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Repress

4 killer tracks from Chris Liberator & The Geezer, Badboy Pete, Punky Junx and Ciuciek. Keep your eyes peeled cos these are gona go quick




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Utterly magnificent, sublimely soulful survey of the Gospel Roots label, subsidiary of the mighty TK Records at the height of the Miami Sound. Beautifully presented... the LPs with a 12"-square, full-colour, sixteen-page album of photos and original artwork. Check!!
A&R was co-ordinated by Gospel legends Ira Tucker — from the Dixie Hummingbirds — and Ralph Bass, veteran producer with Savoy, King and Chess. The label was run by Timmy Thomas, who had recently smashed with Why Can't We Live Together, for another TK spin-off, Glades. Operations were overseen by Henry Stone himself, unlikely King of Disco, who had recorded a young Ray Charles, and pushed forward James Brown. They drew in artists from all over the US, from St. Louis, Columbus, Memphis, Brooklyn, Cabrini Green in Chicago: unknowns like Camille Doughty, reluctant to jeopardise her job at GM ('Generous Motors') in Detroit, and huge-sellers like the revered Brooklyn All Stars, who started out on Peacock in 1958.

Choral belters, deep ballads, harmony quartets, epic city-blues, gritty funk, powerhouse female soul... Killer-diller Philly like a scorching version of Harold Melvin & The Blue Notes' Wake Up Everybody, and Jean Austin's raw Spirit Free, co-written by Ronnie Dyson, produced by Jesse James at Future Gold. Chicago Sound like The Fantastic Family Aires — named after the family's furniture store on North Cicero, but reminiscent of the Staple Singers at their best — through to the full-blown glory of The Fountain Of Life Joy Choir, led by Marvin Yancy from The Independents, and featuring Natalie Cole... Singers like Versie Mae Gibson, from the Jordans, by rights up there with Irma, Etta and Ree... Bangers 100%-guaranteed to find their way into Theo Parrish sets, and mortal delirium for the prissiest of soul and gospel purists.

A sweet groover from the Italian scene of the 70's - music that's got a lush feel, but a funky one too - a great mix of strings and electric instrumentation that rivals the best cop/crime work of the time - yet also has a nice sexy feel too! There's almost a blaxploitation vibe to the record at times - and although some instruments solo at points, the real groove lies in the tight vamping of the orchestra - which hits all the right notes to really send the whole thing soaring - often with a nice use of tone and color too!

Forbidden Colours is proud to announce the final remix pack for El_Txef_A's sophomore album We Walked Home Together'.

After 2 remix EPs featuring Eduardo De La Calle, The Black Madonna, Lake People, Ada, HRDVSION and Bostro Pesopeo to name a few, the label is wrapping up the remix triptych with yet another impressive run of artists.

Kompakt co-owner Reinhard Voigt delivers a weird, dry yet easy and acid influenced reinterpretation of The Love We Lost'. Dave DK is the first one to rework Mugarrirantz' showing his love for the Basque Country. The song which is written in Euskara, the Basque language is beautifully composed.

Bringing in the analog and classic flavor is Damian Schwartz with a classic mpc sound for Claim Of Planet Earth'. Finally, El_Txef_A also worked on a reinterpretation giving the same track a mystic feel reminiscent of Orbital's first albums.
My love wears forbidden colours
My life believes
My love wears forbidden colours
My life believes in you once again
The vinyl release will be limited to 300 copies.

The Estonian master of dubstep and techno Margus Löve, who has operated so far under the monikers L-OW and 1DERL&, has changed his creative direction into curvier areas and is presenting his fresh act Exit Safe Mode as a proof. Cool and ghastly darkness is still hoofing at your heels and ominous concrete thunder brings the skeletal techno to a new fertile ground. Seeming coldness is concealing a hot-blooded pulse and a stealthily transporting psychedely. A dangerously alluring adventure has begun and it's calling for an exit from the numbing comfort zone.

Die vierköpfige Band aus Ithaca (New York) X Ambassadors besteht aus Sänger und Gitarrist Sam Harris, seinem blinden Bruder Casey Harris am Keyboard, Gitarrist Noah Feldshuh und Schlagzeuger Adam Levin. Ihren bereits veröffentlichten EPs - Love Songs Drug Songs' (2013) und - The Reason' (2014) folgt nun ihr Debütalbum - VHS'. - Mir war wichtig, dass sich das Album insgesamt wie ein Film anfühlt', sagt Sam Harris. Wie in einem Film, geht es in den Songs um Bewegung, um Geschwindigkeit, um den Wunsch, irgendein Beziehungschaos und die Enge des Kleinstadtdaseins hinter sich zu lassen. Die erste Single - Renegades', ist bereits auf Hitkurs! Am Radio belegt die Single nur wenige Wochen nach Radiostart bereits #26 der Airplaycharts. In den USA chartete sie an die Spitze der Alternative Airplay Charts und der Triple A Radio Charts, sowie auf #8 der US Top 40 Radio Charts.
Die Single hat sich schon jetzt weltweit über eine Million Mal verkauft und verzeichnet über 45 Millionen Streams. In Kanada, USA und Italien wurde - Renegades' bereits mit Doppel-Platin ausgezeichnet. Die Band tourte mit Bands wie Imagine Dragons, The Lumineers und Panic! At The Disco und eröffnet im Januar 2016 acht US-Shows für Muse! Das Album erscheint als CD und Vinyl.l

Eliot Sumner präsentiert ihr erstes Solo-Album "Information"! Nach vier Jahren des Schreibens, Tourens und Erwachsenwerdens meldet sich die ehemalige I Blame Coco-Frontfrau jetzt als
Solokünstlerin unter ihrem bürgerlichen Namen Eliot Sumner zurück. - Ich bin stolz auf die Musik, die ich mache, und jetzt ist es an der Zeit, auch mit meinem echten Namen dafür zu stehen so Eliot. Die Tochter von Sting hat sich für ihr erstes Solo-Album - Information" genug Zeit gelassen um erwachsen
zu werden, zu experimentieren und ihren eigenen Sound zu finden. Fündig wurde Eliot im Lake District, dorthin zog sie sich für fünf Monate zurück und arbeitete in totaler Isolation an ihrem neuen Album - Information . Die neuen Songs sind viel organischer, frisch und voller Energie. Beeinflussen
ließ sich die Sängerin u.a. auch von ihrer Lieblings-Band aus Teenagerzeiten den Bad Seeds. Die erste Single - Information ist ein Song mit Synthesizern und Strings der von Duncan Mills (The
Vaccines, Spector, Crocodiles) produziert und in den Strongroom-Studios in London aufgenommen wurde. Zusammen mit ihrer Band I Blame Coco veröffentlichte sie 2010 ihr Debütalbum - The Constant . Das Album verkaufte sich in Deutschland rund 40.000 Mal.

