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What started as a duo in 2017, merging a core of
sludge, stoner and audio effects, soon became a
trio, adding a third member to accomplish their
enthralling fusion of monolithic sounds with a
visual concept.
 Both musical and philosophical, Italian band
Pachiderma add a special and unique touch to the
heavy music world, while combining various movie
samples and vibrant effects, inspired by the dark
myths and reality of humanity yet driven by the
soul of heavy stoner rock and sludge metal.
 Pachiderma’s ‘Il Diavolo, La Peste, La Morte’ is a
concept album, divided in four acts, and was
inspired by the philosophy previously issued in
Bergman’s filmography. The album was recorded
in a ‘one shot’ weekend session by Andrea Lenoci
at Molotov Recordings.
 For fans of Bongripper, Electric Wizard, Sleep,
Weedeater, Dopethrone, Bongzilla, Acid King.
 LP pressed on yellow vinyl.

"First released way back in 1992, Stefano Curti ,Mauro Tamino and Stefano De Carlo's first 12" as Minimal Vision (they'd previously released numerous as The True Underground Sound of Rome) remains one of the classiest and most ear-pleasing Italian deep house records of all time. For proof, check 'Magic Staircase', where picturesque synthesizer melodies rise and fall atop skittish beats, 'Pacific' style chords and a chunky Korg M1 bassline, and the bleep-sporting Chicago deep house tribute 'Prelude'. Those searching for something a little more energetic should take a listen to the warm and beautiful 'Milky Way' and 'Night of Love', whose programmed percussion, fizzing synth solos and jaunty bassline doff a cap to Detroit tech-jazz."

Thanks

Following contributions to Manchester based label Chequered Wax and an emotionally elevated weapon on Groove Estate Records in June last year, Twenty Angels EP sees Eyerate continue to explore the outer limits of techno, trance and future-facing club; in an EP both clinical and entrancing.

The Norwich based producer wastes no time with a thunderous opening on ‘Undone’ - a kick-drum enthralled in reverb and so heavy, it’s destined to blow the roof off any club system. Rave painted tabs and underlining atmospherics give the track an even greater sense of largeness; best heard in dark corners with high-ceilings. A masterclass in contrast ‘IDK You’ bulldozes through with its threatening, industrial tone; its peripheral vision absorbed in light, as lasers shoot straight ahead.

‘Twenty Angels’ aptly follows-suit with its knee-jerking grooves and pace setting enthusiasm. The track's beauty comes from how it muses between hypnotic states of consciousness and raw, untethered energy. The record's arc comes to an end in ‘Youth Eternal’ touching on everything from trippy 303s to emotionally charged trance and techno; in a club-facing track made for journeying.

This is Lost Soul Enterprises big 15th release on wax, a tidy compilation of off-kilter dance floor cuts and misfit synthpunk anthems.

Side A commences with the gothic, neon-soaked Miami bass of ALONZO's "Cruising with Pap," featuring sinister verses delivered by a shadowy syrupsipping secret guest vocalist. Up next is bucking bronco NICK KLEIN's slow-mo industrial headbanger "Posture Test. The sonic equivalent of a sweat-soaked concrete floor, it lurches along at its own mechanical pace amid the metallic hiss and howl. Lastly, wild synth lines and ethereal dubbed-out samples dart in and out over a tough, punchy rhythmic foundation in NAEEM's "TLX," an android's sci-fi electro vision gone haywire.

On the B side, HEIDI SABERTOOTH's "Was It You" launches us deep into chugging acidic territory, combining enigmatic spoken vocals and a psychedelic, slowly evolving SH-101 line over a persuasive groove. Like a slap in the face after that comes raucous synth-punk powerhouse SSPS with "Paradise Lozt," raw as fuck, chanting a litany of dystopian tales atop pumping drums and a wash of demented organ-like synth stabs. Finally we close with the short but powerful "New Vape City" by the nomadic DOUCE ANGOISSE - an absolute earworm, a doleful coldwave ballad whose lush production plays perfect counterpoint to the icy, deadpan sentiments within.

International musicgroup SexJudas feat.Ricky returns to Optimo Music this Winter with a new album: Night Songs. The eight track LP draws inspiration from the night and features Malian percussionist Sidiki Camara,jazz clarinetist Andreas Røysum and noise rocker Linn Nystadnes. Making their own blend of disco, post punk and African music.

“It’s the return of Sex Judas feat.Ricky, this time as a six piece in fully fledged band mode. We’re here to take you on a journey through suburban psychedelia, forming our own brew of postpunk, disco and electronic, as well as traditional music from Mali. Night Songs is a meditation on the night time. The excess, the dreams, the highs and lows of night time activity.”-Sex Judas feat. Ricky.

“Black Cat In A Black Room” begins proceedings, taking the form of a psychedelic six-minute offering packed full of tribal drums and desert-like percussion. “A Man Without Purpose” comes next with its African-inspired vocal, before “Hab Mich Lieb” soon arrives. The six-minute cut is hypnotic, trippy and relaxing all in one, as is “Slow Down” feat. Linn Nystadnes. Taking on more of a funk-rock feel, there’s plenty of groove in the guitar-laced bassline, whilst in “Cold Clementine”, Sex Judas tells the sad tale of rave casualty over a dark and funky groove.

We’re taken down a spiritual path on The Light You Saw Was Not For Real, as Andreas Røysum’s clarinet solos sit underneath shamanic vocal offerings that open neatly into The Night Within The Night. Aslow-burning cut, riffs and hats serenade us before When You Wake Up Everything Will Be Fine brings proceedings to a close. Dream-like chords wrap us in a warm and glowing hue, with the harp-like sounds from Sidiki’s Ngoni, leaving us in a starry-eyed state to finish.

The calming nature of the album is a nod to the band’s influences: they were inspired by the great meditative records of the past, setting off on a musical trip that saw them record the whole release at legendary Norwegian studio Athletic Sound. This happened during lockdown and whilst the LP was never meant to be comment on the pandemic, there remains a brooding intensity to each track because of it. Sex Judas feat. Ricky originally began life as the solo project of Tore Gjedrem (from electronic duo Ost & Kjex), but has since grown into a steady six piece involving the talents of Sidiki Camara (djembe/ngoni/balafon), Ivar Winther (guitar/keys), Tracee Meyn (vocals), Tore Brevik (drums/percussion) and Kristian Edvardsen (bass). Centre stage is also illustrator and comic artist Sindre Goksøyr, this time portraying each character as they paddle their way into the sunset and uncharted territories.

Malian-born, Norwegian-based percussionist Sidiki Camara has played a pivotal role in promoting “Night Songs” to world music circles. Having lived in Norway since 2006, he has helped bring WestAfrican rhythms into the country’s wider jazz scene.

Fiat Lux is the debut album by Tarta Relena, a Barcelona-based project featuring Marta Torrella and Helena Ros. The group approaches the oral traditions of the Mediterranean from a contemporary perspective using a unique combination of ancient vocal melodies and subtle electronic textures.

Tarta Relena’s inspiration for Fiat Lux comes from historical characters, such as the Virgin Mary and Hildegard of Bingen, and timeless verses that deal with the cyclic nature of the human experience: “E suïcidi i el cant” (1) is an adaptation of a traditional poem by Pashtun women in Afghanistan; “Esta montanya d’enfrente” (3) is a traditional Sephardic song; “Safo” (9) is based on the love poems by Sappho of Lesbos.
Singing in Catalan, Spanish, Greek, Latin, English, and even Sephardi, the language of Hispanic jews, Tarta Relena explore a complex array of Latin cultures through the simplicity of voice. They draw from vocal techniques that range from flamenco to jazz, introducing elements of electronic music to redefine the melodies.
In January 2019, Tarta Relena released their first EP, Ora Pro Nobis: eight a cappella songs with minimal electronics. In April 2020, they released their second EP, Intercede Pro Nobis: a five-song dialogue between voice and electronics.
Fiat Lux expands on past experimentations, moving away from organic harmonies to embrace digital textures and distortions. The musical production of Juan Luis Batalla and Òscar Garrobé is remnant of Holly Herndon or Eartheater.
Tarta Relena have perhaps been best described by Pitchfork in their review of Pack Pro Nobis: “Tarta Relena is a celebration of musical exchange. At a time of rising nationalisms across Europe, Tarta Relena’s songs are a testament both to the porousness of borders and the ideas that unite disparate cultures, running beneath the centuries like a pedal tone”.

Red Marbled Vinyl

Denise Rabe is back on her own imprint with its specific and unique gloomy witchy techno sound. Entering spheres of the unknown with a marvelous vocal chant on the A-side together with a fantastic built electro remix by Vil.

The B-side drives you one step further with an energetic and loopy track Icaro and a conspicuous deep hypnotic remix from Mary Yuzovskaya.

As always it is important to mention the exclusive hand screen printed sleeves and inserts by Rabe - this time in sumptuous gold ink on thick black card stock. Paired with the vinyl disc pressed in deep "Dracula red" makes this release a dark, elegant and exquisite package to add to your collection.

Since 2014, Public Release has been enlisting the raw, trademark groove of Richard Sen on a variety of now- renowned remixes. Label boss Eug has cited him in numerous interviews as being one of his all-time favourite producers, so it was inevitable that a solo EP would eventually materialize. That time has finally come, and in the Spring of 2022, the UK legend drops his solo EP “My Definition of Funk” on Public Release.

These three raw, gritty, hard-hitting, peak-time tracks are quintessential Richard Sen, combining the energy and influences of post-punk, breaks, and house in one sturdy sonic package.

Henning Baer caught our attention after his first release on Adam X's Sonic Groove label. Nearly a decade after, Berlin's techno front-runner tweaked his machines into a moody electro escapade for his debut on Pinkman. Industrial tinged heavy kicks layered with futuristic mellow soundscapes. With Sui Generis Henning Baer once again shows his versatility & years of experience.

First one for 030303 by Daniel Pringle aka The Jaffa Kid. Over the course of six tracks, the Newcastle based producer smoothly blends Detroit and UK informed techno with breakbeat vibes. Highlights include Noon - a deep melancholic techno cut with a subtle optimistic melody line keeping it all together, Zap Ting II - a rich ambient take on deconstructed jungle and acid and Izire Baes, where fast paced breaks are oddly slowed down by deep sonic drones. It's definitely a journey into another world, this one and a big recommendation for anyone keen to escape reality.

Die deutsche Dark Metal-Instanz AGATHODAIMON feiert nach vielen Jahren der Stille ihr Comeback
mit dem lang ersehnten, siebten Studioalbum The Seven, das am 18. März 2022 über Napalm Records
erscheint. Nach der Wiedervereinigung 2020 arbeiteten die Musiker im Stillen an ihrem Comeback. Nun ist
es endlich an der Zeit, die Dinge dort fortzusetzen, wo sie aufgehört hatten und den Schleier der Dunkelheit
erneut über die Welt zu werfen. AGATHODAIMON öffnen die Tore zu extremen Klangwelten, die zwischen schneidendem Dark Metal und heroischem Symphonic Black Metal wechseln, ganz im Stil von Bands
wie Cradle of Filth oder Carach Angren, jedoch mit eigenem Stil, großem Facettenreichtum und breitem
Klangspektrum.
AGATHODAIMONs siebter Streich folgt der Linie und dem Old-School-Geist des Vorgängers In Darkness (2013), lässt sich aber aufgrund seiner hohen Diversität nicht in eine Schublade stecken, sondern
beschwört eine düstere Atmosphäre herauf, die von scharfen Growls, epischem Klargesang sowie einer
packenden Soundwall ihres außergewöhnlichen Klanguniversums getragen wird. Thematisch dreht sich auf
dem neuen Album alles um die bedeutsame und symbolträchtige Zahl Sieben. Das Konzept befasst sich
auf insgesamt zehn Tracks mit den sieben Todsünden - Hochmut, Habgier, Wollust, Zorn, Völlerei, Neid
und Trägheit - die allesamt religiöse Themen behandeln und die im Kontrast zum Menschen und seiner
ursprünglichen Natur stehen.

On the tribute album Songs for Tres, Psychic Ills band members come together to commemorate the late Tres Warren who passed away just as the world turned upside down in March of 2020. Isolated, feeling helpless and lost by the death of her musical soul mate and collaborator of 18 years, bassist Elizabeth Hart found making music to be her only outlet in a time where people were unable to be physically together to mourn. So, she reached out to Adam Amram, Jon Catfish DeLorme and Brent Cordero, the main players in the Ills line up since the release of their last full length album Inner Journey Out (2016), to ask if they would embark on this cathartic journey with her. This was a different kind of production endeavor for Hart driven solely by “the aching need and urgency” to do something to honor her friend.

