Buscar:02

Canadian death-grinders Wake return with "Devouring Ruin", the much
heralded follow up to one of Decibel Magazine's Top 40 records of 2018,
"Misery Rites"

Canada’s sons of darkness present an enthralling three song release
entitled “Confluence”
Conceived in Covid isolation, Wake present their ever- expanding evolution and
their most ambitious music to date!

SOUR records is a label based in Paris whose aim is to put underground talents on wax. This second release brings back deep house in the limelight. It contains dope and dirty oldschool grooves with a fresh twist made by parisian producer Ernesto.

The two groovy & jazzy tracks on the A-side are full of club energy. And the beautiful 8-min long electronic journey on the B-side is perfect for stirring up the crowds under a rising sun next summer. Warm samples, groovy analog basslines, bouncing beats and lush ambiances : this E.P. is the kind of cocktail you just can't stop sipping...

Cheers !

Australian musician, composer and producer Ex Ponto aka Ivan Mašić has self-released dozens of albums with improvisation collective, Council of Elders, and experimental no-wave band, Wunderlust.

For his Offen Music debut Ex Ponto is constructing an alternative civilization of grace, post-sarcasm and intuitive response.

„In A Quarry...Far, Far Away“ is a 15 minutes long wandering with Joseph and August Norster around The Quarry, Beech Forest, Victoria, Australia, January 27, 2020.
Life affirming „Golden Hours“ is an alternative to the general wait for extinction and completition of a suicide program out there. An ode to the moments when sunlight turns magical.
„Shed 14“ is a personal reminiscence of the legendary club in Melbourne.

- 2022 repress -

All junglist let loose! Second Rasta Vibez installment with two wicked reggae flavoured rollers to keep all bredren and sista's on the righteous path. Get with it, large tings a gwan!

''The acts Mermaid Chunky call to mind here tend to lean on a blithe naivete: Animal Collective, Peaking Lights, youthful Norfolkians Let’s Eat Grandma and fuckwitted freak-folkers Cocorosie. This isn’t a fashionable sound in 2020 – venture your own sociopolitical reasoning – and I reckon I’ve found the one record of its type I want to hear this year.''
Mermaid Chunky are an audiovisual duo made up of artists Freya Tate and Moina Moin. Bathing in milkmaid serenity and improvised chaos, the duo boast of pumping trance rhythms, sad Easter time chicks and seriously arousing sax solos. Much of their cultivation has come out of the mossy club culture of Stroud's SVA and London's Total Refreshment Centre, collaborating with the likes of Alabaster DePlume, Danalogue, Donna Thompson, Grove, Snapped Ankles (UK tour support) and Yama Warashi.

Their debut Faith and Industry album VEST (produced by Capitol K at Total Refreshment Centre), was birthed last year out of a history of improvised cheek and club dexterity forefronting their live shows and audiovisual solstice celebrations, recently captured by British Vogue's 2021 PRIDE series. Championing this action is the Mermaid Chunky Mothership, a gang of fellow artists and performers, often clad in nauseous satin frills, swamping the stage with french mime and slut drops (Roundhouse 2021, End Of the Road 2021, SVA Solstice always.) The MC gang just scoured their PRS Woman Make Music funding so who knows what they will be stirring up in the heat of summer soup 2022 (the most ducks in a year we will ever experience.) The only way for you to find out is to join the chunklett buffet and dip your wicked, webbed fingers into something mega.

Mermaid Chunky will perform Camp Bestival (Shropshire), Kite Festival (Oxford) and at Orbury Common’s PrahEP launch (a collaborative audiovisual May Day celebration) at the Brunel Goods Shed, SVA, Stroud 30th April - 1st May.
They will aslo be collaborating with Percolate Music on a series of London based audiovisual events this year focused on experimental, electronic womxn performers, visual artists and DJs. More special announcements to be revealed in the present future of your past.

"Zuversicht, Vertrauen, das ist das Thema meiner Platte und ich glaube, jeder kann damit etwas anfangen", sagt die preisgekrönte nigerianisch-deutsche Künstlerin NNEKA über ihr neues Album "Love Supreme", das am 11. Februar 2022 erscheinen wird. Die von der Sunday Times als die neue Lauryn Hill gefeierte Sängerin veröffentlicht ihren ersten Longplayer seit dem vor sechs Jahren auf gleichem Label erschienenem Mini-Album "My Fairy Tales".

Die dreizehn Songs auf "Love Supreme" präsentieren Fortsetzung und Aufbruch zugleich. Während "This Life", die einzige Uptempo-Single des Albums, "About Guilt", "Walk Away" und einige andere mit dem langjährigen Partner Farhot geschrieben und produziert wurden, oder "With You" mit Mounir Maarouf entstand, der für den Großteil von "My Fairy Tales" verantwortlich war, arbeitete sie auch mit dem Berliner Produzenten/Autor Unik ("Tea?") und Klimperboy ("Love Supreme") und BASS-Produktionen ("Maya", "Yahweh") aus Hamburg zusammen. Es wird Zeit für "Love Supreme", denn diese einzigartige Künstlerin war ihrer Zeit immer voraus. Seit 2011, als sie ihr letztes richtiges Album "Soul Is Heavy" veröffentlichte, entstand eine neue Generation afroamerikanischer und afroeuropäischer Künstler, die nach dem Festival mit dem gleichen Namen "Afro-Punk" bezeichnet wurden. Musikalisch eklektisch präsentieren sie sich lässiger und alternativer, nicht nur was Kleidung und Frisuren angeht, sondern auch was Überzeugungen und allgemeines Interesse angeht. Etwas, das Nneka von Anfang an getan hat!

Nneka hat drei vorherige Alben veröffentlicht. Ihre Single Heartbeat aus 2009 brachte ihr einen UK-Top-20-Hit ein und wurde auch von Rita Ora für ihren #1 UK-Hit R.I.P. gesampelt. Sie gewann 2009 einen MOBO für den besten afrikanischen Act und trat in der David Letterman Show und in BETs 106 & Park auf. 2014 trat Nneka der Jury der 4. Staffel von "Nigerian Idol" bei. Nneka hat fast 300 Shows in Europa und über 100 Shows in den USA und Kanada vor über 1.000.000 Zuschauern in über 35 Ländern gespielt.
Die Doppel-LP kommt inkl. Etching und Poster!

Adeen Records comes with its series of funk, soul, dsco and jazz only edits label called The Bird. And it's first releases comes from label head Camille and Spanish graffiti artist and dj Cad73, and edited by DJ Boring. These two 7" gems came from each selectors childhood memories from living in Detroit and Barcelona respectively. While Camille draws such tunes as "Stop Bajon and Carino" from influences Detroit, Cad73 pulls "Shakedown and The Vulture" from early radio and parties growing up around Baecelona. Already a staple series amongst Adeen's catalog, This "The Bird" series may be the label we've been craving.

Von der Kritik u.a. als 'die größte deutschsprachige Band unserer Tage' bezeichnet, finden sich auf dem neuen Erdmöbel Album Titel wie 'Supermond', 'Bernoulli-Effekt' oder 'Das Vakuum', der Song zum Corinna Harfouch Kinofilm 'Alles in bester Ordnung'.

Musikalisch ein bisschen wie Beatles und Steely Dan. Warme Bässe, feine Arrangements, Streicher und Saxophon. Gut, vertraut, neu.

LIMITED TO 500 COPIES // HIGH-QUALITY TIP-ON COVER // INCL. DOWNLOAD CODE

OFFICIAL RE-ISSUE, DONE IN COOPERATION WITH THE FAMILY OF BOBBY COLE !!!

If you lived in New York during the 1950s through the 1990s and liked jazz, you knew about Bobby Cole. He played piano, sang, composed, arranged and, in 1967, released an album of original compositions titled "A Point of View" (Concentric Records). He had fans but avoided becoming mainstream. He stayed contemporary without becoming current. Jazz, folk, rock, modern dance scores…he wrote and performed them all. He smoked too much, drugged too much, drank too much. He was also cerebral, curious, a prodigious reader of poetry, philosophy, theology, and an uncommonly intelligent and literate lyricist.

On a December night in 1996, he had a heart attack while walking to work. An ambulance brought him to New York Hospital where, a few hours later, he died. Bobby Cole performed throughout Manhattan for forty years, but he spent most of the 1960s headlining at Jilly's, the midtown bistro owned by Frank Sinatra and his friend Jilly Rizzo. Sinatra called Bobby "my favorite saloon singer."

Bobby Cole caught the attention of Judy Garland, who visited Jilly's one night in 1964. She was hosting a weekly television show, and in the midst of a feud with her special materials arranger, Mel Torme. Three weeks later, Mel was out, and Bobby was in. He performed on Judy's show with his Trio. Bobby was scarcely 30 years old and it was his first time on television, but he was unruffled, sophisticated, and so damn cool. After Judy's show ended, Bobby occasionally arranged and conducted for her until she died.