This 8 track acoustic guitar album is a big change for the experimental musician Maurizio Abate. After many years of psychedelic albums in which improvisation was combined with a creative recording process, he composed an entire album based on a more traditional method: acoustic guitar solo.
During winter 2014 he organized a series of italian screenings preview of the documentary ' In Search of Blind Joe Death: The Saga of John Fahey' and that occasion encouraged Maurizio to experience the guitar solo language.
After playing these compositions at live shows, Maurizio decided to record the tracks in an almost definitive way, nevertheless the live interpretation of the songs is always different and mutating.
He recorded alone in his house between Christmas 2014 and new year's day on a reel tape recorder, performing acoustic guitar and, in a couple of songs, electric guitar and harmonica. "Loneliness, Desire and Revenge" it's an intimate and confidential album, it evokes moods and emotions of the musician during the past 2 years.

CRFSPLIT is a new series, a collaboration between CRF and a guest label with two different artists.
For the first release, we choose CLFT, the French label based in Lyon.On the A side we ask Birth of Frequency to do two tracks, The Scar and The Fink, two hypnotic and abstract tunes, with a dry and claustrophobic atmosphere.
CLFT choose 2030 on the B side with Life's Lake and Fallen-in, very Detroit influenced with light pads and melodies.

The Infamous is the second studio album by the American Hip Hop duo Mobb Deep, released in 1995. The album features guest apperances from Nas, Wu-Tang Clan members, Reakwon and Ghostface Killah. It marked Mobb Deep's transition from a relatively unknown Rap duo to an influential and commercially successful one.

One of the cornerstones of the New York hardcore movement, The Infamous is Mobb Deep's masterpiece, a relentlessly bleak song cycle that's been hailed by hardcore Rap fans as one of the most realistic gangsta albums ever recorded.

This is hard, underground Hip Hop that demands to be met on its own terms, with few melodic hooks to draw the listener in. Similarly, there's little pleasure or relief offered in the picture of the streets Mobb Deep paint here. They inhabit a war zone where crime and paranoia hang constantly in the air.

The product of an uncommon artistic vision, The Infamous stands as an all-time gangsta/hardcore classic.

This is France in the Mitterrand years: fashions fleet as fast as governments. In the early eighties, the happy-go-lucky gather the nectar of each and every new release.
Believing in a bright future for videotex, and loosened up by the sexy talks broadcasted on the budding pirate radios, the new generation dreams of dance floors and holiday clubs. French Boogie, which preserves the spirit of these years of boodle and bunkum, is the ideal soundtrack to their dreams.

What the web now refers to as French Boogie is some synthetic funk reflecting the spirit of those days when nothing was impossible, or so it seemed. Its syncopated flow heralded the dawning of French rap. Often considered as some kind of post-disco, inspired as much by black music as by new wave, this carefree pop music with bawdy lyrics indulged in simple pleasures: holidays, swank and sun were recurrent themes. Totally in tune with its time, it incidentally glorified luxury, success, and a certain consumerism embodied, for instance, in Bernard Tapie.

In popular clubs such as La Main Bleue in Montreuil, or L'Echappatoire in Clichy-sous-Bois - where Micky Milan could be seen behind the decks - an enthusiastic audience discovered this new sonic wave, influenced as much by French pop as by Sugar Hill Gang or Kurtis Blow. The artists who first launched the movement engaged in it wholeheartedly, but as often the case with new music trends in France, humour and casualness quickly became a decoy to impose a new style. This explosive mixture, in which startling and typically Frenchy French lyrics go along New-York-style tunes, is sometimes reminiscent of the kinky comedies directed by Max Pécas or Claude Zidi. On this prolific scene, partly originating from the Jewish community, everybody was looking for success, trying to hit the jackpot with what was to hand. Famous media personalities, one-hit wonders or John Does in quest of fame, all had a go at French Boogie - more or less successfully. Apart from « Vacances j'oublie tout » by Elégance, « Un fait divers et rien de plus » by Le Club, or « Chacun fait ce qui lui plaît » by Chagrin d'amour (produced by Patrick Bruel), very few songs became hits: the story of funk in France is that of a half-baked robbery.

In this myriad of new musicians, the very young François Feldman and Phil Barney pioneered a fresh and hybrid style. Other well-known artists like Gérard Blanc from Martin Circus (Attaché Case), Richard de Bordeaux (Ich), or Jean-Pierre Massiera (Anisette, Pirate Scratch Band, Mandrake, Scratch Man...) added an eccentric touch to this sound-wave, making it often entertaining, and sometimes showy.

Capture d'écran 2015-10-26 à 12.55.43Singers like Agathe (the author of 'La Fourmi' and of the hit song 'Je ne veux pas rentrer chez moi seule') were far more than just window dressing. They even tried to give an ironic and subversive twist to this rather harmless genre. The very vindictive rebel Gérard Vincent shared in this spirit, but as a whole, French Boogie became associated with nonchalance and sauciness. Thus, Stéphane Collaro, Gérard Jugnot, Alain Gillot Pétré and other TV clowns would clumsily contribute to this French variation on funky sounds. In a few but intense years, French Boogie gave all the tips to party with style.

If some hits made it possible for the happy few to get a real house under truly exotic palm trees, the wave actually ebbed away very quickly, leaving quite a few musicians stranded on the shore. Whether they were sincerely motivated, or simply opportunistic, they had failed. In 1984, French Boogie was already breathless, and got merged with other genres: on the one hand, rap and breakdance adapted its flow to a more urban world, especially with Sydney's show, H.I.P.H.O.P, and Dee Nasty's broadcasts on Radio Nova; on the other, italo, new beat and house began to rule over dance floors, even more strongly asserting the will to develop music for clubs.

Squeezed in between the age of disco and that of modern electronic music, French Boogie was a transitional phase, but it remains an amazingly refreshing testimony to the intermingling of pop and underground cultures. The genre was hastily categorized as anecdotal in spite of its pioneering synthetic groove and matchless bass lines. An attentive ear will discover the poetry of the ephemeral beyond the eccentricities of the genre, as well as a certain unexpected avant-gardism. At the origin of major music trends, always cheerful and catchy, French Boogie is what you need to party.

