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Isaac Helsen and Zach Frizzell, the unfathomably prolific ambient producer known as zake, have been collaborating together again. They both run the Past Inside the Present label and despite great musical kinship have only put out two records to date: beliefsystems in 2021, and Atonements earlier this year, which first came on Zake Drone Recordings and now gets a cassette reissue on Past Inside the Present. It's a gorgeously hazy analogue affair made with a reel-to-reel and Korg Minilogue. "This album embodies the theme of letting go and moving forward with acceptance," they explain, and what a beauty it is too.

Writing music for film and theatre has always been a big part of Hania Rani's musical world. It is also a part of the creative process that can be tantalisingly out of reach for listeners, either the project doesn't come to fruition or the music simply isn't available away from the film or play. From early collaborations with friends, to last year's two scores for full length films (xAbo: Father Boniecki directed by Aleksandra Potoczek and I Never Cry directed by Piotr Domalewski') Rani has been involved in many such projects, each representing an important step in her artistic development and life as a composer and artist:

"Composing for motion picture or theatre is for me a very different kind of work than writing for my own projects. Firstly, I need to collaborate with somebody else who sees the world through the lense of their own art and craft. That's why these kinds of encounters can be so exciting - they are a promise of creating something very new, as a result of creative work of so many people from all walks of life. Secondly, I feel that music in film is an invisible character, a missing emotion that creates a special atmosphere and sensation. It doesn't illustrate, it completes the work of art. I think it is an extremely sensitive matter that rejects banal associations and easy solutions. I feel like composing for film works like an exercise for my imagination."

It is the nature of these collaborations though, that sometimes the composers own preferred compositions don't make the final cut. This is where Music for Film and Theatre comes in as it allows Rani to present a selection of her own personal favourite pieces composed for film and plays. Pieces that made it to the final cut and pieces that were rejected by the director or the producer. Bringing the music together as an album offers a chance for Rani to share her music with her listeners on her own terms and a chance for her fans to hear a different side of her art.

"I put them in one place, as a collection of precious objects that were kept for years in a drawer. Some of them were composed a couple years ago, some are the result of recent research. I am very happy to finally be able to present them as a separate project."

Rani is of course grateful to all of the directors who have entrusted her to create music for their projects, but she professes especially warm feelings for the pieces composed for her first 'real' theatre play, Pradziady, directed by Michał Zdunik. The title comes from 'Dziady' a term in Slavic folklore for the spirits of the ancestors and a collection of pre-Christian rites, rituals and customs that were dedicated to them. The essence of these rituals was the 'communion of the living with the dead', namely, the establishment of relationships with the souls of the ancestors. "I felt this story needed extremely dark and fragile music, and at the same time a sound that could express the mixture of the two worlds - the living and the dead. I decided to compose part of the soundtrack with a string quartet but including two cellos, viola and only one violin. We recorded in a little house, completely built from wood, mostly from Finnish pine. I always felt this space has a very special, warm and natural acoustics - especially when it is combined with string instruments. The track composed for this theatre play is called Ghosts but actually didn't finally make it to the performance, although I like it so much that I thought it would perfectly fit



this compilation". Other highlights include the enchanting Soleil Pâle written for a collaboration with director Neels Castillon, and improvising dancers Alt Take, the beautiful melancholy of In Between (from the film score for xAbo: Father Boniecki) and the magical bliss of The Beach (from I Never Cry) and together they create a beautiful offering from an artist whose every note is worth hearing, but for whom the journey is just beginning:

"I am very happy to see that many artists consider my music as the right soundtrack for their works, because film music was always a huge inspiration for any of my compositions. I find there a lot of life and real emotions, but also a feeling of freedom. Freedom from my own thinking patterns and prejudices. I also believe strongly in collaboration between people, I always feel this is the way to create something really new, based on a mixture of different ways of thinking, feeling, expressing."

This then is Hania Rani, Music for Film and Theatre – enjoy!

Strut present the first definitive retrospective of an icon of 1970s and ‘80s soul, jazz and disco, Patrice Rushen, covering her peerless 6-year career with Elektra / Asylum from 1978 to 1984. Joining Elektra after three albums with jazz label Prestige, Patrice had shown prodigious talent at an early age and had first broken through after winning a competition to perform at the Monterrey Jazz Festival of 1972. By the time of the recordings on this collection, she had become a prolific and in-demand session musician and arranger on the West coast, appearing on over 80 recordings for other artists. She joined the Elektra / Asylum roster in 1978 as they launched a pop / jazz division alongside visionaries like Donald Byrd and Grover Washington, Jr. “The idea was to create music that was good for commercial radio / R&B,” Patrice explains. “We were all making sophisticated dance music, essentially.”

Drawing on some of the leading musicians in L.A. like saxophonist Gerald Albright, drummer “Ndugu” Chancler and bassman Freddie Washington and keeping an open minded approach from her training in classical, jazz and soundtrack scores, Patrice’s music was a different, more intricate proposition to many of the soul artists of the time. “L.A. musicians were not so locked into tradition,” she continues. “None of us were accustomed to limitation and the record label left us to take our own direction.”

Early classics like ‘Music Of The Earth’ and ‘Let’s Sing A Song Of Love’ were among Patrice’s first as a lead vocalist before her ‘Pizzazz’ album landed in 1979, featuring the unique disco of ‘Haven’t You Heard’ and one of her greatest ballads, ‘Settle For My Love’. “Although ballads make you feel more vulnerable as an artist because they are often personal, I think listeners relate to that sincerity,” she reflects. By now, Patrice’s records were supremely arranged and produced as her confidence as an all-round writer, producer, arranger and performer grew. Slick dancefloor anthem ‘Never Gonna Give You Up’ and the ‘Posh’ album in 1980 led to her landmark album ‘Straight From The Heart’ two years later. Receiving little support from her label, Patrice and her production team personally funded a promo campaign for the first single from it, ‘Forget Me Nots’. It went on to peak at no. 23 on the Billboard Hot 100 and the album was later Grammy-nominated, while the track became a timeless anthem and popular sample, inspiring Will Smith’s theme for the film ‘Men In Black’ and George Michael’s ‘Fastlove’.

Patrice’s final album for Elektra, ‘Now’ kept the bar high with sparse, synth-led songs including ‘Feel So Real’ and ‘To Each His Own’. It concluded a golden era creatively for Patrice which remains revered by soul and disco aficionados the world over.

