 Years
Claremont 56: 10 Years
5LP Box | 2017 | EU | Original (Claremont 56)
95,99 €*
Release:2017 / EU – Original
Genre:Electronic / Dance
Featuring great contributions and mixes by Holger Czukay, Larry Heard, Bjørn Torske, Ron Trent, Smith & Mudd, Lexx and many many more!

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 debossed logos on the front and rear. 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."
Bambi Davidson - Brunswick
Bambi Davidson
2LP | 2015 | EU | Original (Claremont 56)
28,49 €* 29,99 € -5%
Release:2015 / EU – Original
Genre:Electronic / Dance
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 Frank Mollena (most famous for his involvement with fellow German rock outfit Mountaineer) and Sofia Fuss, went so well that both were asked to become permanent members of the band. It was at this point that the newly expanded four piece Bambi Davidson finally headed back 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 grooves, gentle sun-kissed melodies, lilting pedal steel and woozy, dub-influenced production. Often magical and always immersive, the six tracks that make up 'Brunswick' are delightfully contrary. While pleasingly accessible and capable of inducing broad smiles on the first listen, each carefully considered, drawn-out composition reveals more intricate layers on each listen. This is particularly true of “Foxhunting” - reminiscent of fellow Claremont 56 act Bison, and as a result of similar sonic influences - and opener "Brunswick". Arguably the album's high point, the latter offers a 13 minute-long shuffle through Balearic post-rock territory 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-Balearic rock shuffle of "Cattle", to the low-slung krautrock revivalism of "Artist", and the 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.
Leo Almunia - Minor Circle
Leo Almunia
Minor Circle
2LP | 2021 | UK | Original (Claremont 56)
31,99 €*
Release:2021 / UK – Original
Genre:Electronic / Dance
Leo Ceccanti should be a familiar name to all followers of the Claremont 56 label. Alongside sometime studio partner Gianluca Salvadori, he was responsible for two delightfully distinctive Almunia albums released on the label, 2011’s New Moon and 2013’s Pulsar. Both sets were filled with golden, sun-kissed sounds, psychedelic grooves and immersive, life-affirming soundscapes.

Now he’s decided to go it alone as Leo Almunia, delivering a debut album for Claremont 56 that’s every bit as alluring, wide-eyed and evocative as those he made with Salvadori. In keeping with his previous work, the album blends layered acoustic and electric guitars with toasty bass, dreamy synthesizers and grooves that variously touch on hypnotic house, chugging mid-tempo disco, sunset-ready Balearic beats and, on the glistening, life-affirming album highlight ‘Wishing Star’, loose-limbed jazz breaks.

What’s most significant about Ceccanti’s personal musical style is not the blend of stylistic influences he draws on – think psychedelic rock, progressive rock, jazz-rock, new age ambient and slow-motion disco – but rather the way he uses it to paint vivid aural images that genuinely linger long in the memory.

After opening with the duelling guitars and chunky dub disco grooves of ‘Sinking Fields’, Ceccanti sashays between magical moments of rush-inducing positivity, heart-tugging poignance and heady nostalgia.

Along the way, you’ll find numerous sonic highlights. On the intoxicating 21st century psychedelia of ‘Panerea’, jangling chords and eyes-closed psych-rock guitar solos ride a chugging, thickset electronic bassline, while ‘Il Cormorano’ is a metronomic, flash-fried workout rich in fuzz-tone guitar motifs, bluesy riffs and echoing instrumental touches.

He cannily joins the dots between Mid-West Americana and throbbing, psychedelic disco-chug on ‘Loveblind’, while ‘Minor Circle’ sits somewhere between Santana, the Pat Metheny Band and sunrise-ready Balearic blues. Arguably even better is the saucer-eyed brilliance of ‘Brillo De Luna’, where a dubbed-out electronic beat becomes enveloped in life-affirming acoustic guitar chords, exotic slide guitar motifs and string-bending solos. If John Lennon had ingested Mdma rather than LSD before writing ‘Across The Universe’, it would probably sound like this.