South London producer Paul White and Florida vocalist/rapper Eric Biddines have joined forces to form new duo Golden Rules. Their debut album of soulful, psychedelic hiphop features Yasiin Bey (fka Mos Def) and its sound recalls Outkast and Cee-Lo.
Golden Rules have already seen radio support from BBC Radio 1's Huw Stephens, plus 6 Music's Gilles Peterson, Tom Ravenscroft, and Mary Anne Hobbs, while key online hip-hop sites such as The Source and 2 Dope Boyz have been quick to recommend the group. Paul White has been described by the Independent as a 21st Century DJ Shadow', counts Madlib and Diplo among his fans and is best known for his production for the likes of Danny Brown and Charli XCX. Newcomer Eric Biddines has built a career in Florida and his last video received heavy rotation on MTV Jams, but this is his first step on the international stage.

Von Carl Bown und Colin Richardson (Slipknot, Machine Head, Trivium) in den Metropolis Studio in London produziert, entpuppt sich VENOM als kompromissloser, erbitterter Schritt für Bullet For My Valentine. Ihr heftigstes Album bislang packt den Hörer sofort an der Kehle, wofür die mächtige Performance von Sänger / Gitarrist Matt Tuck, die bissigen Riffs von Gitarrist Michael "Padge" Paget und das Drumming-Sperrfeuer von Michael "Moose" Thomas sorgen. Auf VENOM hält das Trio perfekt seine ureigene Balance zwischen Heaviness und dringlichen Melodien und schraubt sich so auf das nächste Level.
"Es ist schwierig, ein komplettes Album zusammenzufassen, nachdem wir soviel Zeit mit dem Songschreiben und Aufnehmen verbracht haben und Blut, Schweiß und Tränen flossen," erzählt Frontmann Matt Tuck. "Es war hart, für die Texte wieder an einige äußerst dunkle Orte zurückzukehren, aber sobald ich Fährte aufgenommen hatte, war es OK für mich, gewisse Themen einfach rauszulassen - und die Hölle brach los. Dieses Album ist ganz klar das aggressivste, das wir je eingespielt haben, und textlich wird es sicherlich Viele aufhorchen lassen.

Repress!

"Il corpo" is the last one of Luigi Scattini's trilogy, which started with "La ragazza dalla pelle di luna" (1972) and then continued with "La ragazza fuoristrada" (1973). Umiliani's music privileges jazz and funky moods, dominated by the Hammond organ and wah wah, alternated with languid and almost "sleazy" instrumental ballads. This soundtrack finds its strength in melancholy, but also in drama and tension.

Back in 2013, Futureboogie released The Fade EP by Outboxx, a record that received critical acclaim from the who's who of music press, helping to propel Outboxx on the upward trajectory they've managed to maintain since those early releases. Unsurprisingly, Futureboogie are delighted to get the pair back for more.
Having developed their sound in the two years since, the pair has refined the raw ingredients of those records to show a combined maturity beyond their collective years. Previously the pair of producers (Matthew Lambert and Jake 'Hodge' Martin) have released music on respected independent imprints such as BRSTL, Idle Hands, Well Rounded Records and Local Talk; honing their analogue rich sound that touches on the hard edge of drum machine rhythms crafted by Hodge and the harmonic, jazz soaked embellishments from Lambert on Keys.
'Day One' opens with the sound of a string sample drifting behind warm drums to beautifully open up proceedings. As the track develops with an explosion of shuffling hi hats, the main hook enters with more than a nod to the classic Acid basslines of a 303, built to hypnotize dancers into the early hours with subtle simplicity.
The EP's title track 'Under The Lights' shows the pairs appreciation of Disco, with overdriven drums and a dotting bassline setting the feel. As the track develops, elements of Detroit enter the picture, with more string samples setting the key, and further allowing Lambert to contribute more of his signature Jazz licks as the track winds down to an unwanted close.
'Gift of Life' features the always-beautiful vocal contributions from long-term collaborator, Naomi Jeremy. Having featured on some of their most memorable releases to date, Jeremy's vocals again add a complexity often found in Jazz, but with the drum machine funk of 90's House; creating a sound that blurs the lines between sampling and original composition, uniquely, as only Outboxx can.
The record ends on the appropriately named 'Closing Titles', a track seemingly built to allow Lambert the opportunity to show his prowess and mastery of melody and harmony. Creeping basslines and warm chords mix with looped drum machine rhythms to wind down the release elegantly, showing the pairs versatility and understanding of each other's strengths.

The second part in the Hudd Traxx 10th Anniversary 'Now & Then' compilation sees tracks from Luna City Express, Sek, Iz & Diz and Rick Wade. Berlin duo Luna City Express serve up a lush deep house groove that builds throughout the track, and will bring a smile to the faces of those who follow them on their beloved Moon Habour Recordings. Sek uses slick beats, trippy leads, a driving bassline and some 'Thug life' vocals to ensure this one has 'future classic' written all over it. Go back in time (to 2006 to be precise) on the 'Then' side to find Iz & Diz's 'Happy'. The words 'epic' & 'journey' are often misused in music but both can be mentioned about this track. It had devastating effect on first release and is set to do the same again nearly 10 years later. Rick Wade closes things out in fine style to fly the Detroit flag on an all Chicago / Detroit side.

Kevin Saunderson's Detroit-based imprint celebrated its 25th Anniversary back in 2012, and the label's continued to cement its legacy with key vinyl reissues over the past couple of years. The recent campaign included Saunderson's Just Want Another Chance, the track which contains the "Reese" bassline—rivaled only by the Amen break as a formative element of drum & bass—as well as '90s releases from MK, Kreem (Saunderson's duo with Juan Atkins) and Chez (Damier) N (Ron) Trent.

The two remix compilations dwell on Chez N Trent versions produced during the 1993 through 1995 period, when they released enduring originals like "Morning Factory" and "The Choice." Volume One contains remixes of Sonya Blade and Miller/Scott Project while the second EP includes Damier and Trent's versions of Kreem as well as Saunderson's seminal vocal house group, Inner City. Chez N Trent's takes on Naomi Daniel's "Feel The Fire" and Essar'ay's "Forces" are also included.

Recorded in 2014, Stranger Than You marks a conscious return to the sounds and styles explored on their debut album Swimming in 1982. There's a strong element of reconnection,' explains singer/songwriter (and bassist) Michel Sordinia. Yet at the same time it's also about developing your own legitimate strangeness, just as the great Surrealist poet Rene Char invited his readers to do. A new mystery singing in your bones.'

Michel and guitarist Marc Deprez are joined by new members Laurent Loddewyckx (drums) and Christophe Boulenger (keyboards and piano). Stand-out tracks include the dynamic title track, Kids On Fire and quickfire Boy With A Gun, as well as more contemplative, elegiac numbers such as Lights and My Angel of Death.