‘Remind Me’ features all of Patrice Rushen’s chart singles, 12” versions and popular sample sources on one album for the first time. Formats included a 3LP set and 1CD fully remastered by The Carvery from the original tapes. Both formats include an exclusive new interview with Patrice Rushen and rare photos.

• First definitive Patrice Rushen compilation released on vinyl since the ‘80s
• Includes all of her chart hits, DJ favourites and sample sources
• Official release featuring full interview with Patrice Rushen about her career and music • Features rare photos from her personal collection + some of the photographers she has worked with during her career
• Fully remastered by The Carvery from the original ¼” tapes
• Start of full Patrice Rushen reissue programme from her Elektra era

Repress!

Far Out Recordings proudly presents the first and only album from the mysterious Brazilian vocal sensation Dila (pronounced “Jee-la”). Having reportedly died in a car crash shortly after the album’s release in 1971, there is very little known about the woman behind the voice. But the joyous music Dila left behind, gives us a picture as good as any, of a powerful feminine soul at the top of her game.

The liner notes on the elusive original LP, written by composer Arnoldo Medeiros attest: “Friend, look out! Because when this girl starts to sing, you’re in trouble. Hold the railing so you don’t fall down the stairs, because she’s coming this way and shaking up everything.”

Arranged and produced by Durval Ferreira, alongside his studio band affectionately known as “Os Grillos” (The Crickets), Dila (1971) is a rare glimpse into the authentic soulful Samba sound of Rio’s favelas in the late sixties and early seventies.

A blast of funky, percussive Brazilian breaks, scorching hot brass and swing-laden piano, the music is as iconic as the album’s stark cover, as is clear on opener ‘Inez’, composed by The Crickets’ bassist Romildo. There’s a fantastic interpretation of the Ivan Lins classic ‘Madalena’ (made famous by Elis Regina), a moving version of the Tom Jobim and Vinicius De Moraes classic ‘O Morro Não Tem Vez’, and a number of sunny original compositions by Arnold Madeiros, who’s other writing credits include music for Marcos Valle, Wanderlea, Evinha and Dom Salvador.

With original LPs extremely hard to come by, this rare treasure of Brazilian soul, which fans of Gal Costa, Celia, Evinha and Elis Regina will love, gets a much-deserved official reissue: remastered and pressed to 180g vinyl.

Strut introduces a pioneering new compilation 'A Dancefloor In Ndola,' curated by revered East African DJ, Kampire. This release marks an evolution in Strut's approach to compilations, showcasing emerging DJ talent from across the world and embracing an innovative approach to musical discovery from the next wave of selectors. Forging her reputation through memorable sets for the Nyege Nyege Festival in Uganda over the last decade, Kampire now tours worldwide and is celebrated for her brilliantly curated sets spanning the full range of African music styles from the ‘70s and ‘80s to the present day.

Although born in Kenya to Ugandan parents, Kampire spent her formative years in Ndola, Zambia. ‘A Dancefloor In Ndola’ is inspired by artists and songs that formed part of her soundtrack during that time. “It is important for me to continually reference Africa’s own musical history,” she explains. “At 17, I didn’t pick up on my Dad’s music but now I love and collect those records. I’m constantly referencing them in my music sets today. I love that feeling of shared nostalgia where people recognise a song they haven’t heard in a long time. It is a touchstone for me when I’m playing.”

The compilation flows through different East African and South African genres from Congolese rumba and soukous to 1980s township bubblegum and the rich guitar-led sounds of Zambian kalindula. “There are styles of music on the compilation which are often considered unsophisticated from rural areas. I and other contemporary African artists and DJs draw inspiration from them; it is part of what makes us ourselves.” Kampire also shines the spotlight on many incredible women in African music from the ‘80s, including Congolese legends like Pembey Sheiro, Feza Shamamba and Princesse Mansia M’bila to V-Mash and Di Groovy Girls from South Africa.

‘A Dancefloor In Ndola’ is released on 2LP and CD and features exclusive new edits by Kampire alongside personal liner notes tracing her links to the music. Cover artwork montage is by Canon Rumanzi and vinyl restoration / mastering by The Carvery
Debut compilation by one of East Africa’s leading new generation DJs, Kampire.
Mix of African classics and rarities spanning 1970s – 1990s from Congolese soukous, South African bubblegum and Zambian kalindula.
Shining the spotlight on women in African music Pembey Sheiro, Feza Shamamba and Princesse Mandisa M’bila.
Exclusive cover artwork collage by Canon Rumanzi.
Worldwide DJ dates supporting release during Summer and Autumn 2024.

Original members of Sheffield’s Human League, Martyn Ware and Ian Craig Marsh left after the first two albums
and formed Heaven 17 in 1980. Named after a fictional band in Anthony Burgess’s “A Clockwork Orange”, they
recruited Glenn Gregory on vocals (who had been the original choice for lead singer of the Human League).
Signed to Virgin Records, debut single “(We Don’t Need This) Fascist Groove Thang” attracted a lot of attention in
March 1981, and a BBC Radio 1 ban. Recorded in Sheffield and London, debut album “Penthouse And Pavement”
was released in September 1981 and was certified Gold the following year, and also contained the singles “Play To
Win”, “Penthouse And Pavement”, and “The Height Of The Fighting”.
This new edition has been expertly mastered by Barry Grint at AIR Mastering from the original stereo tapes using
precision half-speed mastering. Half-speed mastering is a vinyl cutting technique that improves groove accuracy
and transient information creating an incredibly detailed stereo image with a natural high frequency response.
Presented in its original sleeve, pressed on 180-gram heavyweight black vinyl, featuring an obi strip and housed
in a poly-lined inner sleeve, with all the lyrics and credits plus photos on the 4-page insert.

Big Yawn - NGB

Research Records welcomes back Melbourne quartet Big Yawn for their fourth full-length offering, "NGBE."

Big Yawn's ability to blend complex rhythm sections with infectious basslines, deep synth work, and tongue-in-cheek sampling remains ever-present, and perhaps is the most advanced we've heard yet.

Sitting in a world of its own, the album—named after the group's beloved and lost warehouse space, National Gallery of Brunswick East (where most of the material was recorded)—features a wide array of soundscapes spanning mutated drum 'n' bass, low-key grime, rap, and dub-wise antics, all laced with a heavy dose of FX.