Then there’s the album’s crowning moment, closer ‘Can’t Hold a Lover’. A heart-aching, largely ambient instrumental that channels the loneliness and anguish felt by many of those separated from their nearest and dearest during the pandemic, it sees Ceccanti brilliantly wrap a variety of sun-bright guitar textures and solos around some of the loveliest synthesizer chords you’re every likely to hear. On an album packed with effervescent, mood-enhancing musical highs, it’s a rare moment of bittersweet bliss.
Almunia - Pulsar
2LP | 2013 | UK | Original (Claremont 56)
28,99 €*
Release:2013 / UK – Original
Genre:Electronic / Dance
Two years on from the release of their remarkable debut album, New Moon,
Almunia return with a second full-length of chugging psychedelic dub disco, shimmering acoustic grooves and spine-tingling Italian Balearica.
Jpye & Renato - Cosa Ti Va?
Jpye & Renato
Cosa Ti Va?
7" | 2021 | UK | Original (Claremont 56)
13,99 €*
Release:2021 / UK – Original
Genre:Electronic / Dance
Buried amongst the gems on the second Claremont Editions compilation was ‘Oui Non’, a collaborative cut that marked the first label appearance of Jpye (real name Jean-Philippe Altier), a French multi-instrumentalist, DJ and producer best known for his work as part of Twonk alongside Leonidas and percussionist/vocalist/guitarist Renato Tonini.

Here Jpye and Tonini join forces once more for their first single on Claremont 56 – a sensual and seductive slab of slow-motion, sun-soaked synth-pop that features more than a few subtle nods to classic Italian Balearic disco cuts such as Radio Band’s ‘Radio Rap’ and Tullio de Piscopo’s ‘Stop Bajon (Primavera)’.
Built around squelchy synth bass and a shuffling drum machine rhythm, ‘Cosa Ti Va’ is marked out by glistening, jazz-fired guitar solos, vibrant synthesizer squiggles, rich electric piano chords and echoing, dubbed-out electronics. It’s a pin-sharp but effortlessly laidback number that’s as tactile and loved-up as it as lazy and horizontal.
‘Cosa Ti Va’ is presented in two complimentary versions. On the A-side of the vinyl version you’ll find the full vocal, which boasts Tonini rapping in his native tongue in the manner of Italo-disco’s most eccentric and atmospheric vocalists. With his deep, rich tone and fluid flow, it’s hard not to fall in love with Tonini’s previously unheard rapping. Rounding off the single is the pair’s vocal-free instrumental take, in which Jpye’s stunning guitar motifs and tactile, soft-touch production can be savoured in full.
Hillside (Joe Clausell) - Walpole Days
Hillside (Joe Clausell)
Walpole Days
12" | 2021 | UK | Original (Claremont 56)
24,99 €*
Release:2021 / UK – Original
Genre:Electronic / Dance
Few within dance music culture can truly claim to have developed their own distinctive, sharply defined sound. Sacred Rhythm founder Joaquin ‘Joe’ Claussell is one such artist, as is emphatically proved by the stunning remixes he’s prepared of Hillside’s ‘Walpole Days’ for Claremont 56. Claussell’s trademark-take on dance music is richly spiritual, frequently referencing the tribal drums and distinctive polyrhythms associated with African music, the free-spirited Afro-futurism of jazz, the soulful release of gospel and the celebratory rush of NYC disco. Throw in a genuine love of live instrumentation and a decidedly cosmic musical outlook and you have a style that’s very much his own.