The cover art is an original painting by long term Names associate Benoit Hennebert, celebrated for his work as design director for Les Disques du Crepuscule, with portrait photography by Peter Staessens. The double vinyl edition is housed in a deluxe gatefold sleeve and includes a free digital download code.

Ruede Hagelstein and Watergate go hand in hand. Not only is Ruede one of the longest running residents at the club, but he's also the man behind some of the label's most acclaimed music and the curator responsible for lucky number 13 in the illustrious Watergate mix series. With this, it seemed obvious to put Ruede up to his next task: an album. It is with great anticipation and excitement that we bring you the first LP for both Ruede and Watergate Records, Apophenia. Apophenia is the experience of seeing patterns or connections in random or meaningless data, and for Ruede, this is the perfect interpretation to describe his writing process, in which ideas appear from the empty, chaotic darkness. A random chord progression or percussion arrangement opens the door to the imagination where structures appear and begin to take shape. Unlike most of his previous work, Apophenia is not strictly attached to the dance floor, but created to fit just as seamless while listening at home as it is in the club. For over a year, Ruede collected ideas and visualized his plan. It was important not to mimic his earlier work, but to focus on a certain sound. While staying minimalistic yet extremely organic and melodic he has created a timeless long player. While the LP spans a range of emotions, it is always grounded in Ruede's unparalleled, singular sound. Pair that with some notable features from artists like PillowTalk, Hollis P. Monroe & Overnite, Justin Evans and C.A.R. and you have a plethora of dazzling music.

Given its short gestation, it is striking how far removed the new album is from its predecessor . After the dark complexity of recent output, Same As You is startlingly fresh, as inclusive and accessible as the title suggests, while still maintaining the playful experimentation on which the band has made its name.

Originally conceived as a single longform piece, the tempo remains constant but does not prevent the band from producing swells of raw, joyous, life-affirming energy within these self-imposed limits

The vocal performances and the heartfelt, spiritual lyrics are an inspired addition to the rich instrumental mix: Pete Wareham and Mark Lockheart (tenor sax), Tom Herbert (double bass) and Leafcutter John (guitar, electronics), with Shabaka Hutchings (Sons Of Kemet, Melt Yourself Down) making a guest appearance.

The album's lead single 'Dont Let The Feeling Go' sees Rochford take on vocal duties alongside a choir of friends and collaborators: it's Polar Bear at their most direct.

The use of vocals may catch the ear but that should come as no surprise given that Rochford has enjoyed working with singers as diverse as Beck, Spoek Mathambo, Paolo Nutini and Rokia Traoré over a 15 year career that has seen the drummer, composer and producer emerge as a pivotal figure in contemporary British music

Recorded by Rochford in London, and mixed in the Mojave Desert with Ken Barrientos late last year

Polar Bear will tour Europe from February (see confirmed dates below)

New FXHE, you know the drill. Pure belters only.

3 New stunning tracks of pure old school House music from our man Nicolas Aftalion.Destined for Dance floors everywhere on planet earth.This is what we like. This is House music !!!

To all our respected critics, reviewers, and wisenheimer: be prepared to listen to this album in tranquility. If you do not do so you will most likely rate this release one out of five stars. And this is something which it certainly does not deserve. This album needs time and patience to be fully understood. And if you do so you will be enlightened by the true beauty of this selection.

Not only for Don McCaslin's project Warmth the time has come for representation and appreciation. All the songs on this disc are well worth to be discovered. No matter if you skip to Jorge Darden's jazzy-soulful "Alone Again" or to Seeds of Fulfillment's stunning "Solemn Solitude". Each and every song is a masterpiece in its own right. Funky soul music fans will be pleased to get a chance to listen to Cookie Thomas and Bold Breed, two cuts which are hard to find in its original format. Rarity is one thing, quality is another. The songs to be found here are both rare and good. Better yet, until now, all of these tracks had not yet been compiled.

After Movements and Feeling Nice, two already well-established compilation series on Tramp, Praise Poems could be the start of a new successful one. It was solely the title track which lead us to release this album. Don't ask if there will be a Volume 2. We don't know yet. What we do know is that if we ever come across a similar tour de force as Don McCaslin's compostion, then there will certainly be one.

New artist on Black Market, A Thousand Years (real name Zeke Africa) grew up in Devon. As son of a jazz pianist... he started producing with Dance Ejay though as soon as he entered his teens and kept evolving in the decade since. The name A Thousand Years is inspired by sci-fi and reflects his own futuristic take on house music.

Erstmals auf Vinyl erhältlich: das Debutalbum des Pianisten Francesco Tristano, der meisterlich gekonnt Klassik und Elektronik miteinander verbindet. Auf "Not For Piano" spielt er eigene Kompositionen sowie Klavierversionen von Techno-Klassikern wie Derrick Mays "Strings Of Life", Jeff Mills' "The Bells" und Autechres "Andover". Tristanos "Not For Piano" leitete 2007 gleichzeitig auch den Start des Labels Infiné ein.

In the beginning of the 80's reggae music became increasingly in tune with what was happening in Kingston's dancehalls....probably more so than at any time since the sound system operators had started to make their own shuffle and boogie in the late 50's..
The international audience and the critics were too busy looking for a new Bob Marley to appreciate what was happening downtown and failed to acknowledge that this was a return to the real,raw roots of the music...brash,confidient,young record producers who were totally in tune with the youth audience stepped forward and seized the moment...
Oswald'Ossie'Thomas began his apprenticeship in the music business at the age of fourteen and served his time as a record salesman for Bunny 'Striker 'Lee and Winston 'Niney the Observer' Holness before moving on to Miss Sonia Pottingers Tip Top Records...
'I ended up working in three record stores on Orange Street from 1976 to 1981...Yeah man,Me deh 'pon me bicycle till I buy my motorcycle..Them days records were coming out left right and centre..everyday'
Ossie Thomas...
It was during his time with Miss Pottinger that Ossie began to produce records for himself and in 1979 Ossie and Phillip Morgan began The Black Solidarity label based deep in the Kingston ghetto on Delamere Avenue.
And the man who had made his name in the business selling other people's records now became one of the most important and influential record producers of the era..

Leroy Smart the self proclaimed 'Don' carries much respect in the Jamaican musical community, he came through the Alpha boys school in Kingston that provided us with the cream of Jamaican artistic talent.
Such legends as Don Drummond,Tommy Mc Cook and Johnny Dizzy Moore to name but a few.
Leroy Smarts talent lay in his vocal attacking style that gives his lyrics and tune that extra meaning.
His best work came in the heady mid 70's working with 'The Hitmaker from Jamaica' Mr.Bunny Striker Lee.
Bunny put Leroy Smart on some of his best rhythms starting in 1973 with 'God Helps the Man' and 'Wreck up my Life'.
Other killer hits were to follow such as 'Mr.Smart','Pride and Ambition','Bad Minded People' and the attacking 'Mr.Richman'.
All tracks telling it like it is.............
We have compiled all these cuts together,every song a story in itself,told only as Leroy Smart could.