Equal parts deep and menacing, the nine tracks encapsulate Big Yawn's evolution in the studio and on stage, most notably through their collaboration '2Stroke' with Melbourne-based future rap prodigy Teether and brought to life visually with album artwork by Julian Hocking.

In November 2023 we celebrated NOW’s 40th anniversary with a collection of massive Pop hits – but with 40 years of hits to choose from we had to leave out so many fantastic tracks – so it’s time to continue that celebration with NOW That’s What I Call 40 Years - Part 2 – again honouring the legacy with a stellar selection from the past four decades of NOW. Embark on a musical journey from 1983 right up to the present day. Released on a triple vinyl set pressed on Green, Clear Transparent, and Pink LPs with 43 essential hit tracks. and 100 essential hit tracks across the 5 CD set

Much time has passed since the Queer Australian/Italian-Armenian, multifaceted artist, Kristian Bahoudian aka Kris Baha, swapped the parched red earth and searing midday sun of the Australian landscape for the brutalist communist-era apartment blocks and slate-grey skies of former East Berlin. Kris is now a fixture in Berlin’s club scene and has toured most of the world as a DJ & live artist with his own unique production style of cyber industrial, EBM, wave, post punk, and early ‘90s IDM mutations. Remixing some of the scene’s most notable artists such as Boy Harsher and techno pop lord Boys Noize, Kris has garnered respect and trust in the electronic music scene for the last 13 years. To respond to the current AI revolution, Kris uploads himself to the cyber ether through his latest project: GHOSTS IN THE MACHIИE.

Across Dual Timelines —
” GHOSTS IN THE MACHIИE ” unfolds as a sci-fi cyberpunk concept project inhabiting dual timelines. In one, we glimpse a trans-humanist future where human consciousness exists as intricate sequences of binary code, entwined and controlled by omnipresent AI systems. In this coded future, a profound awakening stirs among a select few who manage to mutate the code they were governed by, unlocking memories of their history that was erased by the AI. Through this discovery they realize they can traverse temporal boundaries and utilize this power to send warning messages back in time to their former fully human selves. These eerie missives carry a dire warning for humanity, urging them to rectify the course of society before the relentless march of artificial intelligence deprives humanity of its essence. In this terrifying future, humans are rendered mere specters within the digital expanse, stripped of their souls, to become Ghosts In The Machine.
Collaboration with the future self —
The cyber odyssey unfolds from a unique perspective— Kris’s very own future self (his future ghost): a spectral entity endeavoring to caution its present incarnation against the ominous path it treads, attempting to avert a dystopian future.Sonic Alchemy —
A fuse of cybernetic synth waves, hyper-punk, and pulsating drum and bass laid out against the dystopian, industrial sonic landscape of this grim future “civilization”. Each track recounts a new chapter in the gripping narrative, drawing listeners deeper into their own story and the role we all play as a collective society with the future possibilities of unregulated AI.Recorded in Berlin with software and hardware synthesisers. AI was used to assist me with lyric themes, concepts and ideas. I also used a trained AI model of my own voice as backing vocals in ‘Haunting Me’.ll music, words & concepts by Kristian Bahoudian aka Kris Baha and his future ghost,
GHOSTS IN THE MACHIИE

Repress!

Far Out Recordings Proudly Presents The 1975 Self-titled Debut Album From Brazilian Vocalist And Bossa Nova Luminary Emilio Santiago. Nicknamed 'the Nat King Cole Of Brazil', Santiago Was A Master Bossa Balladeer And A Top-class Crooner. But He Is Known Equally For His Brazilian Funk, Soul And Boogie Classics. One Of His Best Know Is Album Opener 'bananeira', A Party-starting Version Of The Song Originally Written By Joao Donato And Gilberto Gil. 'brother' Is A Smooth-grooving Killer With Great Horn Arrangements And A Huge Backing Choir, While 'la Mulata' Is A Soulful, Swinging Salsa Stepper.
Originally Released On The Cid Label, The Album Showcases The Full Range Of Emilio's Talents, While Paying Homage To Some Of Brazil's Greatest Composers, Including Jorge Ben, Marcos And Sergio Valle And Ivan Lins Among Others.
The Credits On The Album Are A 'who's Who' Of Brazil's Greats, With João Donato On Keys, Wilson Das Neves, Ivan 'mamão' Conti And Paulinho On Drums, Durval Ferreira, Carlos Roberto Rocha And Helio Delmiro On Guitar, Ariovaldo, Orlandivo, And Chacal On Percussion, Danilo Caymmi On Flute, A Brass Section Featuring Victor Assis Brasil, Edson Maciel And Jesse Sadoc, And Backing Vocals From Jaime And Nair, Lúcia Lins, Jurema And Marcio Lott.

White w/ Red Splatter Vinyl. For their third album As You Please, Citizen is looking inward. Pairing up again with longtime producer Will Yip, the band presents twelve songs that fuse aspects of their entire catalog into one neoteric whole. While the cathartic melancholy of their debut Youth and the jarring intensity of 2015's Everybody is Going to Heaven are both present, the most welcome addition to Citizen's arsenal on As You Please is the range of auxiliary instrumentation and sonic experimentation on the album. This is most notable on "In the Middle of it All," where vocalist Mat Kerekes is sampled singing the song title in a modulated, haunting chorus that echoes throughout the song. The addition of organs and unconventional drum effects on songs like "You Are A Star" and "Medicine" create shifting emphases on tension and frailty, while the huge choruses of songs like opener "Jet" and "I Forgive No One" are reminders that while Citizen dove headfirst into uncharted territory with their new album, the band is still as good as ever at writing emotionally-charged anthems. As You Please presents Citizen's vision at the most focused it has ever been - it is delicately crafted to provoke at every moment.

Following up on Ohm Hourani’s infectious single “Barbara” which included a remix from Ricardo Villalobos and Amir Javasoul, We R The Aliens is happy to present its fifth release this June with another V/A from all-star cast: Boronas & Snad, Bärtaub, Mountain People and Nesta. Tap in and make some space in your record bag


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Following up on Ohm Hourani’s infectious single “Barbara” which included a remix from Ricardo Villalobos and Amir Javasoul, We R The Aliens is happy to present its fifth release this June with another all-star cast: Boronas & Snad, Bärtaub, Mountain People and Nesta.