Hart, Amram, DeLorme and Cordero reunited for the first time five months after losing Warren at Amram’s loft – the same spot where they’d rehearsed countless times before – although this time with a different objective. In an effort to share, support and create, the old friends joined in the painful and healing experience of making this tribute album to cope with their loss. The band members wrote, arranged, and rehearsed for months and the result of their work culminated in a weekend of recording in the southern Catskill mountains at the end of 2020. This isolated and intimate environment was a perfectly serene and fitting location to finalize their story.

Throughout the album, Hart, Amram and DeLorme take turns as the vocal lead on each of the songs while Cordero showcases his finger-picking guitar skills in addition to his piano and organ playing, which he is known for. Along with the core band members, a number of other musicians played on the album, many of whom had collaborated on prior Psychic Ills releases and wanted to be a part of this last collaboration in memory of Warren. Keeping the project in the Ills family, Hart produced the album alongside Iván Diaz Mathé, the long-time Psychic Ills sound engineer.

The album consists of five original tracks and four cover songs. Initially, learning the covers was just a method for the musicians to “break the ice” and play together again for the first time without their band leader. However, those tracks became just as important to include as the originals because of their essential role in the process of coming together to make the album. The cover songs were chosen because of their unique connections to the band’s memories of Warren. Dennis Wilson’s "Rainbows" and Fleetwood Mac’s "Station Man" come from two of Warren’s favorite albums, Pacific Ocean Blue and Kiln House. The band also recorded Blaze Foley’s "Clay Pigeons" and Powell St. John’s "Right Track Now." The idea for the latter was suggested by Amram. Warren once sent him a clip of Roky Erikson singing a moving rendition of that song in the film Demon Angel and it had stuck with him ever since.

Hart wrote "I’ll Walk With You" on the day of Warrens’ passing, at the time not knowing what it meant. When she got the call with the heartbreaking news, it became clear to her what the song was about. Relying on a gently lilting string arrangement to set the tone, this duet features Mazzy Star vocalist Hope Sandoval alongside Hart. Sandoval previously collaborated with Psychic Ills accompanying Warren on "I Don’t Mind" (2016). The ideas for "Home" and "Walk Around," two other songs on the album by Hart, started simply with an acoustic guitar and lyrics, a hopeful exercise to connect with her lost friend. Brent Cordero’s instrumental "Whole Lotta Piece of Mind" is nothing short of a transcendental experience. By running his pedal steel through a Leslie speaker, Jon Catfish DeLorme crafts the unique tone showcased on Wonderful Feeling, a moving example of studio experimentation combined with old school techniques. DeLorme describes it as “an attempt to highlight the musical experience I shared with Tres both sonically and thematically. What resulted is the unguarded exaltation I feel lucky to have shared with my fellow bandmates.” Adam Amram’s “Into the Sea” was composed spontaneously the week Warren passed. The melodic tune has a hopeful lightness and Amram describes it simply as “a song to my brother”. Their connection shines through.

In fact, the entire album is one that radiates the layers of friendship, love and music that will forever exist between this family of musicians. As the band themselves state: “This album was made out of love and a commitment to honor our dear friend and bandmate.” A portion of the proceeds from the album will be donated to RAICES, a charity who aids children who have been displaced at the Texas/Mexico border.

Jesus and Mary Chain, Shop Assistants, Black Tambourine, Sarah Records, My Bloody Valentine. Star Party began in March 2020 as a Seattle living room project between Carolyn Brennan and Ian Corrigan (Gen Pop, Vexx) - both sharing a love of high energy rock n roll music. The idea to start a band percolated during trips to the high deserts of eastern Washington to pick sage and see the sun as a brief reprieve from the misty and grey Pacific Northwestern Spring. A few months later, Star Party released Demo 2020 on Feel It Records, featuring two originals and covers of The Shop Assistants' "Something to Do" and the classic "All I Really Wanna Do" (in the vein of Cher's version). Over the course of 2021, Star Party wrote and recorded their debut LP, Meadow Flower, wherever and whenever they could. Employing like-minded Feel It label mate Caufield Schnug of Sweeping Promises (who also moonlights as one part of Melody Men Mastering) to mix and master the album, Meadow Flower follows a direct line from where Demo 2020 left off. Brennan's soft and clearly American vocals float over waves of feedback and drum machine racket like a delicate mist sitting just above a mountain lake. Melodies bob and weave inside an omnipresent static that fills in every nook and cranny of the recording. Drawing from a quiver of influences such as Black Tambourine, Confuse (JP), The Count Five, and of course The Shop Assistants (RIP Alex Taylor), Star Party's debut album seamlessly meshes together noise, melody, and harmony

We all know that people in Switzerland are different, but these guys take it over the top! The brainchild of mastermind Andy Dormann, an established musician of the Swiss Rock Scene (KISSIN’ BLACK, CHARING CROSS) proves that fun and filthy loud music is alive and kicking on the streets of Switzerland. Get ready for a wild ride Sunset Strip-Style with a Happy Ending. D’OR Rock ’n’ Rolls like a relentless big screen cargo train. Amphetamine-primed guitar artistes with a growl like a peppery G’n’T. A galvanizing groove machine. Filterless cigarettes and a chronic scratchy throat is served up with a double espresso and a thundering sidecar. Melodic? Of course! Pretentious? Absolutely! Clichéd? Hey, D’OR glitters AND is gold! Tongue in cheek? Could be! VENI VIDI IGNIS is fresh and packed with energy. Think Terminator going back in time in a DeLorean to fetch the sexy 80s attitude to life and throw it in your 2020 face. D’OR possesses your neck muscles with an alchemy of hard rock and heavy rusty metal. If you like SKID ROW, W.A.S.P or ALICE COOPER with a bit more dirt, you better be prepared. The Goldfingers are ready. Now fasten your seatbelts!

Repress

Dancefloor Damage all the way. The new Soul Notes VA 12'' has been building anticipation all around.

Since it includes 4 of the most in demand names from the rough house scenes at the moment, this one is not to be missed. Labelowner Kastil pulled out the big guns and got soul notes usual Fulbert on one record with himself and the ever so amazing Malin Genie who has been making waves through the whole of europe with his thumping sound. Fulbert, Kastil and Malin delivered 3 excellent productions that will perfectly fit into one peaktime set.

This is music for the dancefloor and nothing else. Bass bin wrecking club slicers for true house heads.

Last but not least, the excentric Jefferson Belmondo makes an appearance With a disco'ish anthem called Booty Groove. The title kind off reveals where he's coming from as Jefferson might be unknown for most, on the streets of Miami he is a bonafide legend. After spending most of his life in shady motels and as a DJ in extravagantnightclubs, Jefferson finally took out his old DAT tapes and got this track to Kastil through a mutual friend.

All and all, Many Shades of Soul Notes Vol.1 is a peaktime record that is above all meant for clubplay.

This fine package includes a 180GR 12'' and a designed sleeve. This 6th installment in the Soul Notes series will be available from
March 4th through all respected retailers.

New West Records is proud to present the reissue of two classic Antone's Records blues titles.

These two titles have been remastered for vinyl. Each LP is displayed in a beautiful, one of a kind package (leather texture, die- cut, embossed logo) and pressed onto 180- gram vinyl that is manufactured in the USA. These limited edition pressings are now available on color vinyl for the first time. Pressed on Limited Edition 180 gram Purple Color Vinyl.

New West Records is proud to present the reissue of two classic Antone's Records blues titles.

These two titles have been remastered for vinyl. Each LP is displayed in a beautiful, one of a kind package (leather texture, die- cut, embossed logo) and pressed onto 180- gram vinyl that is manufactured in the USA. These limited edition pressings are now available on color vinyl for the first time. Pressed on 180 gram Cherry Red Color Vinyl.

Love Tractor's forward-sounding 1988"s "Themes From Venus" will be
treated to a remastered edition on March 18, 2022, by Propeller Sound
Recordings.

Housed in fully redesigned gatefold artwork, the band's fourth release is given a chance to spread the Art Rock pioneers' music out of this world. Considered a founder of the Athens, Georgia alternative music scene'along with The B-52"s, Pylon, and REM. After its original release, Love Tractor embarked on a healthy touring regime to promote the record, including a 60-date stint with The B-52s on
their Cosmic Thing tour. Though the band went on hiatus in the early 1990s, they would return again in 2001 and are currently working on new music.Packaging: CD Remastered & Expanded with 6 Bonus Tracks and Full-Color insert.

A core part of the Control Freak Recordings family, London based artist Keplrr has built a reputation as a deft & talented producer with unparalleled attention to detail. In the wake of the widespread support for his 2020 EP ‘Reconstructed Club’, we asked four producers we have long-admired to flip a track from the original release. The result is ‘Club Reconstructed’ - a collection of remixes which distill the spirit of Keplrr’s original record into new forms.

First up, Holding Hands boss Desert Sound Colony serves up one of his signature slammers, locking Convection into a thumping four to the floor groover. Berlin-based Konduku, who has carved some of the most kinetic, angular club tracks of recent years with releases on Nous’klaer Audio, Spazio Donsible and others, provides a second interpretation of Convection, time-stretching the original material into a slow-motion panic attack.

On the flip, Syz makes his return to the label after 2019’s highly acclaimed Bunzunkunzun EP, applying his organic touch to Esoteric Functions with a ‘refunction’, which blurs the line between techno and 140 - packing some serious low-end and a cheeky mid-way switch-up to send the dance wild. Rounding things off, Milan’s Piezo proves his reputation as one of the most inventive producers on the scene, repurposing Bod’s Realm into an aggy, warped & technoid ‘Doom Ragga Mix’.

Pressed by Deepgrooves - Europe’s leading ecologically-friendly plant for sustainable vinyl production, made using 100% green biomass energy

Italian artists Francesco Parente and Josh Kalker team up with vocalist David Blank as they get set to release Lost In Paradise on Hot Creations. Upcoming UK producer Wheats is also onboard to deliver a solid remix.

An infectious bassline entices you from the start on Lost In Paradise, as the uplifting chords and sensual tones of David Blank’s vocal make an invigorating and euphoric ride for the dancefloor. On the remix, intricate drum patterns set the pace. Minimal undertones bubble throughout, as the track unfolds with hypnotic vocal cuts, leading to a buildup that will be sure to make the crowd erupt.

Francesco Parente started producing at the age of sixteen and soon received support from the most respected artists in the underground scene like Nicole Moudaber and Marco Carola. In 2017 Francesco started playing in the famous clubs in his region followed by international bookings and support from his mentor Loco Dice, leading to releases on labels like Rawtentic, CUFF and HOTTRAX. Josh Kalker is influenced by the house and techno of the 90s. Since working full time in the studio and DJing in Europe, Josh has had the opportunity to release on labels such as La Pera Records, Nervous, Lost, Roush, Safe, Cryminal Hype, and many more. His music is supported by heavy-weights including Marco Carola, Loco Dice, Wade and Michael Bibi.

Wheats has become one of the most exciting new artists, sitting at the forefront of the UK’s surging wave of rising DJs and producers making an impact on the global scene. Releasing cuts on Hottrax, Kaluki, Circus and Solid Grooves, Wheats enjoys the backing of some of the biggest names in the underground scene.

Nate Scheible's "work of gentle genius" – Fairfax – is arriving on vinyl & all digital services in February 2022. Remastered by Lawrence English and featuring brand new artwork, this edition uncovers a completely new side of the "dreamy and dramatic, meditative and somber" album by the American artist. ~~~

"Few albums have stuck with me like Nate Scheible's Fairfax. In fact, I feel lucky to have had my copy of the original tape to drop into over several years, some heartbreaks, a few streaks of loneliness; when I've not felt terribly well, or couldn't face reflecting for fear of noticing personal decay.

With fresh treatment from mastering maestro, Lawrence English, this new version has brought out fresh new colours in Scheible's elegant composition. The moments of icy isolation are sharper, while the embrace of the album's finale is warmer and heartier than ever. Scheible's found polaroids on the front of the package also fit so aptly that they barely even feel new. The album's allure and message of craving is more powerful than ever.

To anybody who hears this album, she's a great heroine of literature, the voice of Fairfax. Her frank admissions of longing and weakness are infectious cries of hope. She's a powerful woman, unashamed, the innermost voice of reason, grasping the world together selflessly. I wanted to tell her about the times when things weren't so good. I want to tell her now too, just how well things can turn out.

