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Philmore Greene's The Grand Design blends reflective storytelling with dynamic hip hop, now on red/pink bloom vinyl.

A familiar face to the art circles of NYC and Detroit, Scott Avery is the tabbed alias for Philly-born, Detroit-based producer, Amani Olu — an ambitious creative who makes his music debut via Child Self. The EP includes four disparate tracks that explore wanderlust, play, experimentation, and unencumbered curiosity. An homage to innocence and the source of his creative expression, Child Self represents a juncture in Avery’s personal history, a moment of reflection as the artist considers the roads which have led him to the present.

Throughout the EP, memory—both personal and historical—resurfaces in roundabout ways, unlocked in ecstatic sonic transmissions, expressing the depths and sentiments that language can’t express. Coupled with Detroit’s legendary history and an aching devotion to the early years of Avery’s life, Child Self richly entwines sounds with spiritual expression. With subtle reference points and underlying samples seamlessly flowing between disco and rap, house and Motown, Child Self is a composition of gradual histories tactically woven back together into proof of concept for an ambitious and varied career to come.

A sunny and flamboyant spirit, the brazilian João Selva carries us away with his new wave album “Onda” - Underdog Records /2025.

Navegar (“to sail”) in 2021, Passarinho (“lit-tle bird”) in 2023... through the titles of these last two albums, João Selva will have displayed his ambitions and ideals: to fluidly and swiftly connect the musical components of a Black Atlantic that would extend from Brazilian samba to Angolan Semba, from Cape Verdean funaná to Caribbean zouk via Congolese rumba and American funk. His new album Onda continues to ride this same wave, crowning a luminous transatlantic artwork, imbued with sensuality and joie de vivre.

Allumynd emerges from the shadows with a project that feels as though it has been excavated from the farthest reaches of electro history.

Fresh from a summer spent deeply immersed in analog gear, Allumynd's debut album delivers 8 raw and electrifying tracks that capture the essence of an era yet speak boldly to the future. Each track, recorded live, surges with an intense energy and is crafted with both mechanical precision and an emotional undercurrent.

Steeped in the legacy of pioneers like Drexciya and Cybotron, the album pushes forward with an unmistakably modern edge. The result is a sonic journey that captivates, paying homage to the past while redefining what electro can become.

Club Dream is an exclusive Daydream sideproject dedicated to pumpy uplifting house. The first volume has been crafted by a long time friend and member of the crew, Mbius. The Leipzig based producer delivers three timeless cuts full of energy in a progressive synth laden vibe. The whole is completed by a solid rolling remix from the great Christopher Ledger.

Maybe this warning is not really relevant. It doesn’t scare anyone anymore. We all know that what is actually hiding behind this green fence is a sweet doggy only waiting to happily greet you.

First there's Gabriel, who you probably already saw playing crazy drums (with Terrenoire, Cola Boyy…). And then there's Facundo, the magician on the synth and on his choice of shirts.

Together they are Chien Méchant: a duo made of two friends who met at the hairdresser (and in high school), and that makes you wonder if groove, rock, funk and synths could maybe coexist one more time.

The release of their first self titled EP Chien Méchant gave prominence to their first inspirations - as first releases usually do - and showed off their influences. They were at the same time trying to prove themselves but also preparing us for what is to come: the real journey.

A journey that will start next January with Métamorphose. A first album that will display a cast smelling like leather, like a John Carpenter movie with GrandMarnier (Yelle) directing, Ouai Stéphane on the mix and of course Gabriel & Facundo taking a twisted pleasure in deconstructing our common preconception on pop music.

Métamorphose has many shapes - don’t forget a dog can have 3 heads. The track “Nuit Blanche” reminds us of our dancefloor trances. “Sens Contraire” is a drum/synth ballad that takes us by the hand and slowly whispers in our ear that it is ok to be anxious. “Point Final” is pretty self explanatory and makes us feel like we are back on the dancefloor saying “ok this is the last one”. There are ten tracks on this album that will be released alongside their label - Nowadays Records.