Boronas & Snad set the tone with ‘Affliction,’ laden with haunting synth work, rolling MPC percussion, meticulous backspins and mind bending delays. Fresh off an outing for Yoyaku’s main label, Istanbul duo Bärtaub give a strong nod to the 90s and the cult E- MU rompler with ‘Orbit The Dance Planet.’ Their track fuses bumpy breaks and robotic voices with ghastly chords, a snaking bass groove and of course, one-shots from the Orbit.

Mountain People kicks off the flip side with ‘I Am The Void,’ characterized by shuffled drum grooves and soft chord sequences intertwined with murky, dubbed out stabs. Beirut’s Nesta rounds out the release with ‘Tarte Citron,’ a late 90's tech house reminiscent track with crisp percussion, airy synth flutters, swelling sub bass tones and a catchy vocal hook.

“Todavía No”, La Paloma’s debut album, consolidates the young band from Madrid as one of the realities of the current scene. Undoubtedly, it’s definitely a bold step forward in all senses: compositional, interpretative, and artistic. Noise-rock to combat all the noise out there.

In “Una idea, pero es triste”, their celebrated debut EP, La Paloma expounded something very serious, but they explained it only once. Five songs that instantly connected with an audience eager for new references. In “Todavía no” there is more depth; here practically each cut shows a different shade of being La Paloma. “Tiré una piedra al aire” is far from “Algo ha cambiado”, but both are unequivocally La Paloma. Surely, this is something that can be attributed to the baggage acquired during this time lapse, but it certainly speaks very well of the artistic ambition of a band to which now seems to have no ceiling.
We are not, therefore, facing a mere extension of their 2021 EP, although musically they pick it up from where they left off. “Todavía no” is an accessible and contagious work, equal qualities shared with “Una idea, pero es triste”. It’s a work that conveys discontent and liberation, ambition and boredom. In large part, it’s due to the accredited ability of its composers Nico Yubero and Lucas Sierra to observe the world with the right dose of skepticism and disappointment, avoiding tormented gesticulation.
The presentation tour that followed the publication of the EP was extensive and led La Paloma to defend their songs throughout the Spanish geography, as well as visits to Portugal, Mexico and the United States. That state of grace was transferred to the studio, where they tried to reflect their live sound and proposal. With an elegant production and without undue frills, the mission of preserving the sharp fang shown in concert halls was achieved, ensuring, in turn, that the elements, arrangements and the proposal of each instrument were heard crystal clear.
Right from the start, we notice in the sequence many of the virtues that make La Paloma one of the most advantaged groups of the current scene: gushing guitars, the solidity of its rhythm section with Rubén Almonacid on bass and Juan Rojo on drums and the color tone provided by the voices of Nico and Lucas, who share the vocal tasks on alternate tracks.
But there’s more: songs that destroy the most generic canon of noise-rock to take it to little-explored territories, frantic guitar games and a cascade of imaginative arrangements. It combines popular song constructions with unpredictable structures that prevent you from anticipating what twist is to come next, making listening experience exhilarating and addictive.
“Todavía no” is a tightly cohesive album, a remarkable fact considering the two creative inputs from which the band draws from and the artistic ambition with which they faced the building of this work. Because we are talking about a complete work, conceived as such. The first chords of “Sigo aquí” sound and the disorganization of reality… is still disorganized, but somehow it makes sense now.

Veyl is pleased to welcome Velvet May for his debut LP on the label. Enchanted By The Muse marks a new and exciting direction for the Italian-born, Berlin-based artist whose aesthetic focuses on post-punk, techno and industrial music. This album embodies May’s exploration and experimentation of various musical directions, reflecting a fusion of industrial, rock and electronic elements. It also symbolizes a new approach, spanning genres and styles and exploring his sound from every angle.
Conceptually, the album reflects a realm of emotional dissonance in an industrial desolation - where harsh electronic textures mingle with gritty industrial and rock elements. Also present are echoes of punk's raw energy and adrenalinic drive, a musical journey through shifting moods and atmospheres, serving as a soundtrack to different aspects of life and capturing the essence of its high and lows.
From the opening track, “Now That You Have Left It All”, we are lured into a thrilling sonic dimension with a shot of energy that sets the stage for journey ahead. “Keep On Falling” injects a dose of rock which we find throughout the record fused with the artist’s signature blend of postpunk, industrial and techno strains. Tracks like “The Outsider” and “Slithering Serenade” conjure raw, distorted rhythms and a menacing fuzz which bleeds out of the speakers while “Scales of Gold” traverses back through infectious body and wave. “Illusion In Control” is the perfect climax, a musical assault that shatters boundaries and blurs the lines between reality and fantasy.

Original members of Sheffield’s Human League, Martyn Ware and Ian Craig Marsh left after the first two albums
and formed Heaven 17 in 1980. Named after a fictional band in Anthony Burgess’s “A Clockwork Orange”, they
recruited Glenn Gregory on vocals (who had been the original choice for lead singer of the Human League).
Released in April 1983, second album “The Luxury Gap” featured the Top 5 hits “Temptation” and “Come Live
With Me”, as well as “Crushed By The Wheels Of Industry” and “Let Me Go”. The album was certified Platinum in
February 1984 for sales of over 300,000.
This new edition has been expertly mastered by Barry Grint at AIR Mastering from the original stereo tapes using
precision half-speed mastering. Half-speed mastering is a vinyl cutting technique that improves groove accuracy
and transient information creating an incredibly detailed stereo image with a natural high frequency response.
Presented in its original sleeve, pressed on 180-gram heavyweight black vinyl, featuring an obi strip and housed
in a poly-lined inner sleeve, with all the lyrics and credits plus photos on the 4-page insert.

For the 20th Pleasure Club release we are very happy to present an EP from two core members of the Pleasure Club family - Johnny Hunter & Remi Mazet.

The "Passing Through Fyah EP" comes via the connected mind of both artists, with a record which spans and blurs the realms of house, techno and electro. Characterised by dubwise basslines, cosmic synth work and expert drum programming, this one feels like the perfect way for us to celebrate the two zero milestone.