Scheible's beds of oozing and luscious melodies, decaying on reels or tape, flinging out from plucked bass strings, or rising from a struck vibraphone, are a truly loving soundtrack to this mysterious voice found on a tape that came into the artist's possession. The audio letters reveal the woman's story of painful hope and self-gifted redemption, while the click of the saxophone and moan of Scheible's wobbly piano snippets, they sing her – no ~our~ – mood right back to us. Fairfax reminds us that, like the protagonist, we're all gonna do something, ~someday~."
– Tristan Bath

New pressing on Orange Vinyl

Morcheeba have released 8 albums that have sold in excess of 10 million records in their career. 'Blaze Away', their positivity- packed ninth album, marks both a fresh start in its organic approach and a return to the joyous genre-mashing of their early days, with featured guests Roots Manuva and Benjamin Biolay. There was no template for its ten, extraordinary, future-facing songs, no self-imposed limits on style, no themes to be adhered to or rules in place to break.

UK trip-hop pioneers who have sold in excess of 10 million albums worldwide. First new album in over fve years with fantastic features and collaborations including Roots Manuva, Benjamin Biolay & Kurt Wagner.Global touring in 2022.

Max Dean and Prunk come together in superb fashion for a new EP on South. It features three new cuts from Max, with a Prunk remix making it another explosive package.

Up first is Loving Saturday, a driving house track with a nagging, soulful vocal that really tugs at the heart strings. The bass is warm and the drums kick hard, but this one really has some standout emotion to it. This Party is a more loose, fluid, ducking and diving groove, with rich percussion making it a perfect late night groove. More deft vocals add some human emotion as this one drives on.

This Party (Prunk Remix) is then a nice spaced out deep house cut that has real bite. The kicks and hi hats fuse together perfectly, while balmy pads encircle the groove to bring the vibes. Last of all, Sunshine Upon the 33 is another big hearted out track with an irresistible groove. The dynamic drums never let up, while the spaced out pads work and great vocal samples all elevate the track.

This is a fantastic four track package from this new one to watch label.

Inner Vision also features four cuts, these courtesy of DJ Compufunk, aka Nao from Osaka. He's the founder of Compufunk Records (the longest-running record shop for House and Techno in Japan) and, as the four solidly crafted tracks show, an experienced producer in his own right. The vertigo-inducing title track struts aggressively with a high-velocity swing peppered by tinkling synth accents and acidy squelches, after which “Abyss” cools the pace for a sexier House style (a swishing drum machine detail even gives the cut a rather Kraftwerk-like tinge). On the flip, “Midnight Sky” grooves as boldly, this time with a smattering of Garage worked into its swing and chiming synths brightening the mix, while “Mind Power” changes things up with a swirling bottom end that's so dizzying it's positively gyroscopic. Dj Compufunk sn't averse to packing his productions with layers of dizzying detail, and as a result the stimulation level remains high throughout. Strictly limited 250 copies.

Drunk Uncle hail from Austin, TX, but their namesakes are probably drawn from someone you know. Think about your last family gettogether- Uncle Bill is halfway through a six-pack when the alien conspiracy theories start pouring out of his mouth. He starts chaotic and loud, then gets quiet and sad as he keeps drinking. His mood will swing wildly in-between emotions. His speech is raw and his vulnerability is beautiful. Bottle that energy up into music form and you have Drunk Uncle. Drunk Uncle's debut album "Look Up" draws on catharsis. Picture yourself in a grimy basement surrounded by your best friends, watching a band as music washes over you and you feel like everything is in the right place. You smile as frantic guitars fill the room and gruff vocals push out every emotion you could possibly feel. Drums and bass slow down and speed back up as the music moves from anger to regret to hope. You feel it all- every note, every hit, every strain. It feels good to feel. You open your eyes and you are in your room alone. You flip the record back over and you are back in the basement. All is right.

Rapper and producer duo ​Verbz & ​Mr Slipz announce their latest album ‘Radio Waves’ ​due out ​13th November 2020​. Released on the acclaimed Hip-Hop label ​High Focus Records​, the 22-track project sits perfectly between present-day greatness and unrivalled nostalgia welcoming us into their unique rap landscape. The cover, designed by ​Matt Littler​, captures the essence of the album perfectly.

Born and raised in Croydon, rapper ​Verbz has proven himself time after time with his innovative rhyming style and distinct flow. The creative partnership wouldn’t be complete without Brighton based producer Mr Slipz who marries ​Verbz’ form with his laid back jazzy sound as well as unmistakable attention to detail. The pair started making music together in 2017 when they released their debut collaboration ‘Lessons Of Adolescence’. This was followed by extensive tours and studio sessions where their musical alliance was cemented and their bond has been untouchable ever since.

Kicking off the album with humour and personality, '​2202 FM​’ is a full-bodied track which sees ​Verbz spit tales of admiration for his city whilst at the same time striving to escape. With London on the brain,

‘Summer In The Bits’ ​is an introspective analysis of a summer's day in the capital full of tense trials and tribulations. Moving throughout the album, ​‘Kno The Status’ welcomes three potent guest verses from Alex Holy​, ​Datkid & ​Upfront ​paired with an unrivaled ​arrangement and instrumentation magnifying Mr Slipz’ craft. Once again his incomparable production delivers on ​‘Weekend Blues’ ​which see’s ​Verbz regretfully address craving more from his weekend to then be greeted by numbness on a Monday morning. ​High Focus linchpin Fliptrix delivers some captivating combinations on ​‘My Wonders’ ​honing n on the current state of the world from his point of view. Up next is one of the lead singles

‘The Feeling’, which is a refreshing and rare representation of the classic Boom Bap sound. Before signing out, ​Verbz’ ​impressive storytelling shines through on ​‘In My Mind’ offering insight into his artistry as he allows access to his inner thoughts via vivid storytelling lyrics. Sandwiched amongst the project are evocative radio skits placed to perfection, offering angles of comedy including a mini-interview acting as the final pieces to the puzzle.

This record is the culmination of two years of hard work packed with skill and finesse, as we have all come to expect. With their unrivalled chemistry, the dynamic duo have proven themselves to be some the most exciting artists on the scene, and '​Radio Waves' is going to cement their position at the top of the ranks.

After their debut full-length album, Puritan Masochism, took the entire doom and heavy metal scene by storm upon its release in 2020, critically acclaimed Danish blackened death doom outfit KONVENT returns with a sophomore offering that doubles down on the band’s songwriting talent and brutal, heavy sound! The sonic evolution of KONVENT over the course of just two years is immediately evident on Call Down The Sun, surprising with new elements at every turn. Undoubtedly inspired by recent dark times, the ongoing pandemic and cancellation of live performances, the new album sees the Copenhagen-based band more pissed off, fast-paced and pitch black throughout. Rikke Emilie List’s guttural, sublime growls and fierce screams perfectly integrate with a heavy as hell wall of blackened death and funeral doom metal riffs from guitarist Sara Helena Nørregaard, backed by a thick, profound rhythm section provided by bassist Heidi Withington Brink and drummer Julie Simonsen. Tracks such as “Grains” – a ground-shaking, stomping black doom metal epos that will be a must-hear on KONVENT’s upcoming live setlists – showcase the band’s deep black soul with a hint of post-metal and even progressive elements. Featuring a haunting violin and cello guest performance by Felix Havstad, the band creates dark, eerie yet epic atmosphere on “Harena”, revealing threatening yet beautiful facets of their sound. With songs such as “Pipe Dreams” and massive album opener “Into the Distance”, the four-piece unleashes hurricanes of blackened death doom metal. Recorded and mixed by Lasse Ballade at Ballade Studios, Sweden and mastered by Brad Boatright at Audiosiege Studio, the new album’s thunderous apocalyptic sound is impossible to escape. Call Down The Sun a refreshing, vibrant record that is not only poised to top 2022 Album Of The Year lists, but reign as one of the best death and blackened doom metal records of modern times!

Green vinyl format of the hits packge that was released in 2021. Continued marketing.

After a string of diverse EPs on Swiss labels Light of Other Days & Subject To Restrictions Ethimm returns in winter 21/22 with his debut album. The record delivers snapshots of a hopeless romantic’s life packed into an eccentric mix of genres, all in the spirit of balearic. Fever dreams of Disco, New Wave, Dub and Leftfield Pop echo throughout the 32 minutes. Tales from the jet set, delusions of grandeur and the hangover that comes after, long gone love affairs and one’s raison d’être are among the many subjects Ethimm touches. Distinctly nodding towards the 80ies without falling into cliché references, the album feels familiar yet uniquely contemporary.

The cover art features a bust of producer Elisabeth Thimm’s head, as interpreted by artist Paa Joe. The 12 inch comes complete with a 180g, heavyweight white vinyl with a beautifully printed inner sleeve revealing the albums lyrics.

Twirling progressive mental techno, with aTribe pinch... the whole thing packed for Deejays... With a solid politik criticism. Anarchy in the Cz !

Always hot on the steel-hard plates and murky subterranean atmospheres, Public System turns in a haunted double package from the crypt. Spanning hi-octane indus bullets, half-baked mutant salvos and shadow-clad juicers from a host of reputed names and rabid underdogs, this new comp collates ruff’n’tuff joints from gritty techno don Container, genre-unbound explorer E-Saggila, Berlin’s electro arsonist Privacy, acid-spitting hydra DJ Loser x Penelopes Fiance, basement guerillero Yabboq Penuel alias Le Syndicat Electronique, neo-punk beat thrasher Crave, Yves Tumor collaborator and sine-wave crusher Anthem, expert circuit dissector Beau Wanzer, Liquid G as remixed by Mick Wills, Night Gaunt’s Lower Tar, occult machine funk preacher Maenad Veyl, DJ Chupacabras under new guise 110, soundwaves cross-pollinator DJ Richard, vibrant mood-scapist Gavil�n Rayna Russom, as well as label boss Myn going ubiquitous with studio fellows Kluentah as Myntha, and R Gamble as Fade Accompli. A much desirable feast of raw, unhinged, all-round spine-tingling jams for the club and not.

The long awaited third volume of our "Algo salvaje" series, featuring untamed 1960s beat and garage nuggets from Spain. "Algo salvaje" is an anthology devoted to a rich period when hundreds of bands appeared all over Spain and, after paying attention to what their US and British contemporaries were doing, found their own way to vent their teenage rebellion through loud guitars. With amazing results! Many of the 28 tracks are reissued for the first time, including very hard-to-find records. This double LP gatefold package includes extensive notes by Vicente Fabuel featuring all the original record sleeves and artist photos. "Algo salvaje" ("Something Wild"), now reaching its third volume, celebrates the darkest, neglected and rebellious side of Spanish beat. Internationally labelled as nuggets (after the original compilation of the same name concocted by Jac Holzman and Lenny Kaye in 1972 for the Elektra label), the more common garage rock label has been used to place and describe one of the most fertile chapters of rock & roll history during its most creative years. An underground story which has luckily become known, with participants from all around the globe which included anonymous musicians, independent record labels with impossible names and ridiculously limited pressings, often not more than a few hundred copies. The tracks chosen for the occasion, a selection filtered strictly by their musical value, adhere to the rules of the classic nugget genre while demonstrating the permeability of garage sound and its inevitable evolution at the turn of the decade (1967-1974) through mixes that embraced psychedelia, soul and even prog rock. Epic and pretty wild. Just the kind of material that this record label usually handles. Many of the 28 tracks are reissued for the first time, including extremely hard-to-find records. This double-LP package includes extensive notes by genre-expert Vicente Fabuel featuring all the original record sleeves and artist photos. So let the band play...

Our Allien leader returns to the UFO bringing with her fresh auditory space signals. Ellen Allien's latest EP on her UFO Inc imprint marks the sixth release from the label and features four original cuts from the pioneering Berliner. As you may expect from Ellen, the release is packed with raw emotion, rave motifs and unrelenting energy in her own inimitable style. 'Rosen' kicks things off merging melodrama and emotive atmospherics followed by 'N2020', a pounding techno stomper. The EP closes with two versions of 'KCKC'. Firstly, it's the 'Epic Mix', then the original version. KCKC became Ellen's personal anthem of her balcony sets during covid lockdown.

Rotterdam producer Mata Disk debuts on Nous'klaer with Surrounder. A 4-track EP with Mata Disk finding his influences early on as his parents exposed him to 90s electro. For the listener, Surrounder is a rhythmic bath that bounces forward at an antelope's pace. Accompanied by modular melodies which ebb and flow like water over a proverbial shallow riverbed of wires and cables. Surrounder lives up to its name and origins with all the excitability and all-encompassing experience of being young and shown a whole new world.

