Back catalogue:

Review: Here's something of a novelty: alternative versions of alternative versions. As a partner to their deliciously dubby Versions LP - in which they reworked their own back catalogue - the Idjut Boys has decided to release a trio of new versions of their remixes. First up is "Kenny Dub Headband", a shorter, edited and re-dubbed rework of their freeform dub disco re-imagining of classic Kenny Hawkes' tribute "One For Kenny". While "Le Wesuk (Repress)" bears a striking similarity to the Versions album mix, the same can't be said for the flipside "Long LP Dub" of the same track. Utilising all of the weaponry in their stoner arsenal - bongo-laden rhythms, heavy additional percussion, jangling flashes of acoustic guitar, reverb and several tons of delay - the duo stretches the track out to 14 mesmerizing minutes.

Review: 1982 was a time of bad suits, bad haircuts and Men At Work. Thankfully the music wasn't all bad, especially that coming from Imagination, a group of backing singers turned pop stars. "Just An Illusion" reached a top ten position in the UK national charts when it was originally released and has been a staple on radio stations and compilations for 25 years. But it was also a huge underground club hit in the UK before it enjoyed commercial chart success, and has been in some of the most credible record boxes ever, including the likes of Harvey and Erol Alkan. Bearing this in mind we wanted to rekindle its underground heritage by choosing a remixer away from the norm, Hans-Peter Lindstrom is anything but the norm. He was born and raised on country & western on the west coast of Norway. Now residing in Oslo, he is a multi-talented musician and over the last few years has become one of the world's hottest underground producers, making electronic music with a nerve.

Review: Given that they released their first 12" nearly 20 years ago, it's somewhat surprising to find that Cellar Door is the Idjut Boys first "proper" album of original material. There have, of course, been other albums - a 2002 collaboration with Quakerman on Glasgow Underground, 2009's Rune Lindbeak hook-up as Meanderthals (on which they were rumoured to have done most of the work) and a string of typically dubbed-out disco re-edit collections (Phantom Slasher, Noid etc) - but nothing that could be called a definitive Idjuts album. Cellar Door, then, should perhaps be seen as a neat bonus rather than the culmination of a career that has stuttered between sublime brilliance and aloof eccentricity. Listened to on those terms, it's even better than you'd expect. First of all, it's a proper album in the old fashioned sense. Clocking in at under 40 minutes - like many of the greatest albums of the vinyl era - it shimmers with Balearic intent. Seemingly inspired by their recent work with Mudd and the Claremont 56 label - see the sun-bright guitars of opener "Rabass" and blissful reprise "Jazz Axe" - it's noticeably brighter and breezier than much of their work. Another obvious inspiration is veteran Balearic types A Man Called Adam, long time pals and occasional collaborators. Sally Rodgers' vocals are all over Cellar Door, from the soft focus Ibizan laziness of "Shine", to the Rumours-era Fleetwood Mac dreaminess of "Going Down". With the Idjuts usual delay-laden production style to the fore, it's an uncomplicated, singalong delight. Cellar Door, then, is an enjoyable and suitably laidback listen. Heady and intoxicating on one hand, sweet and country-tinged on the other, it's a grown up, radio-friendly set that should please those with a penchant for glistening Balearica.

Review: During the boogie years of the early 1980s, Imagination was that rarest of things: a British act who enjoyed considerable success on the other side of the Atlantic Ocean. Charismatic, eccentric front man Leee John (prone to appearing on Top of The Pops and Soul Train in what looked like a giant nappy) was clearly the star attraction, though it was always the band's tactile, wide-eyed synth sound that really shone. This "best of" runs down the highlights of their career, mixing well-known, stone-cold classics such as "Just an Illusion", "Changes", "Flashback" and "Music & Lights" with lesser-known later works such as "Found My Love" (a definiantly sugary slow jam) and the Prince style flash-funk of "Krash (All Night Long)".