Today, Jilly's is called the Russian Samovar and the piano is in the same spot. My husband and I ate there a few years ago. As we enjoyed our meal, I talked about Jilly's in the Sinatra era. Jilly had an apartment on the upper floor. I pointed up to the apartment and the balcony, where Jilly and Frank would sometimes drop water-balloons on unsuspecting pedestrians below. Another story described Jilly's as "tough, and you had to be tough to work there. Bobby Cole was tough. Frank and Jilly used to throw firecrackers at him to see if they could rattle him, but nothing rattled Bobby Cole. He ignored them and kept on playing." In the 1980s, Bobby headlined at a club called the Café Versailles. His daughter sometimes visited with her friends. She recalled that when she and her father would exit the club after work, a panhandler would be waiting for him. Bobby, who fought his own losing battle with the bottle, would slip the guy twenty dollars and wryly admonish him, "Be sure not to spend it on food." The night my husband and I visited the Russian Samovar there was a guy playing piano there, very young, and trying hard. I talked to him a little bit between his numbers about Bobby and the history of Jilly's and he was sweet, but I could tell he didn't care. I felt like one of those old people who bore young people to death with stories about things that happened before they were born – which, let's face it, is what I was. Nonetheless, when we were ready to leave, I put twenty dollars in his tip jar and said, "This is with compliments from Bobby Cole." After we left my husband said I should have added, "Be sure not to spend it on food."

Marie Hegeman (December 2021)

Two and a half years after the inception of Shall Not Fade's bass-focused sub-label, and a year since its last edition, Time Is Now is proud to present Allstars Vol.3.

For most, the artists featured on the compilation need little introduction. This will almost certainly be true for the Leicester duo who kick off proceedings with a fresh garage cut. "Pick Me Up" is Y U QT's second contribution to the Time Is Now catalogue and sees them rep the Midlands sound with their take on UKG, complete with a 4x4 speed garage switch-up, sure to energise any dancefloor.

Next up, proving that all good things come in twos, is Manchester duo Cortese who first blessed the label with the warmth of their tuneful concoctions in June last year. This time around is no different: "Regatta" is a real summertime banger, with sunny piano stabs and arpeggiating synths that drift above.

Keeping things soulful is Dublin producer PROZAK who hots things up with the buoyant 4x4 garage track "Next To You" - his third release on TIN.

Yosh sees in the compilation's B-side with "To Me" - a track that captures the London badman's ability to keep you on your toes with stuttering breaks that catch you off-guard.

Next up, and repping Copenhagen for the third time on the label, is Main Phase with the aptly-named "Pull Up Tool"- a thumping 4x4 UKG track which gives a healthy dose of ruffage before Groovy D closes proceedings with speed garage banger "Wun4Me". Set closer business.

Reordering musical elements, patterns, and machines, Permutation is a duo of music producers from Barcelona who bridge inuences from electro and techno to 90s IDM and ambient electronica. Their second release presents three tracks developing a nuanced sonic palette of syncopated electro rhythms and intricate percussion immersed in a
dreamy contemplative atmosphere.

Previous unreleased compilation of vintage 90's Disciples output! Vintage "Boom Shacka Lacka" UK Dub, soundsystem-style!

Previous unreleased compilation of vintage 90's Disciples output! Vintage "Boom Shacka Lacka" UK Dub, soundsystem-style!

Legendary A&O 90's album reissued in 2 volumes incl previously unreleased tracks! The vintage UK Dub sound: roots, spirituality and heavy basslines. Bass-music, play LOUD! Incl "Jerusalem", "Stepping Up", "Promised Land", "Great Tribulations", ….

Split release from Serbian-born, Macedonia-based Alavux on side A and The Hague's Gallus on side B, each with their own interpretation of the more harsh and heavy industrial machine-driven electro-robot alienation, perhaps of some modern hidden 'Deus ex Machina'?

Past Due Records and Jerome Derradji are at it again! This time with the reissue of the superb and ultra rare EP by San Francisco's Cordial: "Their First". This record was produced by Bill Withers in 1979 and is a cult favorite amongst disco lovers worldwide! "Their First" includes the legendary disco cover of Antonio Carlos Jobim "Wave". This EP is fully remastered, comes with a full sleeve and an insert with the story of Cordial and their main man, Raymond Coats! Ultra limited to 500 copies.

UCC Harlo and NY Graffiti team up for the second release on Peace Anthem Records. Alternating between bleary-eyed impressions and tightly articulated expression the artists forge a path laden with plangent sound, muted color, and circular forms. Ketamine-paced grooves, baroque miniatures, hazy-humid sonics, and dub inflections populate this domain. Each delivers one original and a remix of the other’s track.

REPRESS

REPRESS

'the best soul album — in the real sense of the word — you'll hear this year... classic, blistering afro-beat' (Daily Telegraph); 'as tight as a pressure cooker... fierce and fun' (The Wire); 'son meilleur album... monumentale, triomphante, orgasmique' (Les Inrockuptibles); '**** utterly infectious... a triumphant return' (The Observer).

Fat Laced Funk funded this release on a white label with full colour sleeve from a Gofundme page that Stu set up so they could release the record in Joanne’s name. They initially asked for £500 and it went well over £2000. The thought was to keep his Mrs dancing in the clubs all over and especially their beloved Wobble nights and Hare and Hounds in Birmingham.

Savage is the original ‘80s Italodisco pop star, worldwide famous singer and platinium record producer of Europop and house artists such as Zucchero, Alexia, Double You and Ice Mc. Composer and writer of various multimillion worldwide hits. His real name is Roberto Zanetti. Throughout his career he has used two different professional names, "Robyx" as a producer, and "Savage" as an artist.In 1983 he produced a dance single entitled "Don’t cry tonight", chose the stage name “Savage” and started his career as solo artist. The song was a huge hit in Italy for first and all Europe later and was invited to take part in many TV shows such as "Mister fantasy", "Discoring", "Pronto Raffaella", "Azzurro" and "Festivalbar".

Thanks to the catchy melody and timbre of his voice, Savage quickly
became one of the most appreciated singers in Europe, one of the creators of the “Italodisco” movement. From 1983-85 Savage was continuously on tour, performing about 300 shows throughout Europe, in Spain, France, Germany, Switzerland, Austria, Belgium, The Netherlands, Greece, Portugal, Yugoslavia, Sweden and, of course, Italy. In the meantime other singles, "Only you", "Radio" and "A love again", were released and included in his first album “Tonight". In Eastern Europe Savage is still one of the most popular contemporary artists. After more than 30 years, DWA is proud to announce the re-print of this album on vinyl, a special gift to all collectors of Italodisco’s hits.

Alien Imprints is back with their second release which includes some well-respected artists along with rising talents showcasing their skills.

False prophets - Relpek A.K.A. Kepler is a DJ/producer who hails from the North of England. His offering is a crisp electro track that generates a calculated bass, analogue stabs and phrases with sweeping synths.
Spider Ink - Ollie Drummond, a respected DJ from London gives us a proper tech house number solid 4:4 beats, crafted basslines and pad effects that follow with acid riffs.

Thibo - Bronxy and ETRE from the Ukraine collaborate on this deep house affair, with soulful grooves, smooth deep bassline and "spacey vibe" pads create a cool hypnotic flow.

Aim 2 Pleez was a label made primarily for N-Zo & DJ Invincible to have an outlet for jungle in the early days of the genre but they definitely leaned more towards the more musical side of the sound. The label didn’t last that long but the end result is that the few releases on the label are now very sought after, fetching absurd prices on second hand, and this EP is in particular demand. They are two tracks of immense proportions, that not only appeal to the junglists but to breakbeat hardcore lovers alike. A proper crossover EP that has stood the test of time, sounding just as fresh today as it did back in 1994!

First released in the UK in 2003, British singer-songwriter Carina Round followed the release of her critically acclaimed debut album “The First Blood Mystery” with her sophomore offering “The Disconnection”, solidifying herself as one of UK’s most enigmatic songstresses. Marking its official vinyl debut this special pressing combines the original album, including the UK singles “Into My Blood” and “Lacuna” on 180g black vinyl alongside an exclusive “Bonus Record” of rare live and previously unreleased recordings from the albums era on 180g silver vinyl, compiled by Carina especially for this release. In addition to her subsequent solo releases “Slow Motion Addict”, “Things You Should Know”, “Tigermending” and her most recent, the retrospective compilation “Deranged to Divine”, Carina has garnished further international recognition as a member of the LA and Jerome AZ based band - Puscifer, alongside fellow band mates including Maynard James Keenan, also of the bands Tool and A Perfect Circle. This limited edition release is presented in a unique silver printed sleeve, incorporating the original UK cover by acclaimed art photographer Anoushka Fisz.