With the VOI 029 we are presenting the UK-based Mercy System, also known as Adam Crawford. Growing up in a small town on the outskirts of Manchester, he brings a dark, swung, early dubstep influence to his beats. With "Recognise" Crawford now lands his debut EP on Voitax, a personal project that represents his patiently accumulated skill set in sound design, as part of an excellently produced dystopian UK Bass four-tracker. This powerful package combines high-definition sample work with outstanding arrangements. With the right eye for voice shaping, crowned with beautifully placed drone delays, dense bass, and broken drum patterns, this EP also explores the realms of Dubstep nuanced with UK Garage, Grime, and Dancehall, while keeping its unique character. We are thrilled to hear more to come from this newbie among the UK ass producers.

In the small inland town of São Domingos on Cape Verde's Santiago Island, The Ano Nobo Quartet delivers a fresh take on Koladera, a guitar-driven, subtly rhythmic sound of a lighter spirit. Their sound tells a global story with Cape Verde at its center, a creole melting pot in the middle of the Atlantic attracting the best from four continents: hypnotic, haunting Koladera guitars inflected with twangs of Salsa Cubano, Spanish Flamenco, Brazilian Samba Canção, Jamaican Reggae, Argentine Tango, Mozambican Marrabenta, and finished with a dash of Black American Blues. It's all here. Absent percussion, the quartet's sound still drips with rhythm. Rich, raw acoustic music you can dance to.

This album was recorded in three locations on Santiago Island: at homes, by the sea, and on the volcanic hills of Cape Verde. Each location used a mobile recording studio equipped with different mics placed near and far to capture both the Spanish and Chinese-made guitars and the natural environment that shapes the saudade, a melancholic longing, of Koladera. Each space has its own atmosphere heard in the interludes.

A double LP pressed at 45 RPM for an even silkier listening experience and packaged in a luxurious matte-laminated gatefold with a high quality 12-page booklet along with a hardcover bookcase CD with a 24-page booklet.

Lorca joins the Shall Not Fade family with a debut LP consisting of 8 melodic tracks with richly-layered soundscapes made up of samples and field recordings taken from his hometown, Brighton.

His first full-length album as Lorca, the Saudade LP sees Sam Cassman return to a melancholic and experimental sound for which he originally made a name for himself since his first release in 2012. The album's title, written in Portuguese - the language native to his current residence, Madeira - translates to English as "a feeling of longing, melancholy, or nostalgia". With stripped-back percussion and plaintive
atmospherics, it's clear to see why. We are soothed into things with the soft melody of "Lullabies" before being transported to Brighton Beach via field recordings of seagulls and the whisper of pebbles on the second track. The driving pulse of deep house track "Are You Gonna Love Me" picks up the pace whilst maintaining a sense of minimalism before the shimmering lull of "Two Pianos" brings things right back with
formless sonic collages and drifting atmospherics.

Flip the record over and the rolling beats are back. "Colraine" and "uTube" see the return of clever use of sampling, the latter including mobile phone recordings of live piano playing by friends, sampled from social media. "Colraine" offers up pulsating jazz rhythms, oozing with groove, before the aptly-named "Polly" ushers in a change of course with a razor-sharp polyrhythmic melody and acid undertones which are more suited to the club. On "Rock Paper", it's sound design that takes centre stage. To close the LP, Lorca manipulates field recordings taken from inside his studio to incorporate abstract, sample-based percussion, making for a truly unique take on techno and synthesis.

Sonny Red’s Out of the Blue is a gem of the Blue Note catalog deserving of much wider recognition. The alto saxophonist’s lone album for the label was recorded in two sessions with Wynton Kelly on piano, bassists Sam Jones and Paul Chambers, and drummers Roy Brooks and Jimmy Cobb. Blue Note Records’ Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tapes, 180g audiophile vinyl reissues in deluxe packaging. Mastering is by Kevin Gray (Cohearent Audio) and vinyl is manufactured at Record Technology Incorporated (RTI).

Guitarist Grant Green explored Latin & Brazilian influences on his highly enjoyable 1962 album The Latin Bit featuring Johnny Acea on piano, Wendell Marshall on bass, Willie Bobo on drums, Carlos "Patato" Valdes on conga, and Garvin Masseaux on chekere. Blue Note Records’ Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tapes, 180g audiophile vinyl reissues in deluxe packaging. Mastering is by Kevin Gray (Cohearent Audio) and vinyl is manufactured at Record Technology Incorporated (RTI).

As a confluence of ideas and methods, WILD ROCKET endeavour to interpret the subtle signals of the universe - the interplanetary vibrations - and present them as brash manifestations of sound. Scientists and Shaman alike have endeavoured to interpret the universal whispers, to elucidate meaning from the measurable and the sensible. It is known that to measure and interpret is to alter and colour those signals and this is what drives the development of WILD ROCKET's sound and interpretation.
FORMLESS ABYSS showcases the band's unflinching pummelling style, drifting from repetitive blows to unhinged swirls of din yet always remaining innately infectious and perhaps surprisingly danceable. The record is presented as a continuous piece in three parts.
The title track A FORMLESS ABYSS appears here for the first time in recorded form – a behemoth of a tune which builds around a drone, joined by dual drums and minimal bass locked into a repetitive groove. A groove that is slowly expanded via multiple guitars and synthesis. Vocals eventually join at just the right moment imploring the listener to “leave your criticisms down” and realise “we're all equal now” in the formless abyss or the place between worlds where our earthly preoccupation with human differences are meaningless. We're all in it together, whether we realise it or not.
The second track INTERPLANETARY VIBRATIONS may seem familiar to some in a simpler form. The expanded line up and extended development of the core theme brings a new interpretation and experience that is more than worthwhile. The track's vocals juxtapose the hybrid Germanic language of English with the ancient native Irish language of Gaeilge. Both used to promote meaning and interpretation of the interplanetary vibrations felt by all. The track features large dynamic shifts and changes of pace as the message that “it's time to leave” propagated by the Earth itself becomes more frantic and more desperate. The track culminates in a wash of smashed gongs and distorted guitars, leaving the listener to interpret the message for themselves. Should we leave, to protect ourselves or the Earth itself?
The final track FUTURE ECHOES is a doom/kraut juggernaut coming in at just under twenty minutes. Only one question is asked and none answered, are we doomed to repeat the mistakes of previous civilisations over and over, or can we find the cracks of light that echo through and show us a new way forward? We're left in a swirling formless abyss to consider who we are and where we're headed. Will we ever reach the cosmic truth? Or will we be continuously mocked by the cosmic trout?
WILD ROCKET have proven themselves on the live circuit, playing with such visionaries as Ufomammut, Slomatics, Earth, Boris, The Cosmic Dead and old school rock legends Girlschool. One of the heaviest bands to emerge from the melting pot of talent in the Irish music scene, WILD ROCKET's reputation precedes them wherever they travel and audiences and venues alike are left to piece themselves together in the discombobulation.

Guitarist Grant Green explored Latin & Brazilian influences on his highly enjoyable 1962 album The Latin Bit featuring Johnny Acea on piano, Wendell Marshall on bass, Willie Bobo on drums, Carlos "Patato" Valdes on conga, and Garvin Masseaux on chekere. Blue Note Records’ Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tapes, 180g audiophile vinyl reissues in deluxe packaging. Mastering is by Kevin Gray (Cohearent Audio) and vinyl is manufactured at Record Technology Incorporated (RTI).

Originally released in 2010 on their own label, Brooklyn nu-disco group Escort’s ‘Cocaine Blues’ is lovingly revisited by Glitterbox Recordings over a decade later, re-introducing the dancefloor essential to a new generation of disco fans. A loose remake of disco-reggae classic ‘Cocaine in My Brain’ by Jamaican DJ Dillinger, Escort’s ‘Cocaine Blues’ with its relaxed, disco approach and catchy vocal soon became a hit. Now arriving in a 12” package, up first, legend of NYC’s house and disco scene John Morales delivers his M+M Mix. A long-time friend of Glitterbox, this is John’s first release on the imprint, with the signature sparkling sound that brought him to prominence in the 80s sounding fresh as ever on this remix. Up next, original Escort member JKriv revisits the track on his funk-filled Disco Bumps Mix, before regular Roísín Murphy collaborator Crooked Man delivers his Crooked Line 1 and Crooked Line 2 versions, gloriously deep fuelled by bumping bass and attitude. Crooked Line 2 is exclusive to this 12”. Sounding just as good as it did when it first hit dancefloors, this unmissable vinyl remix package gives ‘Cocaine Blues’ another lease of life.

Party starting outfit Spaghetti Club dive into 2022 with a hop, skip and a wobble as their third release sees the light of day this January. The four track VA maneuvers between dynamic moods for the dance floor, including sounds from label founder, Pierre Codarin, Harry Wills, Philipp Boss, and Jealous Lover.

Carrying the torch for the first track is UK producer, Harry Wills with “Longbags”, his animated sound fitting the ethos of the label entirely, cruising on a slinky arrangement, and sub heavy bass. Next up is Activo founder Philipp Boss, with a deeper and curious encounter, riding his synths around subtle house movements in “Serious Cat”.

Head chef Pierre Codarin provides a pacey and elasticated groove in “Smoke The Gap”, mechanical beeps and bleeps breathing life into the forward motion of the track. On a more mysterious trip is the last track of the EP from Jealous Lover. “Dresses For The Ride Not The Slide” is a hazy trip, crammed full of rippling shades of electro, calling in the shadows of the afters.

Jimpster’s lockdown LP was made throughout 2020 and finally sees the light of day at the end of February 2022 having been delayed around 6 months due to the ongoing vinyl pressing hold ups. Birdhouse is the revered producers seventh full length LP and can be considered a full circle as he takes a step away from the dance floor to revisit his early inspirations of jazz, 70’s fusion, library music, ambient and sample-based downtempo electronica. With its soulful touches, vocal and live musician features and trademark warm Jimpster production, we also think it could be his most accomplished and accessible yet.

The opening title track sets the tone for what’s to come with rustling percussion, widescreen choral samples, dub FX and drifting pads all coming together to create a sense of optimism. The first of six vocal features comes next. Ascension with UK vocalist Oliver Night (featured on IG Culture’s recent Earthbound LP) is a simple soul jam with live bass from Nick Cohen and Jimpster’s beloved Fender Rhodes joining the lo-fi drum groove.

Next up we’re treated to Voodoo featuring brilliant young NYC MC/poet/producer who first grabbed Jimpster’s attention with his mind-melting track Signs, released in 2020 on Youngbloods. Yoh’s sung (not sung) vocal flow adds a new dimension to the Jimpster sound and is hopefully the first of many more collaborations to come with this perfect pairing. Still Believe takes us on a tripped-out journey into slo-mo, lopsided MPC beats punctuated with otherworldly vocal samples, live bass and Rhodes making for an immersive late night mood.

The first of two tracks on the LP featuring London vocalist and songwriter Cairo drops next entitled Beautiful Day. Another incredibly talented young artist introduced to Jimpster through a mutual friend, Cairo adds a deep and uplifting vibe making for a track you’ll come back to time and time again. A slow-burning nu-soul groove which will draw you in with its warm glow. Lazarusman is a Johannesburg-native poet and vocalist known for his collaborations with Stimming, Joris Voorn and Booka Shade. Here he delivers a poem called Heavy, perfectly punctuating the haunting reverb-drenched horn, Detroit-esque chord stabs and filtered drums.

Future Paradise drops the BPM's further still for a slow-stepping synth ride mixing up rising arpeggios, dubby flugel horn FX and the lushest of strings. It’s been 15 years since Jimpster and Capitol A last joined forces on Left n Right from Jimpster’s Amour LP. Known for his work with Jazzanova, King Britt, Mark De Clive-Lowe and 2008 club anthem Serve It Up on Mantis, the San Francisco native MC delivers his inimitable flow to a blunted jazzy hip hop groove making for one of the LP highlights.

Up next, Rain is an intimate and understated slice of contemporary soul music which pushes another spellbinding Cairo vocal front and centre, underpinned by loose, crunchy beats, dusty keys and moogy flourishes. Picking up the pace, Doors Of Your Heart sees Jimpster get busy chopping up a funk groove whilst Nick Cohen lays down another killer live bass line. Lush keys, modular synths and some crazy FX processing take this into the stratosphere and call to mind some of his earliest productions in the late 90’s on his seminal LP Messages From The Hub.