Roy Comanchero is a DJ/Producer. He doesn't like modern tool like laptop, but loves cheap and vintage machine instead.

He is traveling and looking for golden shiny beach like Cancun, Miami, Gold Coast and Nice... to make music everyday.

Sev Dah brings his brand of powerful, no-nonsense techno with the mighty, pounding Xanax. Life Of The Unborn takes a more experimental approach and offers a dark and haunting soundscape. Inter Gritty is on remix duty, stripping it down and turning the EP around with his jacking, Chicago-inspired take on Xanax.

Big Strick and Generation Next follow up their highly successful CD album " Like Father Like Son" with a vinyl double album. It features 7 songs from the album along with a bonus track from Generation Next. With vocals tracks featuring Don Q and Tony Coates, Next and Strick bring us flavor and funk. ' The Ride' features Tony Coates, bringing lyrics for the soul. Along with the warm vocals is a warm bass and moving percussion. 'Ypree' is the bonus track produced by Generation Next. It is a mellow, hard hitting underground track. Hard drums and loud claps. Reverbed high hats and repeating congas.

Treat Your DJ Right releases Seidensticker & Salour from Hamburg. Some of you might know Jakob Seidensticker as one of the masterminds from Wareika whose productions have been released on labels such as Perlon and Visionquest amongst others. After years of playing as a DJ-team in Hamburg's famous clubs like EGO, Waagenbau, Purgatory etc, they are eager to focus on their own 'house-influenced

The second of the Decadub vinyl-only releases dedicates three of its four sides to a volley of woozy and twisted footwork from most of the key members of Chicago's Teklife crew. Side One starts with DJ Rashad and Gant Man's squiggly 303 banger 'Acid Life' and moves onto Taso & Djunya's Darwinian banger 'Only The Strong Will Survive'. Side Two descends into DJ Spinn's bombastic 'All My Teklife' and then Earl, Rashad & Taye's 'Bombaklot' which takes Hyperdub full circle with a yardcore bomb like a 2014 upgrade of the label's early days. Side Three leads with DJ Earl's immaculate diva vocal cut-up of 'I'm Gonna Get You', then moves on into DJ Taye's fizzling R&B jam 'Get Em Up' and the stone cold, warped humour of 'Icemaster' by Heavee. On the fourth and final side, Tokyo-based ally Quarta330 returns to craft 'Hanabi', an epic, uptempo synthesiser jam. Young gun Champion follows with 'Power Cut', its minimal, energetic and militant kicks and bass molded with cowbell and lots of tight edits, before dropping some neat keys and a warping bassline two thirds in. Ikonika finishes things off with the solemn march of 'Tug Zone', opening slow but building in flickering high hats and gaseous cymbals into a track which could have emanated from Battlestar Galactica.

Following the release of virtuoso new singles Mr. Cover Up and No-Operative across January and February, seminal DnB duo State Of Mind are to present their fourth album, Eat The Rich, on March 31st. To be released by Black Sun Empire s Blackout imprint, the album celebrates some of the best work of their career to date, underlining their remarkable pedigree and with it, their ability to fuse darker, hard-edged sounds with genuine dance floor mcredibility. Famed for their rugged basslines, steely percussion and huge, driving synth lines, State Of Mind also showcase different sides to their craftsmanship on Eat The Rich, with a number of vocal features taking centre stage. As well as NZ
rapper PercIEve s appearance on the storming, tear-out anthem Mr. Cover Up, the duo also join forces with promising songstress Sacha Vee on the wonderfully eerie Black Raven; although still bullish in style, it highlights a softer, more thoughtful side to State Of Mind. Heavyweight second single No-Operative is also an album highlight, as are further future dance floor anthems like Where You At and Put It On, as well as two unique collaborations with fellow revered DnB figureheads Black Sun Empire. To compliment the rich diversity of sound on offer, the idiosyncratic, breaks-driven heat of Fast Life and the outer-worldly, synth-laden intro on U Control Me complete what is a stunning, career-defining album.
With a European tour in support of the album set to commence in March, ahead of further headline dates in Australia and New Zealand throughout April, Eat The Rich is set to cast State Of Mind into the spotlight like never before.

Maricopa returns to Back To The Balearics to complete his stunning opus, Pastel Love.

And he continues where he left off building deeply textured songs packed full of simple melodies that really shine.
His music opts for subtle feelings and passing vibes over the more obvious structures of 'dance music'. The release of Part One led to a number of comparisons with the early work of Aphex Twin as well as more contemporary producers such as Four Tet.

Such comparisons don't come lightly, but Pastel Love demonstrates that a rare musical talent has arrived.

The release again has beautiful printed covers and looks as good as it sounds. Viva Maricopa!

irst remix single cut from latest eddie c album "country city country". we invited two favorite new producers. one is italian edit master "marvin&guy". after the big success of their record on let's get lost, they are into more original production. their remix is simply killer for dancefloor. brightest hope from australia "tornado wallace" reconstructed original of kraut rock oriented tune to excellent psychedelic slow mo house. it's for the fan of quiet village or andrew weatherall. vol.2 of remix single with kza&young marco is coming very soon!

"Destroy The Invaders" gilt als das beste Dubalbum der frühen 80er von Lloyd James aka Prince Jammy, dem späterem King Jammy ! - Aufgenommen im Channel One Studio mit der Roots Radics Band und im King Tubby's Studio abgemischt, u.a. basierend auf Originalversionen von Junior Reid, Hugh Mundell und Wayne Smith, wurde die LP, auch inspiriert durch den anhaltenden Erfolg von Computerspielen wie 'Space Invaders', in einem ikonographischen Artwork von Tony McDermott erstmalig 1982 veröffentlicht. Ein Longplayer der in jede gepflegte Sammlung des Dub Reggae gehört!

Arriving at their fourth release, Emotional Rescue's knowledge of forgotten musical gems and their commitment to give them the chance of wider appreciation they fully deserve cannot be in question! After digging out that Bob Chance classic, the focus switches to something of an equally balearic nature with the release of Jaki Whitren & John Cartwright's lost folk rock album International Times. Originally released as a private press on the obscure French label Living Records back in 1983, this eight track album is filled with dusty soul nuggets which are given extra life by the silky vocal stylings of Whitren - formerly a backing singer for Alan Parson. Opening track "Stay Cool" sounds quite ahead of it's time, whilst there are some true dancefloor gems for the more adventurous DJs out there, such as the title track and the laid back bump of "Go With The Flow."