A big shout out to everyone who has supported the label until now. We really appreciate it <3

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

"Southern Rock Opera is the third studio album by the American rock band Drive-By Truckers, released in 2001. Originally released as a double album covering an ambitious range of subject matter from the politics of race to 1970s stadium rock, Southern Rock Opera either imagines, or filters, every topic through the context of legendary Southern band Lynyrd Skynyrd.

New West Records is proud to present a remixed and remastered deluxe edition LP featuring a resequenced record as well as a third disc with multiple bonus tracks including a song “Mystery Song” that was recorded one night in Birmingham. Lead Singer, Patterson Hood explains, ““Birmingham” and “Moved” were originally part of Act I on original CD release. This is the first vinyl version to feature “Moved” and we felt that “Birmingham” would be the best other song to move without messing up the story element of Betamax Guillotine. We moved them here to keep the vinyl sides within time of maximum high fidelity. (Under 23 minutes per mastering guidelines).

In the process of re-mixing the original tracks for the album. We stumbled upon a mysterious track that was recorded late one night in Birmingham. None of us have any memory whatsoever of recording it. The song itself was never even written down, just made up on the spot while the tape was rolling. We’re calling it “Mystery Song.” It’s actually a keeper.”

This 3-disc deluxe edition comes packed in a foil stamped rigid slipcase with the original album packaged as a 2xLP set in gatefold. The 3rd LP is packaged in a separate jacket. Each record comes with a 28-page book that is given the spot gloss treatment throughout."

For the thirteenth instalment of the Swinging Flavors catalog, Beat Machine Records presents a gem of pure energy by the talented Kyoto-based producer Naco. Set to ignite dance floors worldwide, this release delivers an electrifying fusion of acid, techno, and breaks, with a rave-inspired twist.

Naco, known for his innovative approach to electronic music, defies convention with his genre-defying sound. Drawing inspiration from Bass, Breaks, and Electro, Naco creates a distinctive sonic landscape that captivates audiences worldwide. Since 2017, he has been at the forefront of the music scene, spearheading 85acid, a label dedicated to showcasing emerging talent from Japan and beyond.

"Wavefunk," the lead track on Swinging Flavors #13, is a testament to Naco's unparalleled creativity and sonic mastery. With its infectious rhythm and hypnotic melodies, the fast-paced percussion and minimal character of the release "Wavefunk" transport listeners to a dimension where the boundaries between genres blur and the energy is palpable.

But the journey doesn't end there. Swinging Flavors #13 also features a remix of "Wavefunk" by We Rob Rave. The Polish duo injects his fresh signature style into the track, taking it to new heights and delivering an unforgettable dance floor experience. Transforming it into a full club experience, increasing the beats, and immersing the listener in a rave-like atmosphere fueled by danceable rhythms and an acid edge that cuts through the dance floor.

Another surprise that comes with the latest Swinging Flavors is 'Pure Water,' exclusively on Bandcamp. Let yourself be carried away by the bouncing sounds that make up this Break-style track, closing an energetic and vibrant release.

Naco's music is really pushing the boundaries of electronic music, inspiring both listeners and fellow artists. With a solid track record and a strong commitment to musical innovation, Naco is definitely going to leave a mark on the global music scene.

Chicago's Black Diamond debuts on We Jazz Records with their new album Furniture Of the Mind Rearranging on 26th July. Co-led by Artie Black and Hunter Diamond (composers, saxophones, and other woodwinds), Black Diamond appears in both quartet and duo formations. The first three album sides present the quartet, complete with long standing band members Matt Ulery (double bass) and Neil Hemphill (drums), under the heading Furniture Of the Mind. The remaining two tracks on side D fall under the title The Mind Rearranging, with Black and Diamond presenting a meditative duo encounter of two tenor saxophones.

Furniture Of the Mind Rearranging is an assemblage of new compositions and improvisations that develop the band's established sound and exemplify the way in which this band folds into the Chicago creative music community. The quartet traverses their familiar aesthetic ranges between driving off-kilter groove, plaintive minimalism, and intimate chamber music, with the everpresent spirit of small-group jazz and a hovering influence of Chicago’s improvised music culture. And while this collection represents three previous

albums and more than a decade of close kinship and artistic evolution between co-leaders Black and Diamond, neither are too precious about any one element on the album. This is very simply the latest work in what continues to be an expanding body work founded on a guiding principle: cultivation without expectation.

The four sides with two formations flow together in a natural way, forming an idiosyncratic musical entity that is sure to grow with each new spin on the turntable.

Pelican Dub 001 presents a diverse selection of tracks crafted by DJ Merlín. It kicks off with 'Birth', an immersive opening tune with a desolate forest feel. The EP flows into Pacito and Sucram, two livelier tracks featuring breathy percussion, slimey analog synths and Birdlike FM cry’s. On the flip side, Theatre Dub (DNB mix) leads the way with heavy drums and cheeky melodies. Closing the EP is Morgana=Nostalgic, a smooth and wistful breakbeat perfect for late-night explorations.

Ben Reed has worked with Frank Ocean, David Byrne, Sampha and many others, but his own music is unpredictable, passionate and tinged with melancholy and has drawn comparisons to the so-called Canterbury sound of Progressive rock.


‘Bandaged’ is much more in the singer/songwriter vein than Ben's previous releases, albeit tinged with an undeniable British proggy-ness. The richness of melody and harmonic vocabulary remains, and the influence of jazz is still detectable, this time via more concise song forms.


Past review comparisons to the Canterbury sound aren't too far wide of the mark here, especially as Jimmy Hastings (Caravan, Hatfield & the North) is present on two of the songs.


Throughout the album there is a detectable combination of sentimentality and melancholy combined with playfulness and a dark sense of humour making ‘Bandaged’ one of the most interesting and innovative new albums of its genre in 2023.

Warehouse Find!