You will quickly understand that Chien Méchant is a live band. You will dream about these drums, these blinking synths, these psychedelic carpets, and about dancing without thinking about what’s next. But beware, Métamorphose also reminds us that they are way more than that.

2025 Repress
Techno from Rotterdam.

After organizing a series of club nights in Nuremberg under the banner “Get Closer,” Homebase and Jürgen Kirsch are going to launch a music label under the same brand.



Their approach is to release timeless electronic music pieces on vinyl, get back to the essence of things and focus on what truly matters: good and straightforward music! For the label’s debut, they signed two tracks from Pokerflat & 8Bit artist Markus Homm, getting remixed by the Labelowners himself.



marbled Vinyl !! comes in different Colors

The long-awaited new album by the Belmondo
Brothers, their first in a decade.
Renowned internationally for their collaborations
with such luminaries as Milton Nascimento and
Yusef Lateef, trumpeter Stéphane Belmondo and
his brother saxophonist Lionel - the most famous
jazz siblings in France - celebrate their artistic
reunion.
The brothers salute their masters and synthesize a
quarter of century of musical adventures via a
series of new original compositions.
Featuring songs inspired and dedicated to Wayne
Shorter, Bill Evans, Yusef Lateef, Woody Shaw
and their late father Yvan.
Featuring the great Belgian Eric Legnini on piano
and a tight and full-bodied jazz quintet.
An original mix of modal and spiritual jazz with
hints of classical liturgical influences and ethnic
vibes.
For fans of John Coltrane, the Blue Note albums of
Wayne Shorter, Bill Evans, Freddie Hubbard,
Yusef Lateef, Herbie Hancock, Jacky Terrasson,
Lili Boulanger.

The latest from prolific producer and trumpeter Michael Leonhart (Steely Dan, Mark Ronson, El Michels Affair, Elvis Costello). The Leonhart Brass Band features members of Antibalas, the Dap-Kings & Red Baraat. The Leonhart Brass Band was conceived during the 2020 COVID-19 quarantine when trumpeter/composer/producer Michael Leonhart was unable to perform with his 18-piece orchestra at NYC's famous Jazz Standard. Leonhart began composing music for a small brass band that would be capable of playing outdoors without amplification. Building on the foundation of the classic brass bands (Dirty Dozen Brass and Rebirth Brass Band), Leonhart has infused elements of hip-hop and funk to create his own sound. The Leonhart Brass Band features members of Antibalas, the Dap-Kings & Red Baraat. "Jabbar" – Dedicated to and inspired by hooping legend Kareem Abdul Jabbar (aka Lew Alcindor), whose father was a transit police officer/jazz musician and whose mother worked as a department store price checker. In addition to Jabbar's storied career on the hardcourt, Jabbar grew up surrounded by jazz and has been a die-hard music fan his entire life, tragically losing his vast record collection in a 1983 fire that destroyed his LA home. Leonhart's tribute centers around an infectious bass riff in C minor, punctuated by brass stabs and solos by Leonhart on trumpet and Jason Marshall on the seldom-heard bass saxophone. "The Iceman" – The title is taken from basketball great George Gervin's famous nickname given to him during his years playing in both the ABA (American Basketball Association) and the NBA (National Basketball Association) for teams such as the Virginia Squires, San Antonio Spurs and Chicago Bulls. Legend has it the name came from Gervin's cool temperament on the court and his rare ability to play incredibly hard without breaking a sweat. "The Iceman" sees the Leonhart Brass Band horn section dividing into two groups as they play counterpoint melodies against one another. The tape echo effected bari sax solo is performed by Stuart Bogie

“Back For More” is probably the most successful track of Cool Million, but for shure the most looked for. DJs and collectors are willing to pay incredible high sums to get hold of one copy of the original pressings from 2010. Only 1000 copies got pressed and this dancefloor filler is still an active 45 in DJ sets worldwide. This NeoBoogie slam is with no doubt a classic already. Cool Million’s banger and title track off their 2010 album “Back For More” is a teaming up with vocal legend, Eugene Wilde, a soulful synth funk jam, and has remained one of Cool Million’s most streamed singles. Now in 2024, Cool Million is back for more with the refreshed master mixdown and vinyl pressing of this dancefloor classic on Sedsoulciety Recordings. As usual with a never released and brand-new dub version on the flipside. Now hitting the stores all over the world again. Though for all DJs and collectors we are happy to announce the redefinition of up-tempo Neo-Boogie is back for more.