Jazzy, atmospheric deep house. If you like the sound of Larry Heard, you will definitely like this record.

Recent Songs is the sixth studio album by Leonard Cohen, released in 1979. It was a return to Cohen's acoustic folk music after the Phil Spector experimentation of Death of a Ladies' Man, (MOVLP476) but now with many jazz and Oriental influences. The album includes Gypsy violin player Raffi Hakopian, and even a Mexican Mariachi band. Long-time Cohen collaborator Jennifer Warnes prominently appears in vocal tracks. Members of the band Passenger played on four of the songs and Garth Hudson of The Band also appeared on the album. 'Came So Far for Beauty" seems to be an unaltered outtake from the unfinished 1975 album Songs for Rebecca , which also included early versions of "The Traitor" and "The Smokey Life" (then with music by John Lissauer)."Ballad of the Absent Mare"'s metaphoric lyrics are based on the twelfth-century Ten Bulls (or Ten Ox-herding Pictures). The song is covered by several artists, notably Emmylou Harris on the album Cowgirl's Prayer (as "Ballad of a Runaway Horse"). This album comes with a lyric sheet.

Sect Records' recent compilation It's All For You showcased the exceptionally high standard of the label's roster as well as introducing some talent to the world, and this, the first 12" sampler from the album, selects three of the compilation's finest tracks for vinyl treatment. Victor Martinez takes over the A-Side with "Dav To Dub", combining heavily delayed chords filtered to breaking point, while a massive kick drum propels everything along, and a jazzy piano melody adds some subtle ambience. On the flip, D'Knox's "I'm Sorry (remix)", is a sparse number contrasting soothing chords with micro-loops which contain the spectre of disco, with a rapid rhythmic flutter and chittering melody at its core, while Fanon Flowers closes with "Invisible Life", a murky production filled with chords that ripple like sheet metal over a flurry of 909 rimshots.

Fantastic new LP on Pin Cushion Records featuring eight superb tracks of the finest funky rock, folk and soul. The A side kicks off with the awesome funky monster 'Save Me', an absolute dancefloor bomb with slamming b-line from Nanette Workman's self titled 1976 LP. Next up is the super funky 'Lucky Lost Sin', a wicked female vocal funk-folk-jazz cut that also works well in the clubs, followed the great uplifting vibe of Rory Block's 'Lovin' Of Your Life'. Closing this side we have the wonderfully laid-back 'Santa Cruz Mountains' taken from Eddie Callahan's hugely in-demand and impossible to find 'False Ego' LP. The flip side features the excellent 'Spill The Wine', a great Rhodes-driven workout from Eric Burden's WAR, followed by David Amram's 'Message To The Politicians of the World', a killer spoken word track over a sweet melody. Next up is Friends Of Distinction's 'Light My Fire', an amazing funky cover of the Doors' classic taken from their rare 1969 Highly Distinct LP and last but not least a cool breezy summer groover from Bay Area band Kingfish whose lineup included the legendary Bob Weir, founder member of The Grateful Dead. A superb selection of tracks, not to be missed.

A strong and hypnotic release from Luke Hess on Omar-S's FXHE label. Recommended

rebuilt album is a lp from ethnik groove that includes 6 new remixes from some of the classic tunes (funky moment - gotta go - unexplicable life) produced by paul eg with two bonus tracks.

4lux White continues to explore soul, hip hop and jazz in 2010. One big surprice they have with the debut album of Austrian Orakel!

This is the debut EP from Manchester-based producer Nineteen99 and the first release on new label Warszawa Records.

Dubsided continue to release bass heavy electro house, and we welcome the follow up EP to Sticky K's previous Dubsided release. 'California EP' is a wonky 4 tracker stacked with all the right elements and surprising hooks.

Check out the mad vocal drops in 4 minutes into 'California', cheeky and a little barmy

Once I Was Young and The Airplane Album find the producer taking yet another sonic right turn. "These records were made in the same year with a very similar creative process. I moved almost completely away from sampling, experimented more than ever with ambient and techno elements and used the album format as a way to tell a story about moments in my life." Once I Was Young is a storytelling work that journeys through analogue synth-pop, modulated techno and raw, dusty drums with otherworldly melodies. Moments of beauty come through escapist, naturalistic ambient tracks and fusions of Kraftwerkian sequencing with more classical piano, while stark, clubready grooves keep things moving. Airplane contrasts similar shades of light and dark, synthetic and organic, rough and smooth. Glitchy, imperfect analogue sounds, knackered drum machine grooves and eerie synth phrasing evoke a post-human world with icy atmospheres. Elsewhere, warmth comes from bittersweet melodies and loose, funky drums that ooze retro-future charm.
Once I Was Young and The Airplane Album show a diff erent side to Escobar, one that embraces introspection and experimentation while exploring a whole other world of meaningful machine soul

2026 Repress

Laurie Torres is a Canadian musician and composer raised in Montréal, Québec by Haitian parents. Since 2008, she has been a trusted stage and studio performer for Julia Jacklin, Pomme, and Land of Talk, as well as being a founding member of Folly & The Hunter, with whom she recorded four studio albums and toured Canada, Europe and the UK.

In 2023, Laurie shifted focus to work on her own creations, a process of making time - the will and the need becoming omnipresent. Drawing creative inspiration from contemporary artists like Tirzah, Gia Margaret, Valentina Magaletti, Tara Clerkin Trio and ML Buch, 'Après coup' finds Torres intersecting at a pivotal moment where artists whose marginalized identities are at the forefront in creating a beautiful array of "other options".

"Being othered and tokenized as a woman who plays music, as well as a queer and black person, takes a toll, while also positively feeding a strong urge to push and be seen."

Centering around piano, drums and synthesizer with interweaving field recordings, 'Après coup' follows the precursor ep 'Correspondances' in the form of a sprawling 11-track album. Translating directly from French - afterwards, after the event - its title subliminally points at something deeper between the lines. Recorded in 2023 between tours in a small window of time where 'normal' life hadn't quite recommenced, Torres meticulously crafted her debut solo material in view of surrounding nature, all providing the perfect nourishment for long streams of improvisation. Built right up to the edge of a lake, Studio Wild in St-Zénon, Québec offered an unparalleled location and set up for her freeform creativity.