Winding things down, Jimpster continues to revisit some of the sounds and flavours of his earliest work on Tell You, which goes seriously deep with touches of cinematic big band horns and a looped up vocal sample. Closing out the LP we have the aptly titled Full Circle complete with sublime Metheny/Mays-style pads, muted synth arps and subtle FX to drift away to.

One of Europe’s most popular queer parties launches its record label, showcasing the residents who made Adonis such a cult, must-attend event. The four-track ‘ADONIS 001’ EP is released on 25 February, featuring four tracks from residents Nyra and Wilson Phoenix, representing the different music styles experienced across both rooms at their infamous party which ended its four-year residency at The Cause with a bang on New Year’s Day this year.

Long-term resident Nyra delivers both A-Side tracks, presenting the uplifting, main-room house sound of Adonis. Opening with ‘Used To Love Me’ which evokes classic early New York house with its sultry “you used to love me, basic lover” vocal refrain alongside deep atmospheric beats and hypnotic saxophone sounds. ‘Visions’ sparkles with vibrant electro beats which bounce and shimmer throughout, combined with the Italo house inspired synth chords for an anthemic track perfect for peak-time dance-floors.

Resident Wilson Phoenix, known for delivering the faster paced, darker sound of Adonis, provides both B-Side tracks. As the BPM rises, the vibe gets harder. The thumping yet euphoric ‘Dash Und’ flexes its muscles from the out, with its punchy 909 matched by robotic synths and nostalgic acid and rave influences. ‘K-12’ ups the intensity; a sweat-soaked techno stomper with stabbing hi-hats which make for the ideal heads down cut.

Paul Wise aka Placid is the driving force behind ‘We’re Going Deep’ – a thriving online community and record label that’s showing no signs of slowing down as we start the new year. Born out of a lifelong affair with the many shades of electronic rhythm and an obsession for collecting records that first started in 1988.

As a label owner, his mission couldn’t be clearer: releasing new music for heads - old and new. Fresh cuts aimed squarely at the dance floor, your front room or even just the headphones! Rather than staying too hung up on the past, he’s very much focused on serving up the best in new Acid, Electro, Techno, Deep House along with the odd slice of Downtempo goodness.

Sticking to the trusted format of 4 different producers, all serving up high grade electronic explorations, WGD 006 launches with another stellar line up. Headed up by the foreboding sounds of Versalife with “Omikron” on A1, spacious atmospherics and half-step beat usher in a gnarled bassline that simply won’t let go. As delicately placed melodic touches light up an otherwise pitch black soundscape and open up the spaces in between, it’s a superb reminder of the Dutchman’s majestic talent. Accompanied with an outing from Belgium’s rising talent Mariska Neerman, snappy percussion and machine pulses greet you from the off on A2 “Twin”, evolving into a fully emotive and uplifting ride. Leading with layered synths, Neerman demonstrates her sparkling knowhow for drenching you in heart warming pads and strings that harmoniously sing.

Written under his Analogue-1 alias, head to B1 for the legendary sounds of James Zeiter shimmering through on “Counterpoint”. A subtle and stripped back 4/4 trip into the lighter side of acid inspired grooves that shuffles out into the unknown: tweaking all the way as the intensity build. Powerful stuff at the right moment, do not underestimate the alchemy at work here. Last but not least, newcomer Morthen Kiang leaves us on a punchy 909 driven martian inspired work out, that fully summons the vibe of our Red Planet friends. A perfect ending note packed full of machine oscillations and cosmic waves.

Curtis Godino’s first album producing for The Midnight Wishers. Mastered by Shimmy-Dic’s Kramer. “Golden Wish” Yellow Vinyl LP ltd edition of 500. RIYL: the Shangri-Las, the Chiffons, the Crystals, the GTOS, Ween. What if a cute girl group scored a hit song about a car crash, then actually died in a car crash, but decades later, David Lynch conjured their spirits for a beach-themed Halloween special? That’s a feeble attempt to describe the fun, spooky universe evoked by musician, songwriter and producer Curtis Godino with his latest project, Curtis Godino Presents the Midnight Wishers. “I’ve always been a fan of girl groups and old generic love songs,” says the Brooklyn-based artist, previously known around town for his psychedelic band Worthless and his ’60s-style light projection shows. “No matter how cheesy, they always get stuck in my head, so I decided I would try to make some of my own, with the help of my friends.” Chief among those friends are the Midnight Wishers: lead vocalist Jin Lee and backing singers Rachel Herman and Jessica McFarland, all of whom Godino recruited for the project. Lee also contributed lyrics, which she tends to recite as often as she sings in a dreamy, earnest voice. The trio are the perfect messengers for Godino’s tunes, visually as well as sonically. In photos, they pose before bubble-gummy backgrounds, playing with a ouija board by candlelight, elemental like a cartoon crime-fighting team with their respective black, red and blonde hair. But make no mistake: This project belongs to Godino, a musical ringmaster in the tradition of Phil Spector or more aptly Shadow Morton, whose noir sensibilities spawned such uncanny pop marvels as the Shangri-Las’ “Leader of the Pack” and “Remember (Walking in the Sand).” In this case, Godino built the wall of sound almost entirely by himself, recording on his eight-track tape machine during the pandemic shutdown. Starting with drum tracks from Andrew Max and Adam Amram, he would add picked bass guitar in the style of L.A. studio legend Carol Kaye, then go bonkers with fuzzy guitars, Farfisa organ, mellotron, analog synthe- sizers, glockenspiel, an arsenal of other percussion instruments and an array of mysterious electronic effects. To fully realize the vision, however, Godino knew he needed more firepower. The Wishers’ multilayered harmonies and other vocal tracks were recorded and engineered by his roommate, Paul Millar, at Millar’s Bug Sound East studio. “I'm sure all those incredible old records were recorded on a four-track or whatever, but I don’t have the same discipline,” says Godino, whose stated goal was to create “songs so sweet they’ll give you a cavity

Biosphere is the main recording name of Geir Jenssen (born 30 May 1962),(1) a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.

Patashnik was originally released by R&S Records/Apollo in 1994. It was number 1 in NME´s Independent Chart in March 1994 and reached number 50 in the UK official album chart.

The track Novelty Waves was used in Michel Gondry's Levi's 501 Jeans "Drugstore" spot, and holds - according to the Guinness World Records 2004, the record for "Most awards won by a TV commercial".

One reason why Jenssen's work stands out from the flood of early '90s ambient/techno releases is his strong sense of the quirkily creepy -- not in an Aphex Twin mode, but in his own particular way. The contrasting samples of a child quaveringly saying, "We had a dream last night," followed by a rougher sample saying, "We had the same dream," gives opening number "Phantasm" an unsettling feeling. Intensified by the, on the one hand, pretty, on the other, disturbing music, buried synth strings and a soft pulse accentuated by clattering noises deep in the mix, it kicks off the striking Patashnik very well. Though not as openly dark as acts like Lull, for instance, Biosphere still has an edge which isn't just melancholic, it's downright ominous at point. There's the slow crawl of "Startoucher," for instance, with its buried vocal snippets and deep bass drone, or the blend of the space signal atmospheres of "Mir" into the low, brooding intro to "The Shield." Not everything is so shadowy, though, Patashnik is primarily a relax and chill listening experience, but not without its gentle high points. "Novelty Waves," which became a crossover single in some quarters, has a good dancefloor sharpness to it even as Jenssen slyly sneaks in odd drones and samples through the mix. The opening snippet talking about an extraterrestrial disc jockey on "SETI Project" is good for a smile, as well as acting as a sharp lead-in to a fast rhythm track. Mostly, though, things continue on a deliciously unnerving pace throughout, gentle enough to go down easy but still just off enough to ensure you can't call this new age folderol for the rave generation.

Matthew Halsall unveils new band and announces 'Salute to the Sun'

his new album on Gondwana Records

Limited edition Double Clear vinyl, printed on reverse board with Gold foil artwork plus double printed reverse board inner sleeves including download code. Cover Artwork by Daniel Halsall with design and layout by Ian Anderson of The Designers Republic.

Comes packaged in a resealable, re-usable Polypropylene anti-static, acid-free, crystal clear sleeve for maximum protection.

Composer, trumpeter, producer, DJ and founder of Gondwana Records, Matthew Halsall has always worn many hats. But at the heart of everything that he does Halsall is first and foremost an artist and a musician. A trumpeter whose unflashy, soulful playing radiates a thoughtful beauty and a composer and band-leader who has created his own rich sound world. A sound that draws on the heritage of British jazz, the spiritual jazz of Alice Coltrane and Pharoah Sanders, as well as world music and electronica influences, and even modern art and architecture, to create something uniquely his own. A music that is rooted in Northern England but draws on global inspirations.

Salute to the Sun is his first album as a leader since Into Forever (2015) and marks the debut of his new band. A hand-picked ensemble featuring some of Manchester's finest young musicians: Matt Cliffe flute & saxophone, Maddie Herbert harp, Liviu Gheorghe piano, Alan Taylor drums and Jack McCarthy percussion as well as long-time Halsall collaborator, bassist, Gavin Barras who has been at the heart of Halsall's bands for over a decade. For Matthew it was important to have a band based locally and able, pre-Covid, to meet and play each week, and who also performed a sold-out monthly basement session at Yes in Manchester. The album draws energy from these sessions and inspiration from themes and ideas that have inspired Halsall through the years (on albums such as Oneness, Fletcher Moss Park and When the World Was One) ideas of ecology, the environment and harmony with nature.

"I feel Salute to the Sun is a positive earthy album. I wanted to create something playful but also quite primitive, earthy and organic that connected to the sounds in nature. I was listening to lush ambient field recordings of tropical environments such as jungles and rainforests and found myself drawn to percussive atmospheric sounds which replicated what I was hearing (bells / shakers / chimes / rain sticks) and I started to experiment with more wooden percussive instruments such as kalimba and marimba".

Salute to the Sun features lush wholly improvised tunes inspired by ambient rainforest and jungle field recordings, deeply soulful tunes built around hypnotic harp and kalimba patterns, deep Strata-East inspired spiritual jazz grooves and some of Halsall's most beautiful playing and inspiring healing melodies yet recorded.

The album was recorded at the band's weekly sessions, using Halsall's own recording set-up, giving the recordings a relaxed vibe and unforced energy that really lets the music breath. The album is also very much a family affair as Halsall's brother Daniel Halsall, artistic director of Gondwana Records, was an important presence at the sessions and co-produced the album. It is also his memorable artwork that adorns the cover of Salute to the Sun, an album beautifully designed by legendary designer Ian Anderson of The Designers Republic, who also created the covers for the recent archival releases Oneness, Sending My Love and Colour Yes and is one of Halsall's favourite designers. Together Daniel Halsall and Ian Anderson have designed all of Matthew's seven albums to date, so it felt extra-special to bring them together for, Salute to the Sun, an album that Halsall was determined to present in the very best way possible. The album was mixed with another long-time collaborator, George Atkins at 80 Hertz in Manchester, who works tirelessly with Halsall to perfect the sound and was mastered by noted engineer Peter Beckmann who brings an added depth to the sound specially around the bass notes as well as Halsall's trumpet. The magnificent double vinyl was cut as a Half Speed master by Barry Grint at Alchemy Mastering for the best possible analogue experience.

The result is arguably Halsall's most beautiful and complete recording to date, playful, charming and imbued with the warmth of the sun and the energy of life.

For their first installment, the Chateau Chepere crew brings a diverse EP from ambient house maestra Rai Scott.

Opening the EP is 'Logical Positivism', a deep, driving and cinematic nod to the forest dance floors of the late 90's. On 'Inspired', Rai brings the club in an introspective, melancholic mood. Slower, steady beats with rolling percussions and dreamy pads to shroud the dancers.

Picking up the pace is 'Open Your Eyes', a warm, bitter-sweet piece of house from from her own alter ego Serendipity. The club friendly 2021 rework shifts into an early morning vibe, while keeping it deep and moody. Closing out the EP is the title track 'Anahata Nada', a gorgeous, warm piece of ambient for the chill rooms.

Ichiko Aoba’s albums have only been available as expensive Japanese imports, until now. In November, Ba Da Bing will release Windswept Adan on 2xLP in North America, Europe and the United Kingdom, with deluxe packaging.