To celebrate the debut release on his own label, Hindwood extols the power of intuition, which has served as his guiding force since his childhood.

Fueled by love and a deep connection to the cosmos, he blossomed as an artist, attracting a circle of talented artists into his orbit, such as Brique and Local DJ. This EP is a sonic journey through his inner awareness and the web of cause and effect: an exploration of the invisible threads that bind us all together.

#1 “Guts’ feeling”, is resonating with the heartbeat of the universe and the pulse of ancestral memory, use of tribal sounds and deep bass. Through this track, he conjures a world of duality, where the darkness and the light coexist in perfect equilibrium, revealing the beauty of both.

#2 On “Third eye awakening”, he draws on the primal energy of deep, trance-like, and energetic soundscapes, and weaves a sonic tapestry that transports the listener to a realm of heightened awareness and connection.. The whispers of his soul and the song of the earth, intertwined in a harmonious dialogue that speaks to the deepest part of his being.

#3 Captivated by the mystical powers of Third Eye Awakening, Brique delivers a hypnotic remix. Appropriating the distinctive vocals and pads of the original track, he has fashioned an ode to never-ending nights animated by his own hazy memories of losing oneself on the dance floor. The deep and organic bass combined with the looping and trance-inducing acid will shake listeners to their core.”

#4 The local dj remix finishes the EP with a more atmospheric allure of dub. With a deep, throbbing bassline that anchors the groove local dj sets the pace, inviting movement and dancefloor immersion where elements evolve all along the track and keep the listener engaged from start to finish.

LP limited to 500 LP copies. Nina Garcia ’s first solo record widely available via international distribution. Nina has collaborated with artists like Stephen O’Malley, Sophie Agnel, Fred Frith, Antoine Chessex, Louis Schild, Leila Bordreuil, and supported for bands like Sonic Youth, SUNN O))). After a decade of performing concerts under the Mariachi guise, Nina Garcia has finally unveiled her unique approach in Bye Bye Bird, her first album under her name. Bye Bye Bird is her second solo album. With no pretence or demonstration, the album is a captivating blend of chiaroscuro, melodies, and raw emotion. Nina Garcia’s album takes on an almost documentary-like quality by adopting a simple approach to gesture and sound recording. It offers a candid portrayal of a moment, a lack, a state, and a breathtaking energy. With ostinato as her only credo, Nina Garcia’s music is an experiment in freedom, where the peaks answer the abysses, and the power of movement and the emotion of sound serves as her compass. From very short (01:28) to never very long (07:34), the eight tracks that make up this set explore a moment, a space, a mechanism, an intention or a way of doing things. As a common feature of almost all these pieces (all but one, the last), Nina Garcia explores a new technique. She adds to her instrumentation, reduced to the essentials (a guitar, a pedal and an amp), an electromagnetic microphone which, when held in hand, makes it possible to listen in on the exact zones where the vibration of the string creates a sound amid vast spaces of silence. The guitar is unplugged, and the body/instrument relationship changes in dimension. In this series of variations, you can get caught up in masses of noise seen from very, very close up, evocations of melodies in the making, feedback on ridgelines, pulsations that hold their own, modulations weakened by exhaustion and harmonic bursts that hint at better days to come. Neither hopelessly chthonic nor beatifically ethereal, Bye Bye Bird is a sum of musical pieces that make a whole and give voice to echoes of what has been, the presence of what is and the hope of what will be, a record movement in the form of flight and salvation. Since 2015, Nina Garcia has been researching and creating around the electric guitar, halfway between improvised music and noise. On numerous stages in Europe and North America, she has played occasionally with Stephen O’Malley, Sophie Agnel, Fred Frith, Antoine Chessex, Louis Schild or with Luke Stewart and Leila Bordreuil’s Feedback Ensemble, in addition to more regular formations in which she participates, such as the ensemble Le Un, mamiedaragon, Autoreverse (with Arnaud Rivière), duets with trombonist Maria Bertel and percussionist Camille Émaille, and the installation piece De Haut En Bas, De Bas En Haut Et Latéralement (with Christophe Cardoen, Jennifer Caubet, Etienne Foyer, Anna Gaïotti and Romain Simon). “Nina Garcia has been actively moving the art of noise guitar into surprising and intriguing new spaces. She has been at it for some time now, a bit of a secret weapon all the while hiding in plain sight. As I listen to her music and ruminate upon seeing her perform it brings me to a realization which I have with very few musicians: the ego inherent in making art can be transcended through a purity of direct action. At least that’s the feeling I have when experiencing Nina’s music which comes across as serious and radical and wholly engaged in the moment of its creative impulse.