As I-Robots launches a new compilation series that celebrates the roots and influences of Italo disco in Turin and the Piedmont region, the Opilec Music boss also offers up various singles from it with some special remixes and edits. After an EP from Johnson Righeira last summer comes the latest one featuring the legendary Captain Torkive and two of his tracks as well as some special versions by I-Robots. Captain Torkive is Daniele Torchio, an Italian artist active in the late seventies & early eighties who got his nickname from a love of UFOs and space, in fact the titles here are inspired by the Superman DC Comics classic.
He has worked with the likes of Valero Liboni and all the material here is officially licensed from Ponzo Records master tapes. His tracks here are some of the most rare 7" Italo space disco tunes from Turin's rich history and feature synthesizers and electronic effects that he made himself, as well as guitars and keys he also played. Up first comes the I-Robots 1979 Reconstruction of Flying Saucers To Krypton which marries both tunes into a lush retro space odyssey that shimmers and rockets through the cosmos with live drums and jangling bass. Rounding off the A side is 1979 original version of Krypton' which is just as dazzling and spaced out with layers of synths and arps all sounding squelchy beneath some robot vocals. Kicking off the B side is the I-Robots 1979 Space Reconstruction of Flying Saucers To Krypton that strips some of the layers and keeps one lead synth line and some ascending spaceship sounds, as well as a lovably loose groove that really stomps along with real character. Last but not least is the original 1979 version of Flying Saucers, a cosmic tune with sci-fi sounds and melodies shooting about above big disco grooves with the keys and synths that carries you away to another galaxy. This is another essential package from Opliec Music that shines a light on an artist and era that deserves all the attention it can get.

Outsider ambient soundscape by two musicians from the Paris alternative : Désiré Bonaventure & Zach.

An enchanted yet psychedelic dream-like ballad recorded in one take in an ephemeral delirium; borrowing from dub, drone, IDM & techno, reflecting singular inter-worlds and inviting us to join them.

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Rue des Garderies is a distillate produced by the spontaneous collaboration of Désiré Bonaventure and Zach, two musicians evolving in the Parisian alternative scenes and so named in homage to a former local hotspot of other-music Rue des Gardes - now bygone - where this improvisation took place. Accustomed to exorcising time and space with the multidisciplinary collective †een▲ge g:-)d, Zach has also been evolving in various frequencies - beatmaking, mastering - for over 15 years. Désiré Bonaventure, on the other hand, is a member of the duo Euphonic Alliances Ltd. and R.A.F. Soundsystem.

Rue des Garderies was recorded in one take, using samplers and effects, amidst a tangle of cables, with eyes closed, as dawn approached, in anticipation for another moment of the present. Here, Désiré and Zach delve into the in-between worlds (musical, but not limited to), immersing themselves in their cracks, folds and emanations, attempting to narrate them to us.

From this material they shape a new alchemy lasting over 1h30, akin to a prolonged journey into psychedelia, drawing from various currents (such as ambient, drone, IDM, dub techno, and the English electronic scene of the 1990s), rich in organic and analogue textures that overlap, stretch, fold and expand.

The result is a grand and ethereal fresco, with shifting colours and textures, evoking astral projections and sporadic rhythms; a whole other world, populated by shapes, hues and new lives, forming a complex but enchanting sound essay.

Born of a fragile chaos, Rue des Garderies is an ephemeral harmony that accompanies moments of existence; a dance without tangible movement.

Long-awaited reissue of an interesting and rare masterpiece by jazz guitar virtuoso Joe Pass, who took on jazz funk! (Made in 1971) This is the first release on Gwyn Records, a minor label in California, and features a very impressive lineup. Paul Humphrey and Earl Palmer on drums, Carol Kaye (label owner) and Ray Brown on bass, J.J. Johnson, Tom Scott, and Conte Candoli on horns, this is truly a historical session that brought together the top musicians of the West Coast at the time. From the cool funk of "Better Days" at the beginning of the session, almost the entire album was a storm of jazz funk. Free Sample" by Joe Sample, "Burning Spear," with its impressive undulating beat, "Head Start," with its too-subtle bass line, and the boogie shuffle "Gotcha! The jazz bossa "Balloons" and the weepy medium soul "It's Too Late" also have an outstanding presence. Not only can you enjoy Pass' intelligent soul-jazz guitar playing that hits all the right notes in a single tone, but the groovy, funky rhythm section is the best you'll hear on the West Coast.

The opening track to the Alan Parsons Project’s Eye in the Sky remains the most recognized instrumental in sports—fanfare inseparably tied with introducing NBA legend Michael Jordan and his six-time world-champion Chicago Bulls mates before games, and still used by many teams as an energy-raising prelude. Indeed, the subdued grandiosity, cosmic bluster, and lights-out wonder of “Sirius” sets the table for the band’s smash 1982 album, whose hallmark smoothness, lushness, and balance extend to the music’s exquisite song writing, dreamy emotions, and underlying orchestral scope. Credit for the record’s craft, cohesiveness, and accessibility also falls to Alan Parsons and creative partner Eric Woolfson’s knack for recruiting session pros that translate their visions with unquestioned feeling—particularly, vocalists who include former Zombie leader Colin Blunstone and soul singer Lenny Zakatek.

Mastered from the original master tapes, Mobile Fidelity’s RTI pressed 180g 45RPM 2LP version of Eye in the Sky features succulent warmth, magnificent balance, low-end heft, and see-through transparency that take you into the studio with Parsons at Abbey Road Studios. Each note seems perfectly placed, every sequence painstakingly considered. Boasting front-to- back depth, concert-hall-level separation, realistic presence, and bang-on accuracy. This release will test the capabilities of the world’s finest stereo systems. There’s more information, more texture, more nuance— more of everything to be experienced. British progressive rock would never again sound so sophisticated, suave, or steady.

Amazingblaze returns to home label KNTXT with an exhilarating new release that shows another subtle evolution in his style. His Touch The Sky EP features four standout new tracks that are sure to make a global impact.

Amazingblaze emerged as a pivotal tastemaker in the new school scene, marking his debut on KNTXT in 2022 with his Venture EP. Last year, he further solidified his presence on the label, with the release of two EPs and a remix of Charlotte de Witte’s single ‘High Street’. He has been obsessed with music since a young age and that shows in his productions which blend the inspirations of his youth with plenty of fresh contemporary style. His releases consistently aim to leave a significant mark on the club scene, and this latest EP is no exception. With powerful grooves and emotive synths, it sets the stage for another impactful experience.

Amazingblaze on his new EP: "Touch The Sky is a blend of emotions of early trance with the shape of a modern look. From start to finish it's catching you with pleasant pressure and doesn't let you go. Really proud of this one!"

Charlotte de Witte adds: “Amazingblaze is back and I'm just obsessed with these four tracks. They're all masterpieces, representing his very unique and distinctive sound. I'm very proud to be able to welcome him again on the label and continue to be a place he can call home.”