Setting up a futuristic style, Pera Sta Ori’s music blends senses from DnB, IDM and bleep music, without forgetting the bass impact. Roars Crack Fossil breaks the label's silence delivering an elegant bass gem, charged with IDM elements, breakbeat and shiny bass-melodies. A four-track EP where high-class arrangement, dynamism and narrative evolution stand out with strong coherence.Immortal shouts for those who know the language, but also for those who are still training their ears.

Premier League Pressings returns with another top of the table seven inch 45 beauty.
It's a game of two halves!

SIDE A
THE CHOPPER - CHOP UP THE PIECES
Picking up an above average classic, the Chopper takes the ball into leftfield and sends it spinning into the stratosphere with some deft cut and paste action.
Dancefloor disco funk with an edge. Back of the net!

SIDE B
LADY SMILEY - QUEEN OF FREAK DANCE
A forgotten disco rap classic of yesteryear is is given a new formation, completely re-arranged and beefed up to bring the funky drums to the fore and the make the dope verses sound even better.
Disco rap for modern dance floors. A premiership title contender!

Electro banger !!!

Demon Music is proud to bring together a selection of popular and exciting classic Northern Soul Anthems on a new 2LP thirty-three track collection. These are the original recordings by some familiar names and one or two that may have passed you by.

As the Sixties came to a close and the initial success of labels like Atlantic and Motown began to wane, there remained a dedicated fanbase of Soul devotees who would rather be out on the floor than wearing flowers in their hair. They continued to seek out new and previously overlooked releases, many on small labels that had never enjoyed chart success, making surprise hits of a few in the process.

Northern Soul could easily have passed into music history as a fad, something on the fringes of mainstream popular music; instead its popularity has remained and even grown. It is no longer the preserve of venues in the north of England (who had always attracted coachloads of devotees from across the nation), with Soul clubs opening in Europe, Asia, Australia and even - in perhaps the ultimate example of "coals to Newcastle" – America

Every few years Northern Soul enjoys a resurgence in popularity and welcomes a new generation of younger fans, keepers of the faith. This collection is for those with a passing interest and fans both old and
new - music fashions may change but the quality, the infectious excitement and the urge to get up and dance has endured in these fantastic records.

Simon comes from Belfast in Northern Ireland, a place that resonates of the best music traditions like Gary Moore, and Stiff Little Fingers. His biography tells the story of his band touring with no sound engineer, driver, roadie, playing 30 shows in 35 days and catching the attention of the record label. By the way, Ian Gillan from Deep Purple thinks he is one of the best guitar players in the world! And he also was the main guitarist on Don Airey’s solo tour. Recorded at the legendary Chameleon Studios in Hamburg, this album has everything a good rock album needs. The songs on “The Fighter” boast big riffs, they’re catchy, multifaceted AND are full of energy where needed. This album is in a class of its own – serious.

Cindy & The Playmates, led by Cindy Redd (later of The Voices) and
backed by Wanda Cunningham and Manesbia Pierce, deliver an upbeat funky floor filler. Copies go for between three to four hundred pounds for this storming and evocative fist-clenching gem which builds dramatically with strings and an emotive lead vocal. Cut with Paul Kelly’s ‘The Upset’,
which was the B side of his second single for Lloyd Records, the vehicle for Willie Clark’s Florida-based productions. A monster sound with a grinding funky backdrop providing the perfect foil for Kelly’s aching vocal; the chorus break is a guaranteed spine-tingling moment. Copies currently go for around £250, if you can find one.

„Ich folge dem goldenen Strom.“ So singt es Rosa Anschütz im Titelstück ihres neuen Albums, mit kalter, klarer, entschlossener Stimme. Darunter sirren erst goldene Störgeräusche, dann setzen mächtige Elektrobeats ein, und im Refrain künden Trompetenfanfaren vom Sieg über die Elemente. „Goldener Strom“ ist zweite Album der 24-jährigen Künstlerin, die in Wien und Berlin lebt – ein erstaunliches Werk. Man kann dazu tanzen, man kann es aber auch wie ein Konzeptalbum hören; es ist ebenso voller Beats wie voller Gedanken. Rosa Anschütz spielt Klavier, Trompete und Querflöte, zu Beginn ihrer Karriere hat sie viel mit Modularsynthesizern gearbeitet. Ihr musikalisches Erweckungserlebnis war das Atonal Festival in Berlin, später hat sie auch viel im Berghain getanzt, und der Berghain-DJ Max Kobosil remixte ihren Song „Rigid“. Ihren enorm wandlungsreichen Gesang – der vom flehenden Hauchen bis zur kalten New-Wave-Sprechstimme reicht – unterlegt Rosa Anschütz denn auch mit einem entschlossen voranmarschierenden Four-to-the-Floor-Techno; doch finden sich unter diesem immer wieder polyrhythmische Abweichungen. Es scheppert und zittert, tiefe Bässe wühlen im Boden, während hoch droben schillernde Klangschleier wehen. Rosa Anschütz schließt an die Traditionen von Dark Wave und Postpunk an, aber furcht tiefe Kerben in deren Klangbild und romantische Glätte. „Goldener Strom“ ist ein großartiges Pop-Album, voller Melodien, Sentenzen und Beats, die sich sofort im Ohr verhaken. Zugleich ist es ein Manifest künstlerischer Souveränität – kostbar und klug in unseren Zeiten der stromlinienförmigen Kunst.

OG deep Miami deep house from 1990 on the repress tip - Essential purchase!

This one should need no intro - it's up there with the all-timers. Moody, sexy, emotive, epic - just some of the words you could use to describe 'Outta Limits'. Never out of style, existing in its own lane and a solid gold classic from day one, 'Outta Limits' takes us on a spiralling bassline journey into our own consciousness with its hypnotic spoken word samples and sultry female vox . Mission Control is Aldo Hernandez & Ralph Falcon, 2 members of the extended Murk / DSR crew out of Miami. They've been responsible for numerous underground and club classics since the very early 90's and their sound continues to be a huge influence on producers and DJs today. Featured here, you have the 2 original slamming mixes of the track, both of which bring a different flavour to the dancefloor. Both essential and still utterly fresh today.

Buy on sight!

Samosa Records continue their hot streak with ‘The Difference EP’ - a superb four tracker from a producer who is all about the funk, Gledd.

This wonderfully constructed EP kicks off with the first track on the A-side - ‘I Don’t Know’. From the get go, this is a slinky, catchy funky number. The warm, all consuming bass line jogs along, aided by subtle guitar riffs that light up the melody. The chugging train suddenly breaks for an outrageous blues vocal - deep growls and female backing singers take control before the track launches straight into the stratosphere. A guaranteed dance floor bomb.

Next up on the A-side is ‘Amapola Sunrise’, a latin infused 125bpm slice of heaven. Gledd knows these rhythms inside out - and this hypnotic ‘love dance’ of a track proves it. You can only imagine the sunrises and sunsets this will provide the soundtrack to. It’s a deep, glorious journey into hedonism - let the lead guitar and sax take you by the hand to the rug-pull breakdown. Gledd at his incomparible best.

Meanwhile, over on Side B, De Gama is setting out the party stall early with his ‘Re-Groove’ of Muni. When De Gama masters the grooves in the ‘Re’Groove’ workshop, the flames can be seen for miles. African horns, organ stabs and Mali-inspired guitar riffs combine with the superb vocals. It’s a tribal, ethereal and very spiritual funk dream, which is De Gama’s trademark.

Closing off this excellent EP is B.2 - ‘Japan Lips’. In no time, we’re off around the seedy back street bars where gifted but washed up bass players hang out to find work. The bass line is as clean as a whistle as it kicks against the snares and cymbals of the beat, and the melody wraps around you instantly with rhythm guitar, jazz flute and breaks. Another mesmerising piece from a man who knows how to mesmerise. The perfect topper to this thoroughbred release.

‘The Difference EP’ is a welcome Samosa debut for Gledd and is sure to be a hit with lovers of the groove. This has to be in your collection.

wAFF takes charge of the second release on his new Nature label with four stylish new cuts.

First up is Mesmerized feat. Shyam P, a slinky seven minute deep rolling tune with subtle synth craft and airy hi hats. A vocal adds an extra hypnotic layer and then SummerZ is another seductive sound with warm chords smeared over a killer groove. It's got a summery vibe but will also pump the party. To The Floor then cuts loose on nice boom bap drums, with vocal and chord stabs adding detail and its easy to see this one making its mark in the club. Slut Drop closes out with an infectious and rubbery bassline and rich chord work. It's heartfelt and full of soul.

This is a fresh sound as ever from wAFF.