This is a reissue of the original 7", newly pressed in 2024. The cut was initially created for the Dischord 7" box set. NON-RETURNABLE.

These songs are also available on the 1981: The Year In Seven Inches CD, the Minor Threat Complete Discography CD, and the Two Seven Inches 12" EP (+MP3s)

Alkisah Versi Hitam is a radical deconstruction and reimagination of Indonesian duo Senyawa's most recent album Alkisah by Hamburg's Marc Richter aka Black To Comm. The original album was released to critical acclaim in February of this year as a decentralized release on a multitude of labels from all corners of the world, Germany’s Dekorder being one of them. Richter is now completely reinventing the original album from scratch by doing an almost Teo Macero-level production job here, cutting up the originals and (re)constructing new material from scratch.

Arcane chants and vocal cut-ups, fierce freeform percussion, grimy No Wave collage, monochrome drones exploding into multicolour streams, unearthly psychedelic Noise and sheer sonic mayhem, warped discordant rhythms between moments of calming beauty - it's never easy to digest but the outcome is both ecstatic and transcendental - never sounding anything less than a fully formed singular album.

A special cassette version of the album will be released by Jordanian label Drowned By Locals.

BLACK TO COMM is the moniker of Hamburg composer/musician Marc Richter who is creating intricate multi-layered collage based works for labels like Thrill Jockey, Type and Dekorder. His 2019 album "Seven Horses For Seven Kings" revealed an increasingly angry, transcendental and fearless approach, attaining new levels of urgency through noise, volume, rhythm, repetition, atonality and beauty.

Jogjakarta’s SENYAWA embody the aural elements of traditional Indonesian music whilst exploring the framework of experimental music practice, pushing the boundaries of both traditions. Their music strikes a perfect balance between their avant-garde influences and cultural heritage to create truly contemporary Indonesian new music. Their sound is comprised of Rully Shabara’s deft extended vocal techniques punctuating the frenetic sounds of instrument builder, Wukir Suryadi’s modern-primitive instrumentation. Inventions like his handcrafted ‘Bamboo Spear’; a thick stem of bamboo strung up with percussive strips of the animal skin along side steel strings. Amplified it fuses elements of traditional Indonesian instrumentation with garage guitar distortion. Sonically dynamic, the instrument can be rhythmically percussive on one side whilst being melodically bowed and plucked on the other.

They have collaborated and performed with many notable musicians such as Stephen O'Malley of Sunn o))), Otomo Yoshide, KK Null, Keiji Haino, Rabih Beiani, Trevor Dunn, Greg Fox, Arrington De Dionysus, Melt Banana, Damo Suzuki and Oren Ambarchi.

Peter Saville says of Sub-Culture "LABEL ONLY was specified in 1985 due to time pressure around the original release and as a consequence, a sleeve design for the re-release has no actual precedent. However, exploring the principle 'the solution is in the problem’ has led to the subliminal evocation of a sleeve that is still LABEL ONLY”.