Opener Touch The Sky is a high speed and fresh techno sound that is laced with euphoric trance synths and a heartfelt vocal. It is sure to get hands in the air and dance floors locked into its spell. Kaleidoscope ups the ante further with more scintillating hard techno drums and flashes of synth that will chime perfectly with strobe-lit clubs. A spine-tinging breakdown features angelic vocals before the drums kick in and power things to the next level. Thank You, God Always is more straight up with hard edge drums and synths that spray about the mix with bright rave energy and futuristic soul and last of all is Habits, an urgent and high speed wave of lush trance techno with a classic vocal stab and more celestial voices drifting up to hypnotic effect.

This is another big release from Amazingblaze that shows he has plenty of new tricks up his sleeve.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

Off the back of their three releases in 2023, The Trip present their first remix EP. Inviting some of their favourite artists including Spray, Aldonna, Liquid Earth and Adam Collins, each have taken it in turn to remix a track from their back catalog on Tessellate. Got all bases covered here, a bit of tribal, bit of more techy stuff, some prog and some acid thrown in for good measure.

Acid Jazz's announcement of the 30th anniversary 2LP remastered edition of Mother Earth's The People Tree is a momentous occasion for fans of acid jazz and soul music alike. Originally released in 1994, this album holds a significant place in the genre's history, blending elements of soul, funk, and folk-tinged rock from the 70s with a modern twist. The special edition reissue boasts the original album, along with three previously unreleased tracks and six making their vinyl debut. Remastered from the original analogue recordings, this release promises to breathe new life into the beloved classic. Featuring guest appearances from iconic artists like Paul Weller, Dee C Lee and Simon Bartholomew of Brand New Heavies, The People Tree is a testament to the collaborative spirit of the acid jazz scene. Notable bonus tracks include the previously unreleased alternative version of 'Apple Green,' an alternate take on 'Illusions,' and the title track itself. First-time vinyl cuts offer fresh perspectives on tracks like 'Jesse' and 'Slide Sweet Baby,' adding depth to the listening experience. The album's presentation is equally impressive, with a beautiful 'wide-spine' layout, printed inner sleeves, and insightful notes from label-founder Eddie Piller, accompanied by unseen photos from the original cover shoot. Overall, this anniversary edition of The People Tree is a album worth your time as it often selected for one of the best examples in the genre.

Boxed set of five 7-inch vinyl records, 300 copies limited edition. Artwork poster included.

All tracks remastered from the original master tapes.

Alessandro Alessandroni is no longer remembered simply as 'the whistler' in Morricone's spaghetti western soundtracks – and rightly so, since he was the key figure behind much of Italian 'secret music' from the 60s and 70s, always there in the studio during recording sessions, whether as a multi-instrumentalist or as the leader of session vocal group I Cantori Moderni di Alessandroni. Today his pervasive presence and important role has been finally recognized by music professionals and enthusiasts alike, so much so that he is now considered the true father of Italian library music – a genre whose sound he shaped since 1968.


As a film composer, Alessandroni often worked for small productions that had very limited (and often regional-only) distribution, and whose budgets were worlds apart from those in the 'top league' where friends and colleagues like Morricone, Bacalov, Trovajoli or Piccioni thrived. Rarely released as a soundtrack, this music ended up, at best, forgotten inside dusty ¼-inch reels or, at worst, disappearing into thin air.

After a string of releases that have brought back to life forgotten or lost works by Alessandroni (Sangue di Sbirro, Afro Discoteca, Lost and Found, etc.), it was pretty natural for us at Four Flies to start delving into a little investigated area of his filmography: his scores for erotic films, the last genre to gain popularity in the flourishing Italian film industry of the 60s and 70s, and perhaps the most extreme too, the one that, by pushing things too far, eventually put an end to that industry and its genres.

So, we're now very proud to present Alessandroni Proibito, an exclusive boxed set of five 7-inch records. It contains a total of 14 previously unreleased tracks from the soundtracks of 4 soft-core erotic films that included hard-core sequences and, therefore, fell somewhere in-between normal commercial distribution and the underground scene of adult movie theatres.

Taking an artisanal approach to his musical craft, Alessandroni was not afraid of having to deal with spicy subject matter, wobbly productions, implausible plots, improvised actors, or cinematographers who were clearly no disciples of Storaro. And he was so good at making a virtue out of necessity, at turning budget constraints into creative advantages, that he created soundtracks that far surpass the films' quality, with music that at once captures and elevates the spirit of the erotic genre as if into a condensed symbol.

More specifically, the maestro recorded many of the pieces in a DIY fashion at home, using a 4-track Teac tape machine to arrange his compositions. The Teac allowed him to play different instruments on each track, which meant he could basically put an entire soundtrack together all by himself, or almost all by himself.

These recordings often feature drum machines – which provide that retro, early electronic music vibe – as well as funk guitars and exotic-sounding percussion in the rhythm tracks. In addition, there is an extensive, almost bewildering use of synthesizers to replace solo instruments that would have required a paid session player. On top this minimalist arrangement, Alessandroni layered what he could: some piano chords, a little flute and, most importantly, his signature 12-string guitar phrasing.

The result is just stunning: a unique mixture of electronic music and acoustic instruments, in a style that stops short of kitsch and ranges from cinematic ambient pieces like "Tensione erotica" to disco-funk tracks like "Snake Disco" and "One Sunday Morning", both of which feature vocals by Alessandroni himself.

Alessandroni Proibito comes with artwork by Eric Adrien Lee and a matching 30x70cm folded poster inspired to the insert-size posters which used to be hung outside movie theatres to attract cinema-goers.

The boxed set is being released in a limited edition of just 300 copies and will never be reissued. First come, first served.

Intangible Records presents The Seven Grand Housing Authority aka Terrence Parker - The Question incl. Underground Resistance & Octave One remixes!!!
This release came originally out on Simply Soul in 1993.
Don't miss this classic. Highy recommended!

Following the release of ‘Just Something’, her acclaimed comeback album at the end March, Dee C Lee is back with a brand-new single ‘Back In Time’, with a special 7” on Acid Jazz.

Having served as the album’s thrilling opening track, for this release there is a new radio mix, highlighting the slick, disco-tinged soul at its heart - a perfect soundtrack to the summer.