After creating her label, hermine, last year to celebrate her tenth
anniversary in music, Aoba released the most complex and rewarding
work of her career, 2020’s Windswept Adan. While audiences in
the west are only just learning she exists, her accomplishments are
unquestionable; she contributed to the soundtrack for The Legend of
Zelda: Link’s Awakening, was cited by Owen Pallett as an inspiration
(“I’ve never been so blindsided by a musician as I was by Ichiko
Aoba”), and has collaborated with the likes of Haruomi Hosono,
Cornelius (who met her only two years after she first picked up a
guitar and was blown away), Ryuichi Sakamoto, and recently Mac
DeMarco.
Ichiko Aoba’s iconic voice and classical guitar playing are
immediately recognizable, timeless sounds. Windswept Adan,
envisioned as a soundtrack for a fictional film, builds its own world with
sweeping co-production and arrangements from Taro Umebayashi,
which “recall the Wes Anderson scores of Mark Mothersbaugh or
the cinematographic swells of American composer Jherek Bischoff”
(Bandcamp). It’s the story of a young girl sent to the island of Adan, a
place where there are no words.
While international listeners of Aoba may not understand the words
she sings, and despite the central importance of lyrics in her writing,
it’s a testament to the power Aoba wields that one can resonate so
deeply with her work. No matter the breadth of her sonic palette, and
on Adan her scope is as wide and encompassing as Joanna Newsom’s
on Have One On Me, Aoba manifests an intimacy that makes one feel
in the room with her.
Ichiko Aoba’s work gained greater exposure in the past year as the
need for comfort grew while the world sequestered in solitude. She
has a rare musical gift that is matched only by her ability to hone it
into meticulous craft. Her music embraces and elevates alone time to a
generous and tranquil place. In it, listeners are invited to feel a sense of
consolation and possibility. The magic she imparts yields articles like
“Ichiko Aoba and the emotion of space during the pandemic;” in other
words, her effect is singular.

Regal drops the first remix package from his debut album featuring Slam, PTU and Boston 168.

Involve Records boss Regal presents "RWYS Remixes Pt.01" - the first installment of three immense remix packages from the Spanish techno giant's debut album, "Remember Why You Started". Recruiting international powerhouse duo's Slam, PTU & Boston 168 to rework the earth-shattering originals.

Scotland's luminary duo Slam kicks off with their edit of "She Dances Alone". The pair's distinctive tweak is the alchemization of the kick drum, pivoting into a thunderous force. The kick is paired with claps that ricochet above a determined synth line, while the low-slung baseline mists under twinkling keys and sprinklings of hoover noise, giving the rework an old school feel. Uplifting major notes inject brightness & contrast to the track, with the cunning acid line lingering 'til close.

Next, enigmatic Russian twosome PTU transform "Dealing With My Pain", a once low tempo mid-point track, into a primary dancefloor weapon. This heavily industrialised rendition utilises an incessantly deep bass drum while maintaining the commanding male vocal sample. Blistering hi-hats, and a wildly distorted synth breakdown build a brash and dubious mood. The thumping kick drum drives the track forward, looping electrical elements that ring out from ear to ear, surrounding you with wild noise and energy.

Italy's acid techno aficionado's Boston 168 step up to close with their interpretation of "Fearful Nights". In true style, the duo mould the very start of the track to blend with their signature sound. A bumping kick drum and quintessential 303 manipulate the melody, resulting in a far more venomous composition than the original. Sinister synth stabs slice through the chaos with a hi-hat and snare drum combination for extra effect.

(JKS, Ellen Allien, Clouds & Lady Starlight remixes) Involve Records boss Regal presents "RWYS Remixes Pt.02" - the second installment of three immense remix packages from the Spanish techno giant's debut album, "Remember Why You Started"

Regal shares the final remix EP of his debut album, "RWYS Remixes Pt.03". With reworks from Alignment, Thomas P.Heckmann, _asstnt & Roll Dann, Sita Abellan & the Involve Records head himself.

Regal's "Remember Why You Started" LP faces its final rework. The last package welcomes Regal and Sita Abellan, Thomas P.Heckmann, _asstnt & Roll Dann and Alignment to shine their production skills to the Spanish techno luminaries first album.

Regal & multi-faceted Spanish artist Sita Abellan collaborated for the rework of "Cult Of Personality". Their rendering leans heavily into the realm of electro, with heavily distorted synth lines marching through like a freight train. Darting keys rush and reverberate back upon themselves before a powerful female vocal sample takes over from the male voice that commanded the original. Germany's Thomas P Heckmann takes on "Before I Die". Heavier and beefier than the original, the kick drum and baseline of Heckmann's remix take control and dominate the landscape. He retains Pau's distinct vocals, leaving a familiar dash of the original in this bolder rework. Percussion takes a front seat in this version, with snare drums and cymbals combating the bitter main synth melody.

Straight from Madrid's underground scene are producers _asstnt & Roll Dann, who team up for the remix of "Respect". A cut up, distorted rework that grows darker and more robust throughout. Bottomless kick drums ring out, while a heavily distorted electric guitar sample brings grime and a sonic haze to the track. The American male vocal sample is kept on from the original and remains even more powerful in it's reworked state than before. Italian producer Alignment wraps up with the accurately placed track "The Last Dance". In this final remix of the series the kick drum received a complete overhaul, instantly pivoting the track into a darker place. Only the curious melodic key sequence pours light into the track and brings with it an overwhelming sense of positivity to the closer. The baseline backs up the melody before percussion breakdowns take centre stage and the two fight for dominance until the final beat.

The emotion-packed O’Jays on a stellar mid-tempo groove from 1966, the cream of their mid-‘60s time on the Imperial label. Released just a year before their anthem ‘I Dig Your Act’; it’s a side that smoulders behind the vocal of Eddie Levert, a sax-powered gem. Original copies go for between 30 and 50 quid, more if it’s in good condition.

Remastered for maximum tear jerking power by the DNSC Stateside guru.

Backed with a Ric-Tic/Motown-styled drum and harmony classic from the mighty Willie Hightower. A £60 nugget when released on the original Capitol label back in ’67. With a hand clapping time change, wayward guitar and gorgeous brass stabs, plus a wild all-girl harmony backing that elevates it to an evocative high.

Gang of Youths today announce their biggest tour of the UK, including London’s O2 Academy Brixton to launch their upcoming album ‘angel in realtime’ which is out on February 25th through Warner Records. This week will see them support Sam Fender on his arena tour around the UK and play their own instantly sold-out club shows.

Gang of Youths say, “the album is about the life and legacy of Dave's father, indigenous identity, death, grief and God. And also the Angel, Islington.”

Despite and indeed because of frontman Dave Le’aupepe’s father’s absence, his influence permeates every talking point that the album offers. At times it’s solely focused upon the precise, personal experiences of loss: the dichotomy of intensity and peace that comes as someone passes through their final days; the overwhelming feeling in the wake of their death that life will never be the same, even if the rest of the world at large remains utterly unchanged.

Following their recent singles, ‘the angel of 8th ave.’ , telling of falling in love in a new city and making a home in another, and ‘the man himself’, a song created around a sample recording from the island of Mangaia in the Cook Islands that is about living without the guiding hand of your own father, today they release ‘tend the garden’.

Although the album is eclectic - influences range from American minimalism and contemporary classical, to drawing upon the legacy of Britain’s alternative/indie scenes, from drum ‘n’ bass to the most transcendent moments of Britpop -- it’s equally rooted in Le’aupepe’s Samoan heritage, with the majority of tracks featuring samples from David Fanshawe’s recordings of indigenous music from the Polynesian islands and the wider South Pacific. ‘angel in realtime’ also features contributions from a cast of talented Pasifika and Māori vocalists and instrumentalists.

Le’aupepe says, “I hope the record stands as a monument to the man my father was and remains long after I’m gone myself. He deserved it.”

‘angel in realtime’ will be released on digital, double white vinyl and CD and is now available to pre-order. Fans who pre-order the album will receive instant downloads of ‘tend the garden’, ‘the man himself’, ‘unison’ and ‘the angel of 8th ave.’. HMV and select independent stores will offer a special edition of the vinyl which feature an alternate cover.

Fans who pre-order the album will receive access to a pre-sale for the band’s 2022 UK and European tour. The pre-sale will open at 9am local time on Wednesday, November 17th, and remaining live until remaining tickets go on general sale from 9am local time on Friday, November 19th.

Gang of Youths are: Dave Le’aupepe (vocals, guitar), Max Dunn (bass), Jung Kim (guitar, keyboards), Donnie Borzestowski (drums) and Tom Hobden (keyboards, guitar, violin).

Reissue of violinist Jean-Luc Ponty's 1967 album 'Sunday Walk', originally
released on the SABA label (which later was renamed MPS), featuring an
all-star group that includes pianist Wolfgang Dauner, bassist NielsHenning Örsted-Pedersen and drummer Daniel Humair
Legendary drummer Kenny Clarke compared Jean- Luc Ponty to Dizzy Gillespie.
Fellow violinist Stuff Smith marvelled, "He plays violin like Coltrane plays
saxophone." Born in 1942, the French violinist transported jazz violin playing into
the world of modern jazz. On Frank Zappa's urging, Ponty moved to the States in
1973. Over the next years he toured with Zappa as well as the Mahavishnu
Orchestra. In 1975 he founded his own band and became one of the most
prominent figures of the jazz- fusion movement in the USA, selling millions of
albums that all reached the top of the U.S. charts.
On the 1967 'Sunday Walk' the band saunters through two blues, a waltz, and a
standard before reaching "Suite for Claudia", which begins at a blistering pace
with Ponty's saxophone- like "brilliance and fire" playing. It then settles into a
medium swing groove with Wolfgang Dauner's infectious piano play followed by a
smouldering Ponty. Daniel Humair's crisp drum solo segues into a heart- felt
waltz. After all, this was written for Ponty's wife. Ponty is here with a group of
Europe's finest at their youthful best. The way they play, it's all a walk in the park.
Beside Dauner and Humair, legendary bass player Niels-Henning Ørsted Pedersen
completes Ponty's quartet.
"The re-issue of this album by MPS makes me extremely happy as I consider it to
be one of my best recordings from the 60s. " - Jean-Luc Ponty

So auch am 2. Weihnachtstag 2019 im „Gruenspan“ in St. Pauli anlässlich des 25jährigen Bandjubiläums.

Sobald OHRENFEINDT die Bühne entern, wird aus allen Rohren gefeuert. Der Kiez-Dreier macht keine Gefangenen. Wer bisher lediglich ihre Studioalben kennt, wird sich wundern, was für eine Schippe die Jungs live nochmal obendrauf packen.

Zwei Stunden volle Pulle Riff-Rock-Hits aus einem Vierteljahrhundert. Drei bis in die Haar- bzw. Bartspitzen motivierte Roggenrohl-Vollblüter ohne Netz und doppelten Boden. Da ist nix gedoppelt, da kommt kein Ton aus der Dose, selbst der Schweiß ist echt.

Zwei Stunden pures Adrenalin, ungeschönt und rau.

Back in stock! Repress of RSD20 release. DOUBLE LP HOUSED IN A GATEFOLD JACKET 2ND LP CONTAINS TRACKS NEVER BEFORE RELEASED ON VINYL!

Mingus Ah Um, the artist’s 1959 debut for Columbia is one of the most consequential albums in jazz or any other genre. The release is part of the Library of Congress National Recording Registry and has been inducted into the Grammy Hall of Fame. “Goodbye Pork Pie Hat”, “Boogie Stomp Shuffle”, “Open Letter To The Duke”…the release is packed with classics and is a best-selling release to this day. For Record Store Day 2020 Get On Down presents Ah Um Redux, the full Ah Um record as you know and love it with a second LP featuring alternate takes from the session previously unreleased on vinyl.

Carl Cox & Commix remix Radio Slave’s ‘Stay Out All Night’

Initially released in 2020 via his own Rekids, ‘Stay Out All Night’ is one of Radio Slave’s biggest tracks todate, alongside timeless cuts such as ‘Grindhouse’, ‘Don’t Stop No Sleep’, and ‘Another Club’. Recruiting Carl Cox & Commix for remix duties, ‘Stay Out All Night (Remixes)’ sees two varied dancefloor-focused revisions drop this February on 12”.

Leading the pack, Carl Cox steps up to the plate fresh from the release of his ‘Oh yes, oh yes!’ book. The People’s Choice delivers a lively 4/4 interpretation, flipping the syncopated breaks of the original into astomping blend of house and techno destined for dancefloor decimation.
Following on is Metalheadz affiliate Commix, taking a break from his usual brand of flawless Drum & Bass to flip the original into a fresh UK Garage cut.

Anniversary time for NPR !
Inviting all the artists they've been working with through the ages and offering a crazy printed sleeve for a massive double pack !