Many of these trademark elements are evident on his versions of ‘Walpole Days’, a typically warm, evocative and musically detailed chunk of near horizontal Balearic jazz-funk from Paul ‘Mudd’ Murphy, Alex Searle and Patrick Dawes’ Hillside project. The trio’s original version boasts all manner of intricate musical touches – eyes-closed electric piano solos, ear-catching and infectious hand percussion, spacey analogue synthesizer sounds and fluid piano flourishes, for starters – giving Claussell plenty to play with. The New York-based DJ/producer makes the most of it on the epic ‘Sacred Rhythm Mix’ version, an 11-minute peak-time epic that just increases in energy and intensity throughout. Opening with reverb-laden piano solos, he crafts an organic deep house groove out of Dawes’ percussion, echoing snippets of guitar, Searle’s warm bass and his own polyrhythmic programmed drums. As the track progresses, Claussell continually beefs up the groove, adding weighty kick-drums and layering more percussion on top of Hillside’s electric piano sounds and spacey synths. It’s little less than a masterclass in warm and spiritual deep house.

Claussell isn’t finished there though, and those who love extra-percussive, driving house music should check his second rework, the ‘Sacred Rhythm Hornsdrums Version’. Destined to inspire a frenzy of sweaty, loose-limbed dancing, it’s a dancefloor dub built around little more than drums, ultra-energetic percussion solos, trippy effects, driving bass and, in the track’s latter stages, echo-laden horns and electric piano riffs. It’s breathlessly brilliant and, like his A-side rework, one of the best remixes Claremont 56 has released to date.
Sillyboy's Ghost Relatives - In A Small Place
Sillyboy's Ghost Relatives
In A Small Place
2LP | 2019 | UK | Original (Claremont 56)
27,99 €*
Release:2019 / UK – Original
Genre:Organic Grooves
Earlier this year, Claremont 56 served up something rather special: the
atmospheric, claustrophobic debut single from Greek band Sillyboy’s Ghost
Relatives, “In A Small Place”. A warm, drowsy and evocative commentary on
smalltown paranoia, the single showcased a band not afraid to embrace their
love of blue-eyed soul, soft rock, West Coast jazz-rock and hazy AOR.
These influences shine through on the band’s eponymous debut album, which
will be released worldwide (with the exception of Greece and Cyprus) by
Claremont 56 this September. It’s a slight diversion from an imprint renowned
for its sun-kissed Balearic grooves, pastoral soundscapes and dubbed-out
dancefloor moves, but one fully in keeping with the imprint’s love of warm,
beautiful and atmospheric music.
It’s certainly a confident debut from Sillyboy’s Ghost Relatives, an Athenian fourpiece
founded by titular hero Sillyboy (AKA experienced musician, producer and
vocalist Charalambos Kourtaras, who has previously released a string of solo
albums to wide acclaim in his home country). The band is modeled in his image,
with a warm and hazy sound marked out by bold, toasty basslines, effects-laden
guitars and a mixture of retro synths and thickset electric piano motifs.
Sillyboy naturally takes centre stage throughout, delivering his loved-up and
lovelorn lyrics like a latter-day Michael McDonald. His vocal performances, and
that of his similarly experienced colleagues, lend the album a dreamy, visceral
quality fully in-keeping with the languid richness of the music.
Highlights are plentiful throughout. Check, for example, the dewy-eyed, stringladen
bliss of opener “Secret”, the 1960s style dream pop cheeriness of “High
Life” and the drowsy, late night drift of “Daylight”, an impassioned plea for
reconciliation rich in close harmony backing vocals and soft focus saxophone
solos. Or, for that matter, the chunky blue-eyed soul grooves of “Muscle Cars”,
the slow and seductive “Favourite One”, the tropical wooziness of “Better Than
Words”, the vintage Steely Dan shuffle of “Learn To Forget” and the breezy
Americana of closing cut “Wasted”, which delivers a stunning conclusion to an
album of rare cohesion.
Hillside - The Kings Tun / Hidden Port
The Kings Tun / Hidden Port
12" | 2019 | UK | Original (Claremont 56)
15,99 €*
Release:2019 / UK – Original
Genre:Organic Grooves
Over the years, Claremont 56 has played host to some memorable collaborative
projects, most notably Bison, an unlikely super-group whose members included
Holgar Czukay, Ursula Kloss, Liquid Liquid’s Sal Principato, Ben Smith and label