Russian titan Monokle is back to once again traverse many different sound worlds with his new album Ultraflowers. It is one of a number of superb albums landing on Constellation Tatsu this summer and one defined again by its warmth. The title track is a lo-fi, scruffy and deep opener with persuasive breakbeats, while 'Glassy Eyed' is an ambient jungle trip that drips with watery melody. 'Night Objects' offers some introspection and 'Moths' is a glitchy future techno cut with smeared synth soul. '1000Work' layer sup more breaks with elegant ambient melodies and 'Predteche' casts you admit in the deepest corners of space.

Shaka's new drop on Selections is a delightful one that combines real jazz melodies with authentic deep house. Opener 'Sacred Church' (feat Eve - main mix) immediately wins you over with the buys keys, Rhodes chords and eco-system of cosmic synths that busy about while the soulful vocal oozes cool. Jon Cutler's Distant Music mix pairs things back and makes it more of a smoky late night sound and 'Shaker Games' then blisses you out with dusty drum depths and incidental chords that are magically feel good. 'Get Me Higher' shuts down with some superb US house vibes.

Sometimes a record drops and you just know it's going to be hot. This is one of those records, an essential 7" from Bloom and Japanese talent DJ Koco aka Shimokita, who has been spinning 45s since 2011 and can juggle beats like Messi can juggle a ball. He is a favourite with the likes of Gilles Peterson and is likely to win many new fans with this one. 'World Famous (feat 45Trio)' is a gloriously jazzy, soulful sound with funk drum breaks and warm, organic percussive tumbling next to natty chords and a killer bassline. Add in the equally irresistible 'Re Create #01' on the flip and you have a sure-fire future classic, so do not sleep.

Wonder what happens when 4 friends occasionally link up and make a few cheeky house tunes in between talking about pizza, footy, and kick drums? Cheek Inc!
Wonder what music 4 people (Nic/Rafael from !!! and Preslav/Adam from PTA) who’ve released music on Warp, Good Looking Records, Freerange, Pittsburgh Tracks, and Dischord would write? Cheek Inc!
Wonder why? Cheek Inc! “Jacqueline” is the debut EP by Cheek Inc: a vocal house 12” with 3 mixes to make you feel like you’ve always known why you have to just keep going. The A side brings flavors of classic piano house, adding a huge sub bassline, soaring synth pads and leads. The B1 “303” mix strips things down with a hypnotic bass groove, rhodes chords that keeps the pace, and an insistent 303 line that runs in and out like you know who. The B2 “Still Life” mix takes it deep by cutting up the vocal, with a sliding, playful lead line, bouncy chords, and a drum groove that shuffles and swings while THAT string line never quite goes away. Cheek Inc!

In Signal, Brendon Moeller takes his expertise in techno, ambient and dub techno into deeper ambient and drone territory, crafting a richly atmospheric journey through sound for Constellation Tatsu’s thoughtful cassette label.

This album gently balances textures, merging natural and synthetic elements for a unique sonic experience. Highlights include the track 'Light', which opens with a minimal drone and subtle, pulsing sub-bass notes, setting a calm yet immersive tone. In 'Wires', Moeller skillfully intertwines organic and electronic soundscapes, bringing together the natural and technological in seamless harmony. 'Nowhere' shifts to a more aquatic feel, conjuring the sensation of being submerged in an otherworldly lagoon. The serene, electronic layering in 'Bask' adds beauty and peace through calm sequencing and warm tones. Closing with 'Beam', Moeller expertly blends real-world sounds and hints of a surreal, alien atmosphere, rounding out an album that’s both tranquil and otherworldly. Signal encapsulates Moeller's thoughtful production approach, giving listeners a deep dive into ambient landscapes that feel as expansive as they are introspective and adventurous.

One Million Eyes, previously known as Templehof, return with a new album of balearic ambient, previously heard on two excellent releases for A Strangely Isolated Place.

This time appearing on legendary cassette label Constellation Tatsu as part of their fall combo, anyone familiar with their previous work will know what to expect. Dreamy, sun hazed analog synth lines mix with deep fourth world soundscapes that wouldn’t sound out of place on 90s labels such as Pete Namlook’s Fax or Instinct Ambient. The first half of Signal begins slowly, eyes wide shut, with 'Nickel', a slow pulsating jam of chilled out psychedelia. 'Marea' blends organic instrumentation with distant, processed voices. ‘Koala’, the deepest cut on the album, leads to a mood shift in 'Opalescent' that will sound eerily familiar to any Gaussian Curve fans. 'Polaris', 'Solstice' and highlight 'Landscape' close out the album in style.