Lucille Mathis was a two-release mystery on the Abet label back in 1968.

 ‘I’m Not Your Regular Woman’ is a girl power anthem that was way ahead of its time.

 The flipside of ‘Am I Asking Too Much’, the track is a stormer powered by roll-heavy drums and some great brass stings and goes for around £300 these days.

 Cut with one of three singles by Holly St James (real name Lorraine Di Bonaventura) that also arrived in 1968.

 ‘That’s Not love’ is an enormous echoey Spectoresque wall-of sound that broods with incisive string chops and Holly’s groovy mid ‘60s vocal, a soul eruption that simmers with emotion.

 A £40 price tag for the original.

 Both sides remastered for dancefloor penetration.

Vector Music by Suren Seneviratne is a true homage to the Yamaha TG33, a synth that he was hoping to keep forever, or at least a very long time until Covid-19 struck.

During the early months of 2020, Suren, like many other artists, went without work and was forced to sell surplus belongings to help subsidise food, rent and other necessities. Some sneakers and clothes went first but he avoided considering his music gear for as long as possible. As the pandemic continued to cause havoc throughout the year, selling gear was inevitable. The rare Yamaha TG-33 programmable synthesizer module was next.

By bittersweet chance, this was the perfect opportunity to make use of this unsung synthesizer one last time, and to make it count. The synth sold via Twitter and Suren suddenly had a deadline in which to make the most of it in the two days before it would be gone forever and so he decided to record a body of work using only the TG33, to shine a spotlight on its quirks and idiosyncrasies and give it the attention it deserved. This ultimatum proved to be really fruitful and resulted in the recordings that form the eight tracks on this album “Vector Music”; a raw and intimate portrayal of a forgotten digital instrument from the 1990s. The broader collective sentiment of loss, anxiety and seasonal depression during the thick of the pandemic mixed with feelings of uncertainty, distress and fear binded throughout the recording process and became sewn into the very fabric of the music.

The song titles are taken from various stages of sleep: the once instinctive process which, since 2020, was radically altered and experienced a new for millions of people around the globe due to the phenomena known as Pandemic Dreams.

Composed and produced by Suren Seneviratne
Mastered by Luca Sammartin
Original artwork and layout by Marco Ciceri

"Queen Of Nowhere" is the result of the photographic works by Kourtney Roy and the musician Dayve Samek (Trance Farmers) initiated by IIKKI, between November 2021 and March 2022.

The man behind the name Trance Farmers is Dayve Samek, a wanderer from Los Angeles to Louisiana, and his music has picked up just about every influence it can along the way. He has recorded his first album in 2014 on Leaving Records (Stones Throw Records). Not sure how to classify his music ranges, but something between sweaty, garage-born ballads brush shoulders with drifter anthems and gasoline drenched doo wop with at some points some beats close from the past Anticon works should make the point.

The Canadian photographer Kourtney Roy was born in Northern Ontario in 1981. Intrigued by the possibility of creating a tragic mythology of the self, she conjures an intimate universe pervaded by both wonder and mystery. Her photographer’s eye is drawn to places and settings whose lyrical qualities underscore the sublime banality of everyday life.

Roy’s studies in photography, at Emily Carr University of Art and Design in Vancouver and later at the Ecole Nationale Supérieure des Beaux-Arts in Paris, inspired her to develop her finicky aesthetic, which lends itself particularly well to both glossy paper and film. Roy works extensively as an independent photographer/filmmaker in the art world. Instilled with a dark sense of humor, taking their clues as much from the grotesque nature of seemingly placid settings as from the tensions simmering just under the surface, her photographs have garnered many prizes, including the Prix Picto in 2007, The Emily Award in Canada in 2012 and the Prix Carte Blanche PMU/Le Bal in 2013 and the Pernod Ricard Carte Blanche in 2018.

Harrison Whitford, LA-based multi-instrumentalist, producer and songwriter, announces his new album Afraid Of Nothing, released via Screwdriver Records, building on his previous work, his delicate vocals and signature guitar tones being joined by lush layers of instrumentation. It's both emotionally devastating and sonically impressive, an immersive record that warmly embraces the listener. He has spent the last several years lending his warm, expressive guitar skills to Phoebe Bridgers (who lends backing vocals to select tracks on the album) and even when her music started being noticed, Harrison still felt the urge to flex that creative muscle. A departure from his previous method of writing and recording quickly, Afraid of Nothing is an album that has benefitted from the time afforded to Harrison from being able to truly focus. “Recording Afraid of Nothing taught me an important lesson: don't stop until you're happy with it,” Harrison says. Recording was seen as a constantly evolving process, every single kink ironed out until he was sure every track was how he envisaged it.

'The City Needs A Hero' is the highly-anticipated sophomore album from Murkage Dave, following on from the critically acclaimed debut 'Murkage Dave Changed My Life' which cemented him as one of the UK's most exciting new singer-songwriters. Includes the singles 'Please Don't Move To London It's A Trap, 'Awful Things (feat. Caroline Polachek)', 'Us Lot', 'World I Want To Live In' and more.

'The City Needs A Hero' is the highly-anticipated sophomore album from Murkage Dave, following on from the critically acclaimed debut 'Murkage Dave Changed My Life' which cemented him as one of the UK's most exciting new singer-songwriters. Includes the singles 'Please Don't Move To London It's A Trap, 'Awful Things (feat. Caroline Polachek)', 'Us Lot', 'World I Want To Live In' and more.

Fuck our bodies - or are our bodies fucked? -
Like the 32 steps it took (actually it felt like chunga Godlike3000)
before this complex and corrupt Third World Bomb came to this grotesque release.

No lady cadaver or cryptic messiah was spared when going straight to hell, accompanied by their flying body parts and tortured genitalia.

No comments are wasted on AMFRS & my fav Hollywood whore
when they die in a murder of GT flames

Oh and quick recoup to *corrupt* :

ALL PROFITS MADE WILL BE USED
TO BUILD A WALL AROUND GUATEMALA - now we know he isn’t quarantined in the White House anymore - - -
assuring that the orange-wigged-mad-man can’t go putting
his greasy fingers on GUA's fabulous nature & people.

Building materials will consist out of fruit and vegetables for the best repellent result :-D

Have a nice day and as always PLAY IT LOUD!


! ! ! RUIDO HECHO EN GUA ! ! !

KHIDI's fourth release is a five-track EP entitled 'Broken Dreams' by club resident Yanamaste. As implied by its title, the EP was produced during the pandemic and embodies the emotions from quarantine. As such it deviates from earlier releases with its raw beats and cryptic melodies with a thin dark undertone. 'Broken Dreams' is Yanamaste's first EP on KHIDI and crafts a unique imprint on the label that reaffirms his position at the top of Georgia's techno landscape.

Repressed !

Karenn are proud to present their debut album, “Grapefruit Regret”. Written and recorded during an intense studio session in Berlin over the summer, the resulting 8 tracks, as exuberant and colourful as their titles, serve to both compliment and contrast with their infamous live shows.

Second release on the BeBop label. Limited copies.

This man is unstoppable, Retromigration with all the hits and more - lining up another juicy slice of genius from the depths of Dam for wewillalwaysbealovesong. Showcasing his clear love cross genres, ‘Secret Of A Pimp’ has it all, from dusty jazz samples to R&B licks and delectable basslines, all MPC crunched for good measure. Jimpster then steps up with a darker, club focused, heads down remix.

On the B, ‘Flying Lotus’ hits, an endorphin inducing jazzed up, summertime house heater, before Franc Spangler takes things down slow, with sultry hazed out downtempo trip.

AMPHIA is honored to welcome UK legend 100Hz to its ever-expanding catalogue.

AMP024, a four-track EP titled "Improviser", is a statement of Lee's long lasting career as a visionary producer.

Combining intricate polyrhythms with an assorted sound aesthetic, each piece has character, as much as it does a mood of its own, seamlessly blending together throughout the moments of a set.
We hope you'll enjoy it as much as we do!

Effervescent Space Farm Fertilizer

Eastside Edits is back with its follow up to last year’s massive 001 release. After gaining support from all the top open format DJs and Donut slingers across the globe, we present you the label’s second record - 002. Bringing you a unique niche sound that is upbeat,
dance floor friendly and will get the crowd moving. This record features two stellar veteran artists with impressive discographies, both making significant impact in their respective scenes.

Side A is brought to you by Toronto’s very own Jackin House legend. With his signature hardhitting drums and funky soulful sound, Demuir has taken the music world by storm. Touring globally at some of the most sought-after nightclubs and festivals, as well as releasing music on the hottest labels in dance music. He has been featured as Beatport’s Hype Artist and has been awarded the #1 Jackin House Artist of the year multiple times. He takes one of the top Hip Hop
songs of 2020 and injects his personal signature. This raw, edgy edit is an absolute weapon, not to be missed!