Don't miss !!!

"Lloyd Stellar X The Droid - Rise of theAMachines is an exciting debut collaboration between Erik Griffioen & Ben Evans.AAn impressive maxi EP, loaded with cutting edge electro brimmingAwith musicality, sound design and expert production.A

Kicking off the release comes theAtitle track 'Rise Of The Machines', this quirky yet nuanced excursion sets the pace, allowing it's nifty ricocheting sequences, slick 808s, and tripped out ear candy to hit the clubs. 'Prisoners features a wiggly bass led jam, plastered with synths and finished with a dash of vocoded vocals. TheAduos ability to illustrate a dense sonic picture is evident once again on 'Cell Block' as intricate razor sharp drum programming holds the ship steady while ominous synths let the head wander before rich melancholic pads blast a sense of perspective and emotive depth.A
A
Onto the flip side - 'Room And Pillar'Agrabs the bull by the horns with a tough and aggressive bass line driven banger. Shrieking, twisted synth lines and FX are shattered across the track, keeping tension levels peaking, while TR808 rhythms cut through with military precision. Contrasting A'The Neutral Zone' sucks us into a deep atmospheric orbit of blissful yet inquisitive FM synthesis, distant emotive pads, fortified by warm stately bass tones. ARounding off the EP 'Coming Home' exhibits electro minimalism at its finest. An entangled, ever evolving musical conversation between bass and upper register synths leads, filled with a sense of hope and optimism, assisted by meticulous programmed electro drums, reminiscent of the best of Schatraxx.A

There seems to be something in the water down in Hastings as a veritable hive of electronic music artists have been busy making beats in ever growing numbers down there - including Kim Cosmik.

Kim's debut on 20/20 Vision is an impressive and highly original mix of techno, electro, broken beats and industrial sounds, destined to destroy the long-anticipated dance floor revival. Although overall the record is abrasive, hard-hitting and takes no prisoners - beneath the surface, in tracks like 'Drifting' we also find nuances of emotional musicality that shed vast streams of light on the proceedings. The record does indeed kick off with intent though with 'Night Flight' - a blistering techno workout that would resonate magnificently in the mighty Berghain hall. There's no holding back the menacing bass line, fortified tough jacking groove on this one as strong synth lines and strings embellish and complete the soundscape.Over to 'Ore' which cranks up the gears into an industrial techno slammer packed with abstract outer-planet sound design finished off with pounding overdriven drums programmed with military precision.

On the flip side is a gem called 'Nocturnal'- this is the cut that first really caught our attention at 20/20 Vision, with it's merciless industrial dubstep kick drums and brutal precision. It's a simple, stripped back workout held in place beautifully by a discordant string - there's just no escaping this fierce ruling diva. Not for the faint-hearted but those who dare will be rewarded.

Kim's final track 'Drifting' is the jewel in the crown that provides the light after the storm. It's a blissful, cosmic, jazz fused musical tapestry driven by break beats, while compassionate strings infused with Kim's own vocal harmonies and subtle piano motifs glisten and glide over the track adding soothing layers of harmonious quality. Drifting is the perfect close to a truly stunning debut EP.

C-L-A-S-S-I-C library breaks and beats set of heavy drums and louche funk.

One of two Be With forays into the archives of revered British library institution Conroy, we present one of our favourites on the label - the super in-demand Dramatic Tempi / Larry Robbins Background Rhythms, originally released in 1975. Rare and sought-after for many years now, this is one of those cult library LPs that rarely turns up on even the deepest dig.

As a single LP, Dramatic Tempi / Larry Robbins Background Rhythms is two distinctly different collections of music. The first side, Dramatic Tempi, is made up of four tracks each from Sammy Burdson and Klaus Weiss.

Sammy Burdson was one of the many, many aliases of the mighty Austrian composer, arranger and conductor, Gerhard Narholz. Founder of adored library label Sonoton in 1965, and a classically trained composer, his work runs from easy listening through pop, jazz and electronic, to avant-garde.

About as cult as it gets when it comes to library music legends (German or otherwise) Klaus Weiss produced essential records on German library labels Coloursound, Selected Sound and Sonoton, as well as making two essential entries in the Conroy catalogue. Having started his career at the age of 16 as a jazz drummer, the Klaus Weiss trademark electronic sound is unsurprisingly built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums.

The second side is both titled and also credited to Larry Robbins Background Rhythms. We have to admit to being stumped as to who Larry was, but we don’t think it’s too much of a stretch to assume it might well be yet another incarnation of Gerhard Narholz’s.

First up from Dramatic Tempi are the phased, gargantuan hip-hop beats of Sammy Burdson’s impeccable “Pop Waves”. This is otherworldly funk on a whole new level. Hearing is believing. The magnificently titled “Cyclodrom” is up next, a beast of booming bass and wah wah guitars over frenetic funk drums. “Devils Drive” is dramatic, blaxploitation street funk with rolling, pounding drums. “Crime Ways” is an acid-squelch, slow-pace neck-snapper.

Klaus Weiss starts by askings us “Is It Hip” and we can only answer “yes it is!” to the clean, skipping drums, booming bass and proto-hip-hop bells, layered beneath laconic and melodic guitar shredding. This is just horizontal soul perfection. “The Camp”, propelled by jazzy guitar à la Joe Pass over fast drum and conga breaks, gives way to the dark guitars and cymbal crashes of “Tomorrow”. It sounds like an early New Order jam session. Closing out a pretty startling side of library greatness, “Rhythm Trip” presents early stuttering funk before easin' on in to a jazzy, soulful groove; all breezy guitar and warm keys. Lush.

Larry Robbins Background Rhythms is a lighter, poppier affair, but it’s not without its drum-heavy bangers. “Vox Pop” and “Pop Phase” each have clean, open-ish drum breaks, ripe for sampling or more daring DJ sets. “Pop Twang” is a short and sweet beat-heavy number that gives way to the fantastically out-there “Canned Pop”. We‘d love to know if this was ever actually licensed for something! The final seven tracks are a set of 1-to-2 minute “Percussion Takes”. All compelling, and all equally useful for any number of production needs. Get sampling.

The British library label with those instantly recognisable “orangey-red” sleeves, Conroy began releasing production music in 1965. A sub-label of Berry Music Co, its catalogue typified the library industry’s strange mixture of tradition and experimentation from the start. Conroy’s early releases included work by big band stalwarts like Eddie Warner as well as early electronic recordings by the likes of Belgian experimental pioneer Arséne Souffriau. With Berry Music Co working as a distribution partner to the German library label Sonoton, it was through the Conroy that a great deal of German library music found its way into the UK market.

Conroy stopped putting out new music in the 1980s, but its history and its catalogue offer an excellent window into the trends and eccentricities of a highly unique industry at the height of its international appeal.

This re-issue of Dramatic Tempi / Larry Robbins Background Rhythms has been mastered for vinyl by Be With regular Simon Francis from audio from the original tapes. Richard Robinson has handled reproducing the iconic, hypnotic original Conroy sleeve. Essential.

This is the fnal chapter in a series of three 7" records which see Stefan Goldmann probing the upper temporal reaches of techno. Clocking in at 150 bpm, these tracks are bold and blazing signals for a
collective return to highly energised club experiences. 'Singing Wire' is playfully swinging and feels surprisingly natural and decelerated for what it is – while taking you decisively and rapidly to its farend destination. 'Geared' is raw voltage with all the sparks fying. More bouncy than harsh, these tracks show impressively how diferent tempos allow for their own variety of joyful expression.
Beautifully packaged, all three 7"es come in a thick matte-black outer sleeve with front side cut outs and refective-lacquer details, with individual colour-coded inner sleeves. Comes with download card.

Orange Vinyl

Support from Lane 8, Timo Jahns, Shane / Fish Go Deep, Adana Twins, Yves Tomas, Audiosmith, Florian Kruse, Kirill Slider / Goom Gum, Dave202, David Granha, Avidus, Sasha c/o, Claptone c/o, Rich Vom Dorf, Argia, Nick Wessaert, Dennis Ferrer c/o, Super Flu, Holger /
Smash TV, GLOWAL, Ruede Hagelstein, Riva Starr c/o, Peter Kruder, Chaim, Paul C, Paco Osuna, Alfa Romero, Adriatique, Rauschhaus, Elif (TR), Cammora, Mr.Diamond, John Digweed, Franco De Mulero, VONDA7, Nico Morano, Jerome Price, Nhar, Beatamines, Angelo
Ceci, Anthony Pappa, Undercatt, Praveen Achary, Ruben Mandolini, Marco Faraone, Sobek, Tocadisco, Rodg, and Eelke Kleijn

Grand Ancestor 3x7" sales pack including:
* The Illuminated vs. Distant Roots feat. Clinton Sly - Straight To Mi Brain / Straight To Mi Dub GA004
* MC Trooper / Jeph1 - Warrior GA010
* Jane Bee / Bukkha - DJ Mommy GA014

In 1994, hip-hop was going through an at-times painful growth spurt. Since N.W.A.'s and Ice-T's ascent in the late '80s, the rap game was no longer owned by the East Coast. After the worldwide popularity of Dr. Dre's The Chronic in 1992, things were looking even worse for hip-hop's hometown. The East Coast / West Coast feud that would later indirectly claim the lives of Biggie and Pac was still in its infancy, but New York needed a shot in the arm. The hype behind young Queensbridge native Nasir 'Nas' Jones had been in full swing months before his smash debut album Illmatic, thanks to Columbia Records' promo machine. From his earliest appearance on Main Source's 'Live at the BBQ,' to his own accomplished debut 'Half Time' (as Nasty Nas, on the Zebrahead soundtrack in late 1992), it was clear that this kid was something special. In fact, the pressure on him must have been overwhelming at times. April 19, 1994 couldn't have come soon enough. And as soon as the first lines of 'N.Y. State of Mind' kick in, bolstered by perhaps DJ Premier's darkest beat of all time, the entire East Coast breathed a collective sigh of relief. God's Son had arrived. Backed by an absolute all-star cast of New York's top-shelf producers - Premier, Pete Rock, Large Professor, Q-Tip and a youngster named L.E.S. - the album never lets up. Serious to a fault, and lyrically dense to an extent that has possibly never been matched, the 20-year old Nas stood on the shoulders of his predecessors and proudly proclaimed, 'Don't f*** with the East... we are BACK.' Illmatic was actually a slow-burn, which might surprise fans that have come to its genius more recently. Despite an unheard-of '5 Mics' in The Source - despite an unwritten rule of never awarding classic status to debuts - it didn't go gold until early 1996, and didn't hit platinum status until late 2001. But when you dive deeper that shouldn't be a shock: like Black Moon and Wu-Tang's debuts, it was a dark, hard record, made for heads in New York, not teeny-boppers in Des Moines. There were no dance beats, no crossover love songs. Just boom-bap and rhymes, skills and heart.

A Series Of Rare And Sought After 'Golden Era' 1960s/70s Brazilian Dancefloor Essentials For DJs And Collectors Previously Unreleased As Singles Or Only Available On Quieter LP Pressings Mastered Cut At High Quality & Packaged In Lovingly Produced Brazil45 Sleeves, Key Track From Their All-Time Classic Self-Titled 1975 LP On Som Livre, Lush Percussion Laden, Rhodes Driven Jazz-Fusion Groover b/w "America Latina" Taken From The Soundtrack To The Rede Globo Soap Opera "Selva De Pedra', Released On Som Livre In 1972, A Cheerful, Upbeat MPB Song With A Killer Chorus Drop

A key figure in Chicago’s second wave of influential house and techno producers, Mystic Bill returns to Classic Music Company with ‘Body Moves’, a release with serious club credentials and drenched in authentic NYC, New Jersey and Chicago influences. This 12” package is becoming a firm favourite of in-the-know selectors, no doubt thanks to its party-starting qualities that are sure to captivate floors. Featuring four versions of the track, Bill navigates various different analogue moods, kicking off with the vibing house of the original, as euphoric synth arpeggios and a warm, groovy bass blend for dancefloor magic. The Reprise Mix is another juicy club cut, with a full-throttle bassline that rips through the newly looped vocal. On the B-Side the NYC Mix demonstrates Mystic Bill’s trademark deepness, headsy enough for the darkest recesses of the dancefloors but with buckets full of energy for peaktime sets. The NYC Dub closes out, an essential club tool for any discerning selector. A perfect fit for Luke Solomon’s imprint, Mystic Bill’s ‘Body Moves’ is not one to be slept on.