Instrumental music seemed like a natural response and evolution for Torres who had long basked in the world of "pop music" as she elaborates: "I had an urge to use creativity as a sort of resting place, a place where things can unfold slowly and take time to reveal themselves. In other worlds words, I felt the need to make something slower, more elusive"

The immediacy of Torres' recorded takes doubled with minimal overdubs create a fiercely direct, intimate and unpolished lo-fi beauty. 'Après coup' then is self-reflective, open and inclusive with Torres allowing herself to be fully seen. An album to be felt at close distance with unrivalled authenticity. This album stands as a testament to Laurie's artistic evolution and serves as a beacon, inspiring her to continue nurturing her own creative pursuits and finding exhilarating freedom.

Drumcode returns with its flagship A-Sides series, led by a huge new Adam Beyer single that highlights the 20-track compilation.

If you want a snapshot of techno in any given year, look no further than Drumcode’s annual A-Sides compilation. The release broadly charts the evolution of the genre, while giving a platform to standout demo’s Adam Beyer has received across the course of the year with many emerging artists finding their music on Drumcode for the first time. Case in point – Wehbba, Charles D and Raxon who all debuted on the label via a track on the A-Sides series and have gone on to become regular contributors to Beyer’s influential labels.

This year’s compilation features an exciting mix of established heavy-hitters, alongside a slew of new faces set to make their mark on the genre. ‘We Don’t Say Please’ – is emblematic of Adam Beyer’s sound in 2025 – fresh, experimental and thriving on cross-genre pollinations, as elements of bass music, rap and techno collide, underpinned by a distinctive UK vocal. The results are inspiring.

Elsewhere, the 20-track compilation brims with highlights. HI-LO’s ‘NYC to Amsterdam’ has inflections of New York house fused with driving techno elements. Nicole Moudaber returns to DC in cahoots with the rising ZLATA for the super-charged ‘Report to the Dancefloor’. Oscar L & Charles D mint a new collaborative partnership with the immersive, spacey cut ‘Lift Me Up’. LUSU continue their red-hot run following the recent ‘Move 2 the Groove’ EP, and craft a straight-up mind-mashing single ‘LIKE THIS’. Mark Reeve is in trademark strong form with hypnotic ‘My Mind’, which comes to life via a massive synth led. The fantastic Kaufmann shares her ‘People are Strange’, a nod to a classic vox, re-contextualised for a modern techno audience.

As is tradition, a troupe of ascendant producers land on Drumcode for the first time. They include Uruguay’s Enzo Monza, who delivers the crisp ‘Late Night’ – a favourite of Beyer’s; Mattia Saviola, whose ‘Parallel Dimension’ is a powerful cut with fantastic sound design; Romanian artist Tao Andra, who shares the celestial ‘Unity’; and long-time industry stalwart AdamK, who makes a richly deserved Drumcode debut in partnership with Vikthor feat. MC Stretch on the stunning ‘Silence + The Sound’.

Mannequin Records presents a special release that bridges two generations of electronic body music: DAF’s iconic track “El Que” reimagined by French techno and EBM pioneer Terence Fixmer.

A lifelong admirer of DAF, Fixmer has been playing El Que in his DJ sets for years, considering it one of the band’s most enduring and powerful pieces. His connection to the track and to DAF’s groundbreaking legacy is the core inspiration behind these two new remixes, created with both reverence and bold creative vision.

On the “El Que (Terence Fixmer Leather Remix)”, Fixmer remains close to the original’s raw, muscular pulse while injecting a sharp, modern club sensibility. The remix builds on DAF’s unmistakable rhythmics but adds a contemporary momentum that feels like a natural extension of the band’s DNA. “It was like imagining what I would do if I were a member of DAF today,” Fixmer says.

The second version, “El Que (Terence Fixmer Drive Remix)”, ventures deeper into Fixmer’s own territory: darker, hypnotic, and peak-time focused. Tension and release are crafted with surgical precision, taking the original’s spirit into a harder-edged, suspense-driven sound world. It’s a version built for late-night floors without ever losing the soul of El Que.

Fixmer explains:
“I’ve been playing DAF’s El Que in many of my DJ sets for years. It’s a track I deeply loved from the first listen. I’m super proud to have remixed DAF — one of my cult bands and a major influence on my sound and electronic universe. For the "Leather Remix", I wanted to stay close to the original while bringing modernity and club momentum. For the "Drive Remix", I pushed the track toward darker, peak-time and hypnotic techno, keeping the soul of the original intact. I wanted to make versions that make you think: ‘I know this track… but wait — what is this version? I want it!’ When I tested them, that’s exactly what happened.”

DAF remains one of the most influential bands in electronic music history. These new remixes by Terence Fixmer reinforce the timeless power of El Que while offering two striking, club-ready perspectives for a new generation of listeners.

Straight from an alternative dancefloor, a recollection of stone cold classics from huge & influential post-punk pioneers. They called it white funk once, but here you can even catch echoes of latin, dub and club influences, a mutant disco manifesto from a series of British champions such as Normil Hawaiians, Glaxo Babies, Playgroup, C Cat Trance, Suns of Arqa & Prince Far I and many more.

Tracklist Side A:
Normil Hawaiians - Obedience
Vee VV - Keep Beat
Spit Like A Paint - For The Life Of Me
Group Therapy - Arty-Fact
C Cat Trance - Hypnotised

Tracklist Side B:
The Chicken Granny - Quit The Body
Machine Gunn Hogg And Co - Bed Bound Saga
Playgroup - Hoggs Might Fly
Glaxo Babies - Shake (The Foundations)
Suns of Arqa feat. Prince Far I - G.D. Magik

7 Inch Blue Ice Dinked Vinyl in Picture Sleeve

Cold Crush Blue Ice vinyl… what other colour could Tuff City possibly give fans for this seminal early Hip Hop masterpiece on RSD?! The Cold Crush Brothers hold the distinction of being the first-ever Hip Hop group, blazing the trail in the culture’s formative years and opening the door for countless acts to follow. Fresh, wild, fly, and bold, this is true old-school rap at its finest — a nod to the scene’s earliest days, recorded not long after their appearance in the now-cult-classic Wild Style movie. Newly remastered and pressed on a dinked 7” in an original Tuff City branded sleeve, this special-edition colourway brings a legendary moment in Hip Hop history back to life.

Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity.

It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, Felix’s whole life is in here. Ethnomusicology studies, untold hours of DJing everywhere from the gnarliest squat raves to the most rarefied deep house clubs, explorations of his own neurological and emotional makeup, and the technical finesse of someone who is never not creating music or art, all roll into an experience that’s dazzling, delightful and keeps on giving.

Just the opening track ‘Codex’ alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties.