Side B is brought to you by a Canadian native, residing in the USA. When it comes to the 45 community DJ Double A needs no introduction. He continues to drop release after release on the top 45 labels in the game. He’s the man behind Mountain 45s, with releases on Friday’s Funky 45s, Private Stock Records and Heat Rock. Double A premieres on this label with an edit that puts a modern spin on an 80s classic. This rework is guaranteed to have the crowd singing
along and humming the vocal well after the show is done. It’s truly a DJs must have

Gongs have played an integral role in the mythogeography of Asia. This is not music that aligns with national borders or ideas of homogenous populations, let alone racial stereotypes and exotic clichés. What connects all of these tracks is a simultaneous feeling of entrancement and social cohesion. Communal and collaborative, its form is hypnotically repetitious, melodies and rhythms spread out among the players using the technique of hocketing in which a flowing line is distributed among all the musicians. The effect is mesmerising, immediately intoxicating to anybody who loves Chicago footwork, free improvisation, Sun Ra or young hip hop producer Jetsonmade. The music is simple yet mysterious and enveloping, a sound world in which to disappear. A theory exists but this is not explained. - David Toop (extracts from the liner notes)

This project, Massif and Archipelago, is a field recording project initiated by Japanese sound artist Yasuhiro Morinaga, documenting traditional gong music by different Southeast Asian ethnic groups. The project aimed to examine the impact of the natural and social environment on the gong music culture of Southeast Asia. During the project, he visited over 50 different ethnic groups and made hundreds of recordings. This album presents a selection of the unique gong music from different ethnic minorities. The selected music has been divided into two broad sections: one focussing on the music from the Massif, i.e. mainland Southeast Asia (Central Highland of Vietnam and Northeast Cambodia), the other on music from the Archipelago, maritime Southeast Asia (the Luzon Islands of the Philippines, Borneo, Sulawesi, and the Flores Islands of Indonesia).

Discrepant presents Istanbul based audio/visual artist Koray Kantarcıoğlu's follow-up to his debut album Loopworks (CREP59, 2018).

Whilst the first volume used 60’s and 70’s Turkish records as it source material, Loopworks 2 expands the sampling pool to local records as well as snippets from 70's TV and 80's new age and jazz tapes. This disparate material is mangled and glued together with Koray’s very personal sampling techniques.

This result becomes a dreamy, haunted and enigmatic collection of floating vignettes. Koray also enlists the help of local musicians such as Ekin Fil, who contributed to the album with haunting vocals and sound textures as well as Berke Can Ozcan who adds drums and percussion into the haunted mix.

The LP comes with a bonus CD entitled 'Loopworks 2 Extras', that could be another album itself, created from extra material that couldn’t make it to the LP.
Composed in 2020 and 2021.

Recorded back in 1999, 'Half a Dove in New York, Half a Dove in Buenos Aires' is the recorded debut of a NetCast improv between deep listening pioneer Pauline Oliveros and Argentinian free music trio Reynols >> a fascinating early example of the internet’s capacity to foster remote creativity in-the-moment that deploys the slowest electronics, accordion, voice, trombone and computer sounds on a next level ritual drone incantation recorded in another era, but made for our time.

As the story goes, Oliveros first met Reynols in the mid ‘90s at a Deep Listening workshop she held in their home city, Buenos Aires, where they impressed her with an improvised brass serenade. Years later, in 1999, they met again via NetCast - a series of very early online live improvisations - to explore the Internet’s potential for collaborations between artists thousands of miles apart. Finally mixed down in 2021 and mastered by Helge Sten (aka Deathprod) after marinating in the archive for 22 years, the album resonates with the late, great Oliveros’ legendary work in exploring alternate tunings, spatial dynamics and methods of intuitive performance - a remarkable slab of omnidirectional drone bearing traces of Miguel Tomasin's vox and Oliveros’ just-intoned accordion embedded in its cosmic roil.

Broadcasting from fabled record shop The Thing in NYC, with Oliveros (Accordion) joined by Jennifer McCoy (ICR), Kevin McCoy (Computer processing), and Monique Buzzarté (Trombone), and Reynols revolving Miguel Tomasin (Electronics, subliminal voice & Alclorse drums), Rob Conlazo electronics, leather gloves & e-gtr), and Anla Courtis (electronics, rubber foot & e-gtr) and dialling-in from Florida 943 in Buenos Aires, the results are an incredibly absorbing and consistently surprising testament to vanguard, experimental spirits prizing the internet’s nascent, unprecedented ability to connect minds and art across continents, language barriers, and modalities.

The album's first side, titled 'Micro Macro Wind Dance', puts Oliveros' accordion under a microscope, enhancing it with lower case rumble and noise from Reynolds' arsenal. Shifting glacially over 22-minutes, Oliveros plays subtly and slowly at first, letting the accordion breathe in-and-out like a sleeping mythical beast, before she transitions to fluttering bird-like phrases by the end of the side.

'Astral Netcast Pigeon' expands the dissonant drones to widescreen, submerging Oliveros' trills and drones beneath layers of dirt and grit. It's time-altering music that dissasembles yr head before you've completely worked out what's happening >> basically the perfect mid-point between Oliveros' deep listening practices and Reynols' wildly inspirational free-noise-drone freakouts.

Fractal head rearrangement from Keith Fullerton Whitman on his first vinyl release in what feels like years, here blessing Japan’s NAKID label with a new instalment in his forever-evolving Generators project, arcing from bleeping post-Kosmische sounds into completely unexpected drum mutations in footwork and grime modes. It’s properly head melting gear that links the algorithmic mind-fukkery of Laurie Spiegel with the floor-bending rhythmic experimentation of Mark Fell, Rian Treanor or Jana Rush, and the first in a three part series that offers some of the strongest gear we’ve heard from one of the very best in the game.

Modular synth scientist, critic and historian Keith Fullerton Whitman first debuted his »Generators« set in 2009, using a modular setup to create non-repeating melodic patterns that basically came close to generating themselves. Over the course of hundreds of live shows (and a handful of releases on Root Strata, Editions Mego and other labels), Whitman glacially honed his process and allowed the concept to slither down different avenues, mutating as it picked energy from the various venues it was situated in. His rigorous method meant ‘Generators’ was never played out the same way twice, veering from psychedelic Kosmische experimentation to obliterated, off-grid Techno.

In 2019, on the tenth anniversary of the project, Whitman was invited by the GRM in Paris to set up in Studio C, where he avoided the arsenal of pristine, museum-worthy modular synthesizers and instead reprogrammed his classic ‘Generators’ patch. Recorded in a single take using luxe analog- to-digital convertors, the result is a 45-minute durational piece, split into two distinct sides for this release.“Very little manual interaction happened,” Whitman explains. The music is, as its title suggests, generative, and at this point basically sounds as if it reached its most advanced, final form. The first few minutes of the opening side mine the original theme, with clocked LFO shapes triggering oscillator blips in mind-expanding non-looping patterns. Soon, percussion enters the matrix, at first wrong-footing us with a 4/4 fake-out - possibly nodding to the piece’s 2010 Root Strata iteration - before splitting into staccato polyrhythmic abstractions of the most loose- limbed and deadly variety.

General MIDI drums can sound almost hilariously boxed-in, but handled by Whitman they show off a plastic cultural sheen to piercing effect, deployed in a way that re-draws the rhythmic bass music of someone like Jlin while nodding to Mark Fell and Rian Treanor’s quasi-generative dance explorations. These comparisons take on even more weight on the second side, where Whitman opens up his filters to allow the synth bleeps to sing even more loudly, introducing that all- important clap/hat interplay that dialogues with Atlanta and Chicago simultaneously.

This second release on Heads High brings an EP from label owner Mike Misiu under the moniker Day Out Of Time. Four diverse tracks forged from a year of studio jams, road tested on airwaves and discerning dancefloors and now honed and available for your delectation.

Opening 4/4 cut 'Rising Tide' builds the atmosphere and tension with synth stabs, morphing arps and a throbbing sub-bass. 'The Urge' struts in on a hybrid electro-funk tip, twisting, chopping and vocoder-ing an 80's rock vocal and sax into a dance-floor detonator.

On the flip side 'Private Ay' chugs along on a mid-tempo Moog bass groove that re-imagines and re-works some infamous guitar licks, before the E.P. climaxes with 'When Love Beckons' - a pulsing electro-discoid ode to love, powered by moody analog bass, acid lines and an impassioned poetic vocal.

All tracks produced by Mike Misiu, mastered by Curved.