boss Paul ‘Mudd’ Murphy. Now Murphy is at the helm of another collaborative
outfit, Hillside, whose seductive debut single contains two deliciously pie eyed
instrumental workouts.
Hillside is very much a family affair, with Murphy joining forces with two old
friends: bassist/guitarist Alex Searle and percussionist Patrick Dawes. The trio
has a collaborative history that stretches right back to Murphy’s time in Akwaaba
in the mid nineties. For their debut outing, Hillside has also welcomed a very
special guest musician: award-winning jazz violinist and long-time Bert Jasch
collaborator Mike Piggott.
As opening gambits go, “Hidden Port” is an emphatic statement of intent. The
audio equivalent of sailing slowly around a cluster of sun-baked islands in
search of shelter from an approaching storm, the track sees Searle wrap bluesy,
Peter Green style guitar passages around a shuffling, Latin-tinged groove rich
in Dawes’ distinctive percussion patterns and Murphy’s languid electric piano
and synthesizer lines. As the track progresses, Piggott steps up to make his
mark, with his undulating electric violin lines complimenting Hillside’s impeccable
instrumentation while adding extra emotional weight to proceedings. It’s a
stunning beginning to the Hillside story.
Piggott also makes a big impression on accompanying cut “The King’s Tun”,
delivering fluid and energy-packed solos that weave in and out of a bright
and breezy instrumental track rich in jangling acoustic guitars, subtly spacey
electronics, fireside-warm bass and more sparse-but-intricate percussion
courtesy of the effervescent Dawes. Searle’s eyes-closed, rock style guitar solos
cap another memorable excursion from Claremont 56’s latest in-house band.
Sillyboy's Ghost Relatives - In A Small Place
Sillyboy's Ghost Relatives
In A Small Place
12" | 2018 | UK | Original (Claremont 56)
15,99 €*
Release:2018 / UK – Original
Genre:Organic Grooves
Sillyboy’s Ghost Relatives can proudly claim to be “Greek radio’s
favourite soft rock band”. The Athens-based quartet – fronted by basswielding
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 – eyesclosed
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.
Ferdi - Little River / Befreit
Little River / Befreit
12" | 2017 | EU | Original (Claremont 56)
11,99 €*
Release:2017 / EU – Original
Genre:Electronic / Dance
With the label’s 10th anniversary celebrations now done and dusted, Claremont 56 returns to action with something rather special: a magical debut single from a previously unknown talent. There’s not much we can tell you about Ferdi Schuster, other than
that he is a talented young producer from Augsburg in Germany. As Claremont 56 is one of his favourite labels, he speculatively submitted some tracks for consideration. Label founder Paul Murphy was astonished by what he heard and believes the two tracks showcased on this 12” are amongst the best things the label has released for some time.
A-side “Little River” is breathtakingly good. Opening with the sound of a babbling brook, it sees Schuster wrap plucked, sun-kissed acoustic guitar licks and jaunty vintage synthesizer motifs around a languid, samba-influenced groove. As the track progresses, further magical musical elements come to the fore, including blissful electric piano solos and more mazy synthesizer solos, seemingly played on battered old equipment from the turn of the ‘80s.
Schuster’s love of the acoustic guitar is explored further on similarly impressive B-side “Befreit”. Here, gently strummed chords and fluid Spanish guitar motifs catch the ear, as hushed cymbals and gentle hand percussion lap at your feet like the sea at sunrise. The German producer adds atmosphere through a combination of leisurely Hammond organ solos and a touch of Jew’s Harp. When all of these immaculate elements combine, the results are little less than spellbinding.
Schuster may be taking his first steps into releasing music, but his compositional, playing and production skills are already finely tuned. We can surely expect to hear more inspired music from him in the years to come.
Paqua - The Dubs
The Dubs
10" | 2014 | EU | Original (Claremont 56)
9,99 €*
Release:2014 / EU – Original
Genre:Electronic / Dance
Ray Mang & The Idjut Boy's hit fine dub form on this white vinyl 10". Both tracks have been stripped down to the bare minimum and worked with their trademark echos & delays. A fine 10" to round off the Paqua package. Essential!
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