The tone set, the EP moves through ultra-rarefied glass-like percussion in an almost ambient setting, hints of grime’s counterintuitive patterns, and even more hectic patterns influenced by Tanzania’s hyperspeed singeli style of dance music – but always with that perfect balance of chaos and control, unpredictability and protection. It rewards playing and replaying endlessly, it’s a profound and often joyous experience… and it’s only just the beginning. This is the return of a master craftsperson more focused than ever on his vision and vocation and ready to blow your mind all over again.

Mastered and cut on 140g black vinyl by legendary mastering engineer Matt Colton at Metropolis Studios, London. Pressed at optimal media, Germany.

Originally released on CD in Japan in 2003, as a love letter & thank you to his Japanese fans. Recorded at home, produced, engineered & mixed by Matthew Sweet (bass, guirars & vocals) with the classic ‘Girlfriend’ era lineup of Ric Menck (drums), Greg Leisz (guitars) and the genius electric lead guitar of Television’s Richard Lloyd. The sleeve art is by renowned artist Yoshimoto Nara. In the liner notes, Sweet describes the album's title as an attempt at reverse English: "If I did it correctly, the title should seem a little strange or wrong, but still meaningful! The true definition is supposed to be a 'love you' life, one devoted to loving someone or something, even life itself!"

“an excellent modern guitar pop album, filled with great hooks and harmonies and irresistible ringing six-strings”
Allmusic

“Kimi crackles with Girlfriend‘s energy, as Lloyd and Sweet’s guitars provide antagonistic foils as they did more than a decade before on cuts like “Tonight We Ride.”
Rolling Stone

Rose Connolly has a beautiful voice with a wide melodic range, which she bends, twists, strains and warps through both her physical exertions and a sample-based granular synthesiser. The results recall both the Gaelic tradition of séan-nos singing, and the work of experimental artists such as Meredith Monk, Yoko Ono and Hatis Noit, while the beats meld folk with gothic, 4AD-era soundscapes unmatched since the glory days of This Mortal Coil.” – The Guardian (10 Best Folk Albums of 2024) “RÓIS is a composer, vocalist, multi-instrumentalist, and electronic artist from Fermanagh, whose songs breathe new life into a forgotten Ireland. Self-released, written and produced by RÓIS with additional production from John Spud Murphy (OXN/Lankum), 'MO LÉAN' is a concept album, taking the listener through the grieving process from start to finish, from the chaos that loss brings, to the intense emotional outpourings and finally, a cathartic release.

‘MO LÉAN' features several new original recordings and reworks of songs and hymns based around the concept of death, life, mourning and catharsis. RÓIS re-imagines the tradition of 'keening' in Ireland that goes back to pre-christian times, a practice in which women would 'keen' a lamenting wail at the side of a coffin during a wake. After discovering the last two recordings of keening songs, RÓIS was inspired by their ethereal melodies to give them a modern reworking yet honouring the original women by sampling them in her adaption. 'Keeners', through their voices, movements and laments, conveyed the communal expression of grief and allowed those suffering a way to release their sorrow and loss. RÓIS aspires to do the same with 'MO LÉAN', by expressing the power of the voice to transcend death and help us relinquish our fear of it

The classic Fearless Iranians From Hell Die For Allah LP is now back in print after a twenty-five year hiatus. Remastered and repressed on nuclear green vinyl, this hardcore punk arsenal also includes all tracks from their literally explosive Blow Up The Embassy 7-inch debut. FIFH was a mysterious Texan monstrosity formed in 1983 by Iranian expat (and modern day hashashin) Amir Mamori, who gathered to his side various mutants and apocalyptic freaks from the San Antonio punk rock blast zone, even throwing in two Butthole Surfers rejects for good measure (including none other than the notorious Anus Presley himself). The subsequent recording sessions were a chaotic affair, as guitars were rarely in tune and the drums were seemingly scavenged from the trash. It was all directed by Amir who, with fanatical focus, would inspire the band on to victory from behind a stupifying cloud of hash smoke. The resulting releases were widely praised; from places like Maximum Rock n Roll and the Village Voice in the US, to Sounds and New Musical Express in the UK. They were even cited as forerunners of the musical genre known as Taqwacore. After touring the US in the late ’80s—and leaving in their wake crowd turbulence, police intimidation, and even bounties being place on the heads of the members—the band disbanded in 1989 upon the death of the Ayatollah Khomeini (may Allah have mercy on him). “We’re stoned as shit, and we’re ready to roll.” - F.I.F.H. ’87

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

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Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

The Nu’rons were a family group consisting of two sets of brothers and cousins, the four young men in question being brothers Daryl Howard and Raymond Gibson (Daryl’s mother registered him under his father’s surname of Howard and Raymond under her maiden name of Gibson) together with Otho Bateman and Charles Bateman. They were all born and raised in Salem, New Jersey and from the age of ten and eleven began singing with a fifth member and Gibson brother Rudolph as a group called The Gospel 5. They eventually decided to crossover to secular music and as a group known for their energetic dance routines they came up with the new performing name of ‘The Nu’rons’ (taken from the word ‘Neuron’ which is a cell that transmits nerve impulses). However Rudolph was soon to leave the group due to physical illness. Also Daryl Howard and Charles Bateman had also been part of a working group known as The Devotions prior to becoming The Nu-Ron’s.Following hours of practice The Nu’rons eventually felt confident enough to put their own shows together and began to perform at local dances and parties around New Jersey and Philadelphia, often being used as a non-paid warm up act for bigger named artists. They moved between several different managers including Jimmy Bishop (Duo Dynamic Productions) until they came under the tutelage of WDAS radio DJ Georgie Woods (his wife Gilda, being the owner of the Philadelphia Gil, Dion and Top & Bottom record Labels). It was Georgie who introduced them to Manny Campbell who in turn invited them to an audition at his and partner Charles Bowen’s Emandolynn Music studio in Chester P.A. The song The Nu’rons chose to audition with was the self penned “I’m A Loner”, the audition went well, as during late January/early February of 1970 Manny and Charles took The Nu’rons into the Sigma Sound Studio’s with Tom Bell and the TSOP musicians to record “I’m A Loner” and “All My Life” which was released on the Nu-Ron label in April of the same year. The two studio takes presente don this release came short after the band moved on from the collaboration with producer Emanuel Campbell to take music matters in their own hands. Beside recording "Disco Hustle" to be part of the disco boom in Philly of the times, they recorded also “You Came Thru”, a rough yet beautiful heavy bassline driven soul funk recording, and the just amazing “Hurry Up Tomorrow”, here presented in one of the original Studio takes.

"Every day, the skies of New York City fill up with unseen clouds of radio signals spreading over immigrant neighborhoods. These culturally charged clouds of radio energy burst with a flow of content that continually shifts and transforms, following the lifecycle and rhythm of the streets.