The four members of Sad Daddy; Brian Martin, Joe Sundell, Rebecca
Patek, and Melissa Carper, all conspired and united in the sudden spare
time of 2020 to create their third album, 'Way Up in the Hills'
Convening at Brian's cabin in Greers Ferry, Arkansas to write and record the album
together, the collective decided on a down-home, back-to-the-country theme--a
refection on the state of the world and the desire to go back to simpler ways and
self- sufciency, goin' way up in the hills and letting the chaos settle. Recording
engineer Jordan Trotter brought his equipment into the cabin and the band
recorded the 14 original tunes live and in a circle. Half of the tracks were only a
week old and the other half had grown to be Sad Daddy standards since the
band's last album. The feeling of being at a lakeside "home" studio in the serene
Arkansas woods was distilled into sound as Sad Daddy explored using porch
stomps, hamboning, the sounds of insects buzzing and bacon sizzling to create a
picking-on-the-porch vibe into the fun and refreshing creation of 'Way Up in the
Hills'.
Forming in the spring of 2010, Arkansas outft Sad Daddy has traveled down
many a road--together and separately-- at times focusing on their solo projects
and then reuniting for a band project.

Coral City return early in 2022 with an excellent release. N&W are on duty again, here with three stand-out tracks.

Rave on the A-Side does exactly what it says on the tin. It's 808 State meets Larry Heard with a touch of Inner City. Stripped down and four to floor. Classic Roland 909 drums are met with a hook that shakes any dancefloor. Expect early support on this.

Speed is a killer Nu-Disco / Boogie affair with a nod to the seedy underworld of the '80s. Picture Michelle Pfeiffer throwing shapes on the dancefloor in Scarface.

Finally, Cherry is an all-out Italo / Hi-NRG workout, the linndrums, the driving arpeggio bassline and overall melancholy feel, is reminiscent of Bobby Orlando.

DJ Feedback

Gerd Janson:
"Tip top super record!"

Jim Stanton / Horse Meat Disco:
"Great things again all three are sterling stuff x"

Justin Robertson:
"Very nice stuff cheers."

Luigi Di Venere (CockTail D'Amore/Philoxenia):
"Good times!"

Marco Passarani:
"Will def play cherry and rave. Loving it."

Vincent Neumann (Distillery / Leipzig):
"Another cute package from N&W! Thx"

LIMITED EDITION OF 300 YELLOW VINYL COPIES

Shawn Lee follows up his country-soul solo album "Rides Again", released in 2019, with an even more personal, intriguing set of songs. The US born and London based prolific singer, songwriter, musician, producer, arranger, filmmaker and author puts the story of "Rides Yet Again" in his own words.

"When the original pandemic lockdown of 2020 ascended upon the world, I found myself like many others a prisoner in my own home. I began thinking about making new music. What do I wanna do I pondered… 'Rides Again' was a personal once in a lifetime album or was it? After some reflection, I realised there was more to this story, this sound. As I eventually crept back to my studio ducking and diving all the way, I started writing and recording new songs for Rides YET Again. The lyrics heavily informed by life during lockdown, my new dog Carla and my recent health problems. I had suffered a stroke which left me with some brain damage and I struggled with Aphasia for well over a year with extremely impaired speech. It was hard … I found solace in song and a musical context to share my ups and downs. It was a beautiful place to retreat to. John Pickup brought his brilliant orchestral treatments. Also Nichol Thomson, Tom Walsh, Mike Davis & Andy Ross blessed me with their sublime horn stylings. Suffice to say I'm really quite fond of this little record. Much love to you wherever you may be."

Green Marbled Vinyl

The twentieth chapter of Eclectic Limited is delivered by the graceful hands of Moniman. Carrying 30 years of exquisite music experience, Moniman crafted three brilliantly unstoppable tracks featuring hypnotic grooves and vanguard synthesizers alongside a stellar remix of the master Svarog.

The tide turns once again. From tumultuous oceanic depths French legend BLUT AUS NORD erupts onland in all its singular dissonant glory: be-tentacled, malformed, accursed, fearsome.

Following up the purported 'new era' of melodicism ushered in by 2019's lauded "Hallucinogen", new work "Disharmonium - Undreamable Abysses" finds the leaders-in-perpetuity of Avant-garde Industrialised Black Metal compelled to reassume their rightful throne, crowning nigh-on 28 years of consistency with seven mesmerising tracks of bleakly-maximalist harmonic unease.

Comparable to naught except BLUT AUS NORD, the inimitable leads, eroded melodies and uncanny vocal textures of "Disharmonium" ooze and uncoil, leeching into vast hyper-skilled rhythmic structures which traverse sea-mountains of madness towards lightless echelons far beyond comprehension. The reflexive darkness we all demand. The Order of Outer Sounds.

It’s All Punk Dub………

There were two trains leaving the musical station back in the late seventies. One was punk rock the other was reggae. I had a foot in both, which we called The Punky Reggae Party.

When I cut tracks for the `It’s All Punk Rock’ album, released in October 2021, I always cut a dub / version of the track. Some came out as the flip side of the 7’’ singles in true reggae style and some were worked on more and changed. Some I dropped different lyrics on top of the backing track simply because it seemed to work. All had the bass /drums pushed up,
lyrics dropped in /out when needed. I always saw these as a different way of listening to the tracks and these seem to work together as an album release.

Hope you enjoy the ride…

1976 the writings on the wall
Police and Thieves, Riots at the Carnival
Dreadlocks In Moonlight, Anarchy In The UK
New Rose, M.P.L.A.

1977 the Silver Jubilee
Two Sevens Clash, In The City
The red, white & blue meets the red, green & gold
It’s a punky reggae party, so I’m told

1978 Ah Strictly Roots
Gabicci tops and bondage suits
Nah pop no style in me whistle and flute
Creepers, Clarkes & DM boots

1979 this is No Fun, Rasta No Pick Pocket
Got me copy of Hong Kong Garden
looks like we a buying what we are sold
Cos the punks & teds are fighting in the King’s Road

Punk Rock meets version International herb
Pass the ready rub
You’ve had It’s All Punk Rock
Now It’s All Punk Dub …..

Limited Edition 500 copies

Sam Gendel and Antonia Cytrynowicz didn't set out to make a record – it just happened. LIVE A LITTLE, a collection of songs resulting from one late summer afternoon in Gendel's Los Angeles home, is less an album and more a moment. The ten tracks here were recorded mostly in one sitting, fully improvised, in the order in which they appear. It was the first and last time the songs have been played – a snapshot of an idea, an artifact of inspiration, at once both a beginning and an end. At the time of recording, Cytrynowicz was only eleven years old. The younger sister of Gendel's significant other and creative partner Marcella, Cytrynowicz is an artist in her own way. She has no formal musical training, but is the product of a creative family and is someone who makes art the way many kids do – in the purest way, simply because they are moved to. On LIVE A LITTLE, she spontaneously crafted all the melodies and lyrics on the spot as Gendel played alongside her. Cytrynowicz's musicality is sophisticated, strange, and other-worldly, and the resulting record is experimental jazz colliding with some sort of fantasy universe. Because of that, LIVE A LITTLE is a stand-out amidst Gendel's extensive and varied catalog. Over the years, the multi-instrumentalist has been known for his prolific musical output as both a sought-after collaborator and as a solo artist. During 2021 alone he collaborated with Vampire Weekend, Maggie Rogers, Moses Sumney, Laurie Anderson, and Mach Hommy, as well as released Notes With Attachments with Blake Mills & legendary bassist Pino Palladino. In the same year he also released the 52-track Fresh Bread, as well as the follow-up to the acclaimed Music for Saxophone & Bass Guitar with Sam Wilkes. Then Mouthfeel / Serene, AE-30, Valley Fever Original Score, and singles "Isfahan" and "Neon Blue." LIVE A LITTLE, though, exists on its own island. For one, the majority of Gendel's work under his own name skews instrumental, but here the playfulness of his saxophone and nylon-string guitar work alongside the twinkle of Cytrynowicz's voice. It’s the sound of unapologetic imagination running amok – and really, more than anything, the sound of having fun. Cytrynowicz is the ideal collaborator for Gendel, who throughout his career has remained largely unconcerned with the pageantry and presentation of the music business, instead focused solely on the music-making itself. Here, he found the purest sort of writing partner – he admires Cytrynowicz' "supreme openness," explaining: "Whatever is happening, she's there with you. We really meet right where we are. She's all ears, I'm all ears. I don't even know how to explain what it is. It just works out somehow." LIVE A LITTLE is a series of "what ifs" cascading into one another, off-kilter and experimental, a kaleidoscope of spontaneity and imagination. It's a sweet distillation of the musical present, of daring to follow through on an impulse – what happens when a project is helmed by someone who doesn't have time for second thoughts or self-doubt. The moment is the thing, and LIVE A LITTLE just happens to capture it.