For fans of anyone from Music From Memory, Jonathan Fitoussi & Ishq, there are few better ways to relive your memories of later summer.

The Sound System has become part of today’s musical/cultural heritage, playing the people’s favourite hits or just as important, breaking some new tunes.
But perhaps less known are the roots of the Sound System, which began way back when…in Kingston….

Around the late 1940’s the Sound System began to overtake the big bands that usually played at the dances in Kingston.

The American Rhythm and Blues records that were so popular at the time would find their way to Jamaica via the merchant sailors and migrant workers returning from their stints in America. For economical reasons alone it would pay to have a DJ on hand to play these hits rather than a 10 piece band that could eat and drink the promotor out of the house and on curried goat!!

The early Sound Systems were basic affairs built around a single record deck, a valve amp and a speaker.

But by the 1950’s they had grown to purpose built speakers the size of wardrobes that could be heard blocks away.

Record producer Bunny ‘Striker’ Lee would remember the time ‘Sound Systems was like our radio station…not many people on the island would own a wireless, so it was the way for the people to hear their music.

So this selection of Lovers, Ballads, Root’s classic’s made the Sound Sytems of Jamaica the place to be.

So sit back and enjoy the ride….SOUND SYSTEM ROCKERS …one and all

Pluhm is the main project of Lucio Leonardi, Sicilian musician based in the north of Italy. This time with “Distanze e Solitudini”, amidst emotional ambient drone distortions, he narrates about the distances existing among human beings. Distances that make us lonely, even when we are apparently close to one another, the psychological distance can be so abysmal that we feel abandoned.

While 1995's Washing Machine LP moniker was a thinly-veiled jab at the corporate aesthetic ("no, you cannot turn Sonic Youth into a household appliance brand", the band even considered changing its name to Washing Machine but settled on the album title instead), their major label relationship was indeed a curious buzzpoint of talk on the street after their intake to DGC in 1990. It wouldn't be fair to say that this state of existence propelled the band to reinforce its independent mindset by releasing a series of opaque-looking, French-language-dipping, highbrow-looking releases on their own that focused on the more abstract improv/compositional side of the band; in all truths they had been heavily steeped in self-releasing spillover material prior to that. But after a pressure pot of the early 90's indoctrination into a new operational mode for the band and its visibility, and the forces around it attempting to shape their direction, it seemed like a good time to create a strong show of radical concept.

The Anagrama EP became the first in a series of the SYR label's Perspective Musicales releases seemingly cementing Sonic Youth's connectivity to an increasing public awareness in experimental composers of the 20th century (French or otherwise). The irony was that many of those original avant composers being rediscovered by the indie audience (Partch, Neuhaus, Reich, Messaien) often found themselves on major labels anyway! So, perhaps this reverse approach was a necessary concept/comment given the music biz climate of the 90's. Regardless of how apples and oranges fell in Xenakian probability/theory, it was clear that both Sonic Youth's stature in progressive music, aided by now unlimited taperoll time thanks to a home base studio downtown established after their Lollapalooza stint, gave the band plenty of trailblazing time for their self examination of untraveled avenues.

"Anagrama" unfolds into nine minutes of delicate textures, starting with thick drone segueing into moments reminiscent of the post-crescendo flutter/comedown of "Marquee Moon's" trail-out; Thurston, Lee and Kim's guitars all circling round each other taking delicate pokes and stabs before drifting into some post-rock rhythmic moves tapered with delicate percussive guidance from Steve Shelley. "Improvisation Ajoutée" reaches further out into dissolve with whirring oscillations, guitars hissing and clanking radiator-style in a short blast format that continues into "Tremens" and a spooked-out landscape of gelatinous notes snaking up slowly. The sparseness of attack is colorful, textures emit and linger, silent spots shine, all flanked by tasteful drumming that provides the thread to all the abstraction. Shelley's approach here is interestingly sideways to any kind of usual rock action, it's tempered, mutant and metronomic simultaneously. The finale track "Mieux: De Corrosion" is a real pedal-palatte showcase. Here, Plutonian guitar wash flanges upwards to buoy a myriad of colorful eruptions of amp-spuzz, chopped up tone blasts and general confusion. Out of the blue, some metallic one-note choogle kicks in and threatens to explode into some Judas Priestly motion, before it all sputters into aural glass showers, clang, and finally a ferocious wave of more flange hiss that crashes down on a dime.