"The core of confusion and upheaval that drove some of the band's most fiery earlier work, however, is replaced by a more stabilized undercurrent, a mentality that's reflected in songs not afraid to try new things and honestly explore uncomfortable feelings. When combined with exciting production and songwriting choices, that mindset helps make Feels So Good // Feels So Bad one of the Shivas' best albums.” - AllMusic "Portland, Oregon-hailing psych-surf band The Shivas accomplish another time-traveling, reverb-ridden sound that refuses to get boring. Jared Molyneux’s guitar work knows when to be bright or bashful at the right times, breaking into guitar solos that possess a late-’60s groove… The Shivas seem to blissfully flourish” - Paste "a consistent treat for the ears” - The Vinyl District "Though the psych-tinged guitar riff that drives 'Feels So Bad' was written while The Shivas were still on the road, its lyrics didn’t fall into place until the band was well into lockdown, unsure of when they’d be able to return to their most imperative true love: Live shows... Accordingly, 'Feels So Bad' permeates with a sense of urgent desperation, building off a chugging prog-rock instrumental.” - Consequence (on “Feels So Bad”) "They hooked the audience with their throwback rock sounds. The guitar strums and rhythmic drum beats were layered atop smooth and hallucinogenic vocals. The eyes can tell the take at times and there was a sparkle there that said that the band members just love doing live performances." - California Rocker "This single layers on the fuzz but keeps it dreamy, with an especially sticky guitar riff sure to lodge itself in your brain with minimal effort." - Portland Monthly (on “If I Could Choose”) “'My Baby Don’t' translates the genuine vibrant joy


of the live experience into the studio, bringing the band’s ‘60s garage rock roots, sharp pop vocal harmonies, and fervent performances along for the ride." - Under The Radar "Perfectly straddling the line between a solid-head bopping track and an introspective deep cut, The Shivas’ 'Undone' is a rock & roll gem. The track sounds straight out of the late 60s and fits seamlessly in the Portland band’s electrifying catalog." - The Luna Collective "The first time I clicked play on this track, I knew it was a yes for me." - Ear To The Ground Music (on “If I Could Choose”) "The harmonies would make the “Happy Together” Turtles blush, but the unsettling guitar doesn’t shy away from the woollier implications of the ’60s." - Willamette Week (on “If I Could Choose”) "'Undone' is just the perfect song for the good days and the bad ones." - GlamGlare "another hit" - Austin Town Hall (on “Undone”) "one of the best forthcoming albums of the year" - Austin Town Hall RADIO: #3 Most Added @ NACC - 50 official adds BIO Every working musician has had their life turned upside down by Covid-19. For The Shivas, who had recently released a new LP and normally keep a rigorous touring schedule, it was a particularly screeching halt. “We were about to go to SXSW, the following weekend was Treefort in Boise, and then we were going to open for our friends’ band on tour in the US before going to Europe,” Jared Molyneux remembers. Then everything just stopped. They were faced with a dilemma. “It forced us to adapt or just quit,” Molyneux says. “The reality is that shows are our job.” In truth, live shows aren’t just The Shivas job: they are the band’s greatest love. Shivas shows are bombastic, explosive and thoroughly communal live rock and roll experiences where barriers between the performers and their audience seem to dissolve into the sweat and sound. The stage—or the basement, or the living room—that’s The Shivas’ true element. It’s their raison d’etre. It’s their religion. The band’s live urgency may have been born in 2006, when the band’s young members—who began booking West Coast tours while still in high school—waited without fanfare on sidewalks or in parking lots, before being rushed onstage for their sets at 21-and-up clubs. Maybe it developed a little later, as The Shivas blasted their way through Portland’s storied and unsanctioned mid-aughts house show scene. Whatever the origin of their famously kinetic live experience, it’s the show that keeps them coming back after over 1,000 performances spread over 25 countries in 15 years. In those 15 years, The Shivas have grown tight-knit as a group. Guitarist/singer Jared Molyneux, bassist Eric Shanafelt and drummer/singer Kristin Leonard have all been with the band since its earliest days; guitarist Jeff City, another high school friend, joined in 2017. Together they’ve learned to thread a seemingly impossible needle: They’ve honed and tightened their performances without sacrificing the element of surprise that makes each show special. And despite touring and recording for most of their lives, they speak about their project with humility, in the DIY vernacular of their Pacific Northwest upbringing. They talk up their own favorite bands, play all-ages shows as much as possible, and bring a sort of blue-collar humanism to the live performances they relish so much. “We just want to make people feel good,” Molyneux says. “We want them to forget they have to work tomorrow.” Kristin Leonard elaborates, “The live show is all about that feeling of catharsis—in ourselves and in everyone who comes out. We’re creating this safe space where we can all let go. Where we can exhale. And it feels really good when we are able to facilitate that.” So when Covid hit, the band knew it was time for transformation. After a settling realization that live music would be grounded for the foreseeable future, The Shivas booked significant studio time with Cameron Spies, who also produced the 2019 Dark Thoughts LP. They also transformed their lives: three of the band’s four members found work with a local nonprofit serving unhoused Portland residents. They became engaged in protests and fundraisers for social justice. They spent a whole summer actually living in Portland, settling into the city they had always called home, but that sometimes felt like a temporary stop between tours. “We got into a more community-minded headspace,” Leonard says. “And that did give us some purpose. It felt cool to see everybody come together to stick up for what they believe in. It feels like an incredibly formative last twelve months.” The album that emerged from this new moment finds The Shivas reborn as a band that seems seasoned and perfectly at home with itself. There is a calm, even a hopefulness, to Feels So Good // Feels So Bad that sounds new. The Shivas didn’t write or record the album with a particular theme in mind, but one seems to have emerged: where Dark Thoughts was about confronting your demons with fearless self-examination, much of Feels So Good // Feels So Bad is about what happens once you find that peace: how being honest with yourself changes your relationships and your priorities. “I do think it’s about acceptance,” Leonard says. “There’s a weird relaxation that comes with being at peace with things you can’t control or have regrets about.” Maybe that’s why the squealing, riff-laden break-up song opener, “Feels So Bad,” is such a shock to the system. But it’s more of an exorcism than a melodrama: more a song about not being able to do the thing you love (in


this case, playing live shows) than splitting with a partner. “It’s like part of you goes to sleep,” Leonard says. As bandmates who are also in a long-term relationship, Molyneux and Leonard know that their songs might be seen as glimpses into their personal lives, but their songwriting is rarely autobiography. Leonard compares their process to something more akin to screenwriting. “There’s bound to be some autobiographical material in there,” she says. “But the common denominator is the exploration of universal feelings: ones that everyone experiences or can relate to.” The goal is to use the music to drill down into something genuine and sincere, beyond genre or stylistic affectation. That’s where The Shivas have arrived. Whatever growth led the band to Feels So Good // Feels So Bad, plenty of their fascinations remain. They’re still turning love songs into psychedelic, transcendent epics. “Tell Me That You Love Me” subverts doo-wop extravagance and dabbles in Flamenco rhythms. “Rock Me Baby” is a bubblegum anthem soaked in so much reverb that we might just be hearing it from the stadium nosebleeds. “Sometimes” is almost impossibly huge, like a witchy outtake from the Brill Building era. Those songs feel like logical expansions from a band that has always excelled at a timeless sort of rock and roll that tinkers with and explodes elements from every era. But on the towering and mournful “You Wanna Be My Man,” a slow-burning six-minute shoegaze prayer for a higher sort of love, there is a level of emotional nuance that feels like something altogether revolutionary. It’s there again in the stripped-down vulnerability of the album-closing elegy “Please Don’t Go.” Yes, Feels So Good // Feels So Bad is an album about acceptance. Sometimes that acceptance feels enlightened and sometimes it feels like the end result of a lot of kicking and screaming. The Shivas have adapted in both of those ways. With new tours scheduled and a new album on the way, they’re still hoping--like all of us--for a new era of vibrant, cathartic live music. The lessons they learned from having their normal upended, though, have only helped them grow

Tougher Than Tough – Trojan Rude Boy Sounds is an exclusive release from Music On Vinyl’s Trojan compilation series, which celebrates the best works from the legendary reggae label Trojan Records. It was compiled by Laurence Cane-Honeysett, who also wrote the linernotes. Some of the artists featured on this compilation include Stranger Cole, The Pioneers and Alton Ellis. 2000 individually numbered copies on orange vinyl. The package also includes exclusive Trojan Records and Music On Vinyl coaster.

Soul singer Betty Harris – mainly known for her Jubilee and Sansu recordings – was born in 1939 in Orlando, Florida. As a teenager she worked as a mate for Big Maybelle who encouraged her to start singing. First recording was released in 1962, her major hit was a cover of Solomon Burke’s “Cry To Me” in 1963. Taken at a slower pace, Harris’ rendition turned the song into a Billboard Hot 100 number 23 hit and soon became a deep soul classic. A total of three further singles including a reissue of “Cry to Me” were released on Jubilee with “His Kiss”, which was released on January 4, 1964, another deep soul ballad, reaching the lower part of the Billboard Pop and R&B charts. In 1964, Betty Harris switched record labels to Sansu, a New Orleans label, where she was produced by Allen Toussaint. Her recordings with Sansu produced ten singles and Toussaint raw yet sophisticated Southern soul arrangements behind Harris’ rich, distinctive vocal, are considered prime specimens of the classic soul era. Soul Perfection, originally licensed on UK label Action in 1969 , was in fact a collection of her previous works on Sansu, a rare groove affair rapidly in demand between a crowd of obsessive fans all over the world. Harris retired from performing in 1970 to raise a family and made an occasional return in 2007 with the album Intuition.

WHEN TWO LONDON HIP-HOP HEAVYWEIGHTS JOIN FORCES, IT’S GOING TO BE “STYLE SO INCREDIBLE” THE ENIGMA HOWARD STEVENS PRODUCES A HARD HITTING SLAB OF B-BOY
ROCKING HIP-HOP FEATURING THE MAN WITH THE GOLDEN SOUND, LEWIS PARKER.

CONSCIOUS STREET LYRICS FLOW EFFORTLESSLY OVER THE UPTEMPO CLASSICALLY STYLED BEAT, WITH A FURIOUS FUNKY SCRATCH CHORUS & REMIX FROM PRODUCER/DJ JUICE. ADD A HOT VIDEO DIRECTED BY RINGZ OV SATURN AND THE
WHOLE HIP HOP PACKAGE IS IN ORDER.

THE ALBUM EXHALES A NEW TAKE ON THIS GENERATION OF MODERN / CONTEMPORARY JAZZ MUSIC CONTRIBUTED BY THE QUARTET. STARRING TRACISGREY, PROFESSOR CREEPSHOW, DOMSTA AND MACKJUNT.

After a hiatus of sorts NxT Records is back on home turf with the next eponymous EP from Rich NxT. The label, now seven releases strong, traces the timeline of his sound and the newest instalment continues to tell the story, in this, his first release of 2022. Feint starts off the package with one of those trademark modulated baselines that we know so well, with snatches of melody working against snippets of vocal, injected into the infectious groove. On the flip side we hear more of an experimental side with Pulley taking a brighter, more playful tone with slap bass melding with percussion alongside swirling synths, and then bringing things to a close, Rose takes us into tribal territory, where haunting, eerie synth lines meet rolling drums. Grab this one for the bag!

Spread across 4-tracks, the producer offers fanciful instrumentation and production while conveying a narrative of preservation for mother nature.
The theme of Mother Land is inspired by one of Nohan’s main interests: nature. In response to ongoing climate change and global environmental degradation, he opted to craft a project that captured the planet's beauty - with a message of sustainability.

The EP is a faithful representation of Nohan the producer - packed with his love for the piano, ipnothic synths, and suspended ambient compositions. The project opens with the title track - kickstarting the subtle, yet palpable production rooted in tangible instrumentation. “The world’s on fire… It’s calling out for you and me” are the opening lines from the vocalist, reminding listeners that earth’s fate revolves around us.

“Heavenly Sing” presents a more upstart offering, with loose shakers and scintillating keys leading. This more tropical take provides optimism in sound, serving as prose for uplifting introspection in headphones as well as the ADID dancefloor. “The Sun in December” reflects its title - somber piano leads the way through a serene, melancholy soundscape. The EP also includes an ambient take on “Mother Land,” which strips its electronic backing in the intro to draw focus to the words and theme of the project.

Noahn makes a perfect fit with this emblematic imprint.

Packed Rich is on fire, this time joining forces with IROCC for Pacced Rock. Blast these loud and move yo ass!