Bernie Marsden was a founder member of Whitesnake, and wrote the global smash, “Here I Go Again”. Since leaving Whitesnake almost 40 years ago, Bernie has forged an impressive career. He has written and recorded with numerous music legends, composed music for film & TV, become a best selling author, amassed a priceless collection of guitars and of course continued to release outstanding albums as a solo artist. Most recently, the critically acclaimed #1 Blues album, KINGS. “CHESS” was the second album of Bernie Marsden’s “Inspirations Series”, representing his interpretation of tracks and artists which were instrumental in shaping his musical taste and guitar style. Featuring 10 songs that were originally issued by the legendary Chicago label, CHESS, this is another labour of love for Bernie. Releases by giants such as Howling Wolf, Chuck Berry, Bo Diddley and Elmore James, have all been given a new lease of life in these remarkably fresh recordings. Once again, two Bernie Marsden penned instrumentals inspired by Chess artists appear as bonus tracks on the album. Radio support from Radio Caroline, Planet Rock and blues specialist DJs regionally and online globally. Adverts booked in Blues Matters & Blues in Britain to promote the LP release. Features appeared / appearing in Blues Matters, Classic Rock, Fireworks, Rock Hard (Germany), Sweden Rock, Rock N Reel magazines, with great reviews given by most of the premier UK Rock, Blues and Guitar publications around the release of “CHESS”. Radio support at Planet Rock, The Max, Radio Caroline and the IBBA

"A high-octane pop with a glam coat"

When listening to Hey You! - mastered at Air Studios by John Webber -, the energy the band exudes on every track is palpable, and live, they're simply something else, giving it their all on every number and completely winning over the audience. Visually, the band are are eye-catching as their music, looking straight like they've stepped out of the '80s. Fronted by the Debbie Harry-esque Rebecca Bex, BeXatron make as much of a statement visually as they do musically, and it's an extremely welcome breath of fresh punk air to see a band that is obviously so incredibly passionate about what they do, and that has the talent to back it up.

Since the release of the album, we have been played worldwide on various shows ranging from mainstream such as:

BBC Radio 6, BBC Introducing, Total Rock, Planet Rock, Soho Radio

but also had tremendous support from local community radio stations:

Insanity Radio, Resonance Radio - Spizz FM, Hunter's Bay Radio, Ontario Canada, Foxy Radio, Deal Radio - Low Life in High Heels, The Chuff Bus, Dark Hearts of Camden, Premium Blend Radio Show, Punk & Preppy Radio Show, Pennsylvania

Perfect for summer clubbing... or any season. Highly recommended. - MIKE NICHOLLS from Ghostwriter books

Sonic Party Sounds, and the packaging looks as good as the band - MARK TAYLOR from Metal Talk/RecorD Collector Magazine

This is the kind of music that is sure to thrive in inner city suburban surroundings - MUSIC NEWS 2 DAY

Cracking. Catchy stuff - SONIC NEWS

A new 6-track mini album from a musician with a long list of credits including South African trumpet legend Hugh Masekela, afrobeat co-creator Tony Allen and Ethiopian jazz originator Mulatu Astatke as well as many Brit-jazz and international roots artists. "It's Time" blends spiritual Afro-jazz groove with free improv, spoken poetry and other-worldly atmosphere, with lyrics and titles hinting at unorthodox takes on reality and the times we live in.

Phil Dawson is a top London guitarist who has worked and schooled himself extensively in many different African, Latin and Brazilian music traditions together with styles that more typically cross the radar of someone with a similar British background: roots reggae, punk rock, blues, soul, R'n'B, jazz and funk. As a sideman, he's played with a host of living legends of Afro-fusion music including South African jazz trumpet giant Hugh Masekela, Nigerian afrobeat co-creator Tony Allen, Ethiojazz pioneer Mulatu Astatke, the Algerian "king of rai" Khaled, and London based Ghanaian afro-rock dons Osibisa. Heavy company for sure.

Now he's releasing a new mini 6 track album of original compositions under his own name and band - Phil Dawson ٤-tet - and he's joined by a stellar cast of London's finest players who include Rowland Sutherland (flutes - Airto Moreira, David Murray, Carla Bley), Khadijatou Doyneh (spoken word - The Heliocentrics, Danny Keane), Gaspar Sena (drums - Alfa Mist, Maria Chiara Argiro), Marius Rodrigues (drums - Oriole, Hermeto Hermeto Hermeto), Lekan Babalola (percussion - Cassandra Wilson, Ali Farka Toure) and Matheus Nova (bass - Antonio Forcione, Ed Motta, Jazzinho). Phil himself features on guitars, Fender Rhodes and piano.

'This is great' - Gilles Peterson, BBC Radio 6 (on 'It's Time)

'Beautiful' - Kassin (producer Caetano Veloso, Sonzeira etc) (on 'It's

Time')

'Rapid-fire guitar work with variety and energy' – The Guardian, UK

'A great guitarist' – Tony Allen

'An absolute killer - irresistible' - Snowboy (on 'Gnostic Hilife')

'Phil Dawson and his (quintet) are really smoking at the mo. No wonder the London jazz young guns are ripping it up with bands

like this leading the way. Miss them at your peril' – Russ Jones (Future World Funk)

Jazzwise Review

The British guitarist Phil Dawson is a fixture of a plethora of Brit-jazz bands and international roots outfits; his nuanced stylings have graced the work of A-listers from Ethio-jazz guru Mulatu Astatke to such late African greats as Tony Allen and Hugh Masekela. Like any an in-demand session player worth his chops Dawson also fronts his own trio/quartet/quintet, all of which allow him to stretch out and do his own thing, which – with his quintet - he does to pleasing effect here.

Buoyed by flute, bass and percussion, It's Time is a six-track brew combining free improv and spoken word with Afro-spiritual groove and a far-out esotericism befitting these strangest of times. Opener 'It's Time (Radio Edit)' is a psychedelic romp through a beneficent cosmos where ringing chords and woodwind trills underpin Khaditjatou Doyneh's pathos-laden musings on love and the universe and one of three variations on a theme. Over three minutes longer at 9:34, 'It's Time (aka Ougama)' is a freewheeling instrumental made dazzling by Dawson's silver-fingered guitar work; Doyneh resumes her pronouncing on the more dissonant but equally mind expanding 'It's Time (Fully Spoken)'. Then there's 'Gnostic Hilife', whose three interpretations each juxtapose the structures of this West African lingua franca in ways tight, spacious and inventive

Mobys neuestes Album Reprise - Remixes ist jetzt verfügbar. Das Doppelalbum enthält persönliche Zitate aller beteiligten Remixer, sowie von Moby selbst. Reprise – Remixes erobert ein Grenzland, in dem elektronische und akustische Klänge aufeinandertreffen. Das Album erscheint am 20. Mai 2022 bei Deutsche Grammophon, pünktlich zum Jubiläum von Mobys erster Scheibe, die 1992 erschien.
Zwölf Künstler:innen – zwölf Stimmen: Bambounou, Biscits, Max Cooper, Efdemin, Anfisa Letyago, Mathame, Planningtorock, Topic, Felsmann + Tiley, Peter Gregson und Christian Löffler kommen auf Reprise

– Remixes zusammen. Und auch Moby selbst ist mit vier Remixes dabei.

White Vinyl incl. Poster

After more than two decades flexing his muscles on the local underground scene and gaining a legendary cult status on his Tenerife home turf, the island’s most famous postman, as he’s affectionately known by his consorts, Tomás de la Rosa aka Postman breaks radio silence to bulldoze his way through the canyons surrounding his hometown of Santa Cruz into an unknown and unsuspecting world. We present thus, Postman’s first ever album of original bangers, micro chopped two steppers and rage induced breakbeat anthems.

Constructed over the course of global confinement, Seeds of Light marks a return to creative activity from the man who regularly delivers your post (its not just a random artist name). Postman aka Tomás de la Rosa has taken his time, compiling sketches and unfinished songs, rummaging through the deep ends of his hardrive, stitching early production sketches with recent compositions, revising, reediting and rebuilding with a more mature and concise attitude, eventually completing, almost unintentionally, the perfect self referential retrospective album. Far from being just a compilation album, Tomás managed to create an explosive document, suspended in time, in which styles are intertwined regardless of fashions and fads – letting go of the ‘modern’ or ‘up to date’ burden - so common these days in electronic music.

It is not an easy album, like many of his previous work it demands extra attention to experience the full crystallization of his complex sound structures. We find ourselves in front of a truly surgically precise work of art whose result comes as a waterproof war machine, refined and incisive, resonating deep with soul and groove.

Postman develops his sound palette throughout the album from very basic sound snippets into a concrete dance world of synthetic sounds eventually creating a parallel reality where J. Dilla could be living in Chemnitz instead of Detroit and releasing records for a label called Raster-Throw. Glitch sampladelics!