This initial foray into SY's Perspectives Musicales series continued onward with releases featuring other co-conspirators, peaking with the ambitious 2CD Goodbye 20th Century that finally connects the band into full-on interpretations of other composers' pieces (as well as displaying their own new ones). The whole series is not so much an outlet for another "side" of the band, but a run that went hand in hand building new approaches of songcraft onto their own, more overground direction which included Jim O'Rourke (who hopped on during SYR3), adding additional density to A Thousand Leaves and other LPs of his era. Fans of the '86 Spinhead Sessions as well as the recently-exhumed later jams of In/Out/In will take in the sounds of SYR1 with glee.

John Gosling (aka Mekon) the English big beat/industrial musician and electronica producer, is set to launch his new label Hua Hua (pronounced wah wah) with an 11-track compilation album this July. A quick scan at some of the featured artists showcases a line up of legends - eighties rap sensation Schooly D sitting alongside Primal Scream mainstay Bobby Gillespie and John’s recently departed punk hero Alan Vega - even Roxy Music’s saxophonist and founder member Andy Mackay makes an appearance. And while John’s electronic alter ego Mekon is always on hand to remix and arrange, he’s far from the only producer behind the proverbial wheel.
“It’s stuff I had lying around and now I am finding ways to get it out of my system,” he says. “It’s all been brought to the world with brilliant new artwork by Isabelle de Jour, who also features on various tracks.”
Gosling is well known as a member of both Psychic TV and Coil (for the album Transparent). Gosling founded the groups Zos Kia with John Balance and Bass-o-Matic with William Orbit before recording as Mekon. He has also remixed under the name Sugar J. And that’s before we get to the fact that he has soundtracked some of the most forward-thinking fashion shows in the world - crafting the soundscapes for Alexander McQueen shows since the show Dante in 1996. Firstly working hand in hand with the late great Lee “Alexander” McQueen, then with his successor Sarah Burton. In the mid-to-late-nineties he was a core member of the group Agent Provocateur along with Matthew Ashman (originally of Bow Wow Wow), Dan Peppe, Danny Saber (of Black Grape) and Cleo Torez. He has also worked with artists such as Roxanne Shanté ('Yes Yes Y'All'), Marc Almond ('Delirious'), and Afrika Bambaataa. His third album “Something Came Up” featured artwork by Alexander McQueen.
John is as passionate about Suicide and Alan Vega and what he describes as “the new stuff”. Besides, he says, “that’s how people listen to music now. I think kids – my kids anyway – listen right across the board. People don’t see genres anymore. So it’s my definition of good music.” It’s safe to say that this is very much Volume 1. “Yes, it doesn’t cover everything and Volume 2 will be completely different.”

There was not a bigger, more contagious crossover radio smash in the autumn of 1991 than Naughty by Nature's "O. P.P.," a song that somehow managed the trick of being both audaciously catchy and subversively coy at the same time. The lead single off their eponymous album, it was one of the first rap songs to become a pop hit when it reached No. 6 on the US Billboard Hot 100 and No. 35 on the UK Singles Chart. It even named one of the 20 greatest singles of the 1990s by SPIN magazine. The third single off Naughty By Nature, "Uptown Anthem," is the b-side on this 7". Originally made for the soundtrack for the movie Juice, the song peaked at No. 27 on the Hot Rap Singles chart and No. 58 on the Hot R&B Singles chart.

Enigmatic Melbourne instrumental groupThe Pro-Teenspay tribute to late great rapper MF DOOM, reimagining 14 iconic cuts through a cinematic soul lens.