Incursions into Grime are also abundant with nods to the ineffable East Man, reunions with his beloved Funkstörung or many other stimulating revisions of lifelong genres and breaks populate this multidimensional sound space, see soul, dancehall, breakbeat, two step and the UK hardcore continuum.

Special mention to the magnificent fluid artwork by the very talented Catalan visual artist Alba de Corral. A still photo from one of her kinetic AI systems programmed directly in code, which matches perfectly the essence of Postman's brutalist alien sound.

Vinyl limited to 200 copies

Ramos, Supreme & Sunset Regime are names better known for making hardcore of all types throughout the 90s, but as so many did, they also made some epic jungle tracks, and here we have a couple of their sublime but never before released dubplate tracks. Morning Glory is a more traditional jungle track, with subtle hardcore influences. It has a pace and a feel that will put a smile on your face and make any morning feel glorious. Menawhile, Alien in the Jungle draws more on the early days of hardcore rave, mixing it with the jungle beats but keeping the aural soundscape that the early RSR tracks had. It is a journey of discovery and fulfilment.

The Magic Movement marks its twenty-fifth release this May with Coss & Luca Musto's 'Remind Me Tomorrow' EP, comprised of three originals from the Berlin-based pair and a remix from label boss Noema.

Coss has been a mainstay at Berlin's Kater Blau club for some time now and just recently delivered an EP on the club's in-house imprint Kiosk ID as well as an EP for his own metanoia.
Italian rooted but Germany-based Luca Musto returns to the Magic Movement here following his 2018 'Parabel' EP and has since gone on to release further material with Cologne's Feines Tier and Laut & Luise in recent years.

Here joining forces with the 'Remind Me Tomorrow' EP the two artists deliver more of their distinctive tripped-out, dropped tempo club sound.
'Broken Promises' leads the way via dreamy dubbed out textures, gnarly bass tones, twinkling chimes and airy arpeggios atop a bumpy drum groove.
Title cut 'Remind Me Tomorrow' follows and brings modulating resonant synth lines into the forefront alongside elongated subs, cinematic pads, and circling sequences while Luca also stirs in his own rap/spoken word hip house style vocals.

The third original 'Concept Zero' follows next and lays down psychedelic guitars, choppy stabs, murky bass swells and dynamic delays before Noema rounds out the release with his take on 'Remind Me Tomorrow', flipping the switch to raw, crunchy drums and spoken word vocal chants amongst the original's chuggy arps and dreamy melodic elements.

Emotional Rescue looks back again with a 2022 repress, digging deep in to the early 80s Bristol post punk scene of Pig Pag, the Wild Bunch and the Dug Out club. A short lived project of just 3 releases, Mouth trail-blazed leftfield percussive jams in the rich vain of Liquid Liquid and ESG but in their own jazz-infused way.

Centered round the cultural melting post of the St Paul's district, it's pubs, clubs and blues parties threw together young and old to the sounds of dub, funk, jazz and soul and took the spark lit by punk rock and new wave and spawned music that still resonates today.

Consisting of a floating line up based around main members Andy Guy and Rob Merrill, alumina included a young Nellie Hooper before he would go on to be a founding member of the Wild Bunch and on to produce the likes of Bjork, U2 and Madonna.

Based around a hard tribal drumming, mixing guitar, trumpet, shouted vocals and effects, the thrown in the mix nature was inspired as much by avant-jazz than punk's do it yourself attitude.

Here then, on one EP are their complete recordings, including as the title cut, their best and deepest, Voyage To The Bottom Of The Sea. Featured on a compilation LP from the legendary Y Records, its bottom heavy dub sound is augmented by female and toasted vocals riding a top a heavy stepper style riddim.

This is followed by an increasingly dizzy array of percussion jams. Acab (Part 2) is all skips and trumpets, while the versions of Take Your Coat Off perfect skat vocal / tom interplay, before the finale busts out the rockabilly influences in full effect with jagged guitar, skipping hats meets double bass punk style.

Much in demand album from 1986.

Not much is known about the mysterious pop sensation Vumani or his short musical career. Originally from KwaZulu Natal he made his way to Johannesburg in the mid 80’s to follow his dream of becoming a recording artist. He was able to make that dream come true when talent scouts from Decibel Music came across the charismatic youngster. At the time Decibel was still a small fish trying to make waves and the label believed in Vumani they had found the star they were looking for. Being a label with mostly groups signed to the catalog they needed a Front Man to push into the growing demand for Solo Artists that were dominating the airwaves and catching the hearts of youngsters.

Up to this point Decibel had one major hit record. In 1986 they released a single by an artist named David Thanzwane. The music was a direct rip off of the first hit Single by Shangaan Disco pioneer Paul Ndlovu. Copying the music of both sides of the original single the “covers” offered different lyrics and hooks also sung in xiTsonga. This was enough to trick the masses and the single led to record sales for the small label. The unintentional outcome of the single was that from then on the producers and label had one sound they wanted to pump out in hopes of recreating that magic. This desire to create another Shangaan Disco hit would be the backbone of the Vumani sound and what makes his music so special and collectable after all these years.

That same year Vumani would release two Singles, Black Mampatile and Guy Fawkes. Musically these playful and fun singles would have great appeal to youngsters as they sung of daily life in the Townships. Black Mampatile being a game of Hide and Seek, Banana Kari referring to the trucks that would go around the Township exchanging chips and snacks for glass bottles and of course every child’s favourite reason the dress up on November 5th, Guy Fawkes Day. Both singles were received well and a few more tracks were later recorded to create the full album Isiqedakoma. Although he would sing in Zulu the music was unmistakable for Shangaan Disco. The synth heavy bass lines and happy melodies along with relatable fun lyrics were a perfect blend for an album that would make people dance if they were out at a Tavern or Shabeen on a weekend or just enjoying at home with family and friends.

Vumani quickly became the Label’s top priority with managers making sure he always had the freshest clothing styles to go along with his persona, and he never missed any performances or opportunities to impress a crowd. His popularity grew in the Township’s but with that came the unfortunate and all too common problems with fame. He started getting mixed with wrong crowds. He would record another album for Miracle Music, the Decibel sub label that had emerged to focus on the more underground sounds of the post synth pop era. Musically things were going well for Vumani but it would be his life off the stage that would catch up with him. Always known for his commitment to his music and fans one day he uncharacteristically failed to show up and was never heard from again. His body would later be found in a burnt car on the outskirts of Soweto. What led to his tragic death was never known but with the company he kept it is not hard to imagine what one of the many situations that led to that horrific ending could be. His funeral was attended by the entire Township it seemed as people packed the service and flowed out onto the streets, a testament to his popularity and the love the people had for one of their own.

The British composer, musician and audio engineer Daphne Oram was a pioneering figure in the use of electronic music. Coming to prominence through her work with the BBC Radiophonic Workshop, which she co-founded, Oram was one of the first British composers to feature electronic instruments in her work and has been rightly hailed as helping musique concrete to become accepted in Britain. Born in 1925 and raised in rural Wiltshire, close to Stonehenge and the ancient stone circle at Avebury, Oram eschewed a place at the prestigious Royal College of Music to take a junior engineering role at the BBC in 1942, she was often tasked with creating sound effects, leading to cut-up experiments with tape recorders and the development of synthetic sound; her composition Still Point, involving two orchestras, two turntables and five microphones, was deemed too radical by the BBC, though she was promoted to studio manager in 1950, leading to the gradual introduction of electronic music and musique concrete techniques on BBC soundtracks. In 1957, she composed the music for the play Amphitryon 38, using a sine wave oscillator and homemade filters, and this and other subsequent works led to the establishment of the BBC Radiophonic Workshop the following year, but Oram soon tired of the conservative constraints of the BBC, leading to her resignation in 1959 to pursue her own vision at the Oramics Studios for Electronic Composition, located in Tower Folly, a former hop kiln located at Fairseat, near the village of Wrotham in rural Kent. Oramics was a radical sound composition technique that sought to transform images to music, enacted by drawing onto 35mm film, which would then be read by photo-electric cells; in addition to its use in Radiophonic Workshop material, Oramics was also employed for sound installations, theatre productions and feature films, such as The Innocents, though financial pressures forced Oram to seek a range of commercial engagements in addition to creating her own artistic works. The Listen Move And Dance series of BBC programmes were devised as a radical new technique to help British schoolchildren learn how to dance; on the LP releases, Vera Gray arranged short adaptations of classical pieces by Bartok, Stravinsky, Shostakovich and others, designed for “stamping, punching, kicking and jumping” movements, as well as “running lightly, dancing on toes” and “shaking all about,” which contrasted sharply with Oram’s electronic abstractions, which seemed to have been beamed in from outer space.