The full-length album follows the Pro-Teens now collectible 7"s of The Pro-Teens' renditions ofPeachfuzz b/w One BeerandDoomsday b/w Curls.

BBC 6 Music - Gilles Peterson

BBC 6 Music - Huey Morgan

BBC 6 Music - New Music Fix

WNXP Nashville - Dan Digs

Mel Keane transcends from his former state of earthly frog into a new and empty world that he must endeavour to furnish with his Airs.

Who doesn't love a bit of sophisticated soul? We certainly do and it's always good to hear some reworks of the soul great's finest cuts for the dancefloor. And that's what we have here on a new 7" that opens with a disco version of 'Cherish the Day' and doesn't go hard, instead building in some gentle drums and lo-fi melodies, swooning vocals and a mystical late night sense of romance. On the flip, we get a lovers rock version of 'Nothing Can Come Between Us' which adds plenty of lovely guitar lines to bring that island vibe while the shuffling drums lock you in gently.

The Soultrend Orchestra is a side project of the producer and musician Nerio ‘Papik’ Poggi.
Owner of the main project, Papik, Nerio Poggi has been one of the most internationally renowned Italian producers for the Nu Jazz
Lounge sound for over ten years, with around forty albums under his own name and those produced by him with solo artists or
with monothematic collections such as the ‘Cocktail’ series.
With the project The Soultrend Orchestra, Nerio Poggi has dedicated himself in particular to the Soul Jazz and Disco sound, with
a particular eye on the 70s/80s sound that starts from artists such as Roy Ayers, George Benson and Donald Byrd to arrive at the
Acid Jazz sound of Incognito and The Brand New Heavies.
The first album '84 King Street', released in 2017, was the one most dedicated to the Disco sound, also for the title that reports the
address of the legendary New York club Paradise Garage from where Disco music in the late 70s was definitively launched all over
the world by the deejays David Mancuso and Larry Levan in primis.
With the second album of 2022 'Live For Funk' the sound ranges more towards Soul and Jazz thanks to some songs that have driven it such as About Love openly inspired by the sound of Roy Ayers.
This third album, produced like the second Live For Funk together with Peter De Girolamo (aka P.A. Jeron) is due out at the beginning of 2025 and is titled Non Imagine where he continues in the search for these same sounds.
With some of his closest collaborators such as Alfredo Bochicchio, Massimo Guerra, Simone ‘Federicuccio’ Talone and vocalists
Laura Lanzillo, Erika Scherlin and Anna Fondi, the album as always also has other illustrious guests such as Wendy D. Lewis, Ely
Bruna, Nadyne Rush, Filippo Perbellini, Stevie Biondi and Nicole Magolie on lead vocals.
In the tracking list we also find some covers in this album: Lost In Music, a symbolic song of Disco by Neil Rodgers and Bernad
Edwards (Chic) made famous in the 70s by Sister Sledge, and Summer Madness, a very particular song by Kool And The Gang,
famous for its magical atmosphere here perfectly rendered by Peter De Girolamo's keyboards and Anna Fondi's voice.

From the pure Guinean tribal rhythm mixed with a collection of poems by Justo Bolekia, to the purest traditional jazz, to the hip hop & Neo-Soul that so characterizes the 90’s and 00’s. Omar seeks to mix old with modern, mainstream with underground, carnal with mental and the energy to move the skeleton, mix the relics of black music and transport them to 2022, where even today greater injustices continue to be noticed. and social and racial differences.

On this album, Omar Alcaide chooses to trick very varied collaborations, and take the album from the perspective of producer, composer and lead guitarist, even though there are some songs in which he sings. At his side, Juan Arance helps produce, compose and write most of the pieces that make up this album. It has collaborations such as Juanito Makandé; a flying soul, DORA; young promise, daughter of Bimba Bosé, Bubby Lewis; bassist for Snoop Dogg or Stevie Wonder, among others, Aqeelion; rapper and singer from Los Angeles, he shared with Erykah Badu or Dr. Dre in the 90’s.