The 7” is backed with ‘Walk Away’, written with fellow Style Council member Mick Talbot, and already a firm fan favourite after its digital release preceding the album.

It is presented in a wonderful picture sleeve, with a new portrait of Dee by Will Parsons, with a classic Acid Jazz disc label. Limited to 500 copies - pre-order is recommended!

To Celebrate the tenth anniversary of their groundbreaking debut album 'Sadnecessary', Milky Chance presents an exclusive vinyl premiere: a limited edition 7-inch picture disc featuring 2 acoustic songs.

With an acoustic version of the evergreen hit 'Stolen Dance' on the A-side and the fan favorite 'Stunner' on the B-side, this vinyl is a treasure for fans and music enthusiasts. Wrapped in the disguise of a homemade CD, it feels as if Milky Chance has personally handed over their old demos to you.

2024 Re-Release
Newly formed archival label Fresh Hold presents one of Australia’s most mysterious jazz long players - Singing Dust, in collaboration with Efficient Space. Almost bound for obscurity from its inception, the eponymous creation of Queensland-based jazz pianist Robert Welsh was originally issued in 1986 on Melbourne independent label Cleopatra Records. Rich in compositional sophistication and expressive performance, Singing Dust resembles a unique fusion of Indian devotional song, the jazz piano styles of Bill Evans and Keith Jarrett, English folk and Debussey’s tonal impressions, bearing little similarity to the dominant commercial and subcultural music of its time.

Representing a culmination of Welsh’s influences in and outside of music, the dynamic collection of seven compositions accompany the Ghazal devotional poems translated by Australian poet Francis Brabazon. While Singing Dust sits loosely within the spheres of exploration that many jazz players took into world fusion in the '80s, it stands alone in its bright searing light of truth, love and austerity.

A true work of dedication and posterity that will appeal to many serious music lovers, the album has finally been transferred and remastered from original tapes by Dan Elleson, superseding the imperfect 1986 pressing and fully realising Welsh’s expansive vision.

BALTHVS is THE premier eclectic & psychedelic world funk trio from Bogotá, Colombia, sparking a counterculture revolution in their home country.

Cause & Effect is BALTHVS's second record. An evolution from its initial chill psychedelic sounds portrayed in 2020's 'MACROCOSM'. Owing to its Colombian roots, the album has plenty of Latin American rhythms, as well as ventures into Deep House, Turkish Music, Vaporwave, Trip-Hop and Disco. Their signature psychedelic elements are always present, ready to engulf the listener in a hypnotic trip across time, space, cultures, and different eras.

The name of the album reflects an ancient hermetic axiom. Nothing is accidental, everything is invoked. Chance or fate are names for a cosmic law not comprehended. Everything you do, consciously or unconsciously will come back at you, nothing happens without reason.

"To change your mood or mental state - change your Vibration" A fragment from the Kyballion has deeply resonated with the band in recent years. Everything is mental, as Above so Below. BALTHVS deeply believes in these tenets, and their manifestation is through music. Melodies that try to resonate deep within and generate a different type of Vibration.

From the psychedelic experience arises a more balanced lifestyle, and from arduous and uncertain times arises the desire to have inner peace of mind. Music is medicine for the soul and the trio plays this music to wind down, relax, and be more present. It's music from the 21st century, a time when the world has deeply connected to one another via the digital realm, cultures are now free from geographic boundaries, they influence, mesh, and collide with one another. Turkish melodies meet Latin rhythms, from instrumental tunes to Spanish and English lyrics.

The band freely takes from all corners of the world, and it reflects on the global audience they have slowly amassed in the past 4 years. Third Vibration is a celebration of life; a deep respect for the power of music.

"To change your mood or mental state - change your Vibration" A fragment from the Kyballion has deeply resonated with the band in recent years. Everything is mental, as Above so Below. BALTHVS deeply believes in these tenets, and their manifestation is through music. Melodies that try to resonate deep within and generate a different type of Vibration.

From the psychedelic experience arises a more balanced lifestyle, and from arduous and uncertain times arises the desire to have inner peace of mind. Music is medicine for the soul and the trio plays this music to wind down, relax, and be more present. It's music from the 21st century, a time when the world has deeply connected to one another via the digital realm, cultures are now free from geographic boundaries, they influence, mesh, and collide with one another. Turkish melodies meet Latin rhythms, from instrumental tunes to Spanish and English lyrics.

The band freely takes from all corners of the world, and it reflects on the global audience they have slowly amassed in the past 4 years. Third Vibration is a celebration of life; a deep respect for the power of music.

We Could Be Flying" is a rare and classic album by KARIN KROG, a world-class jazz singer from Norway, which has been loved since its original release in 1975. The presence of New York pianist Steve Kuhn, who also composes four of the nine tracks, creates a masterpiece that combines a mellow, gentle comfort with a jazz-like groove. The album starts off with the title track "We Could be Flying" with its solidly sounding rhythm and soulful Karin's vocals, followed by "Meaning Of Love," and the album starts off with a sound that is sure to please fans of jazz-rock. The fourth track is a cover of Joni Mitchell's "All I Want," which not only has a pleasant jazz feel, but also a groove that reaches its peak with the interplay of drums and piano and other instruments, making it a must for fans of jazz, rock, and American music. The sixth track, "Raindrops, Raindrops," and "Hold Out Your Hand" also challenge the listener with a danceable samba style, making this an excellent album in its own right!

Sun Reflector is the debut LP collaboration by Heffernan (Ivan The tolerable, All Structures Align, King Champion Sounds, University Challenged) and Pärk (Black Tempel Pyramid, Teeth Of Glass, Kosmonaut). Sun Reflector is steeped in a haze of primitive drum machines, fanned phase and sustained scuzz-rippled guitar chimes, an ambient electronic creation with emphasis on repetitive trance-inducing rhythmic pulsations of electronic sound and subtle counterpoints that slowly unfold as the rhythmic drive marches forth utilizing the Motorik 4/4 beat with the lysergic kosmische sonic textures of Cluster. With Heffernan (bass, guitars and drones) based in the Northeast of England and Pärk (synths, drones and loops) based in Colorado USA on the border with New Mexico - the portal they opened up between these environments creates a travelogue that unites physical and inner space, a series of trance induced states rendered in vivid colour, a delirious portal into the ether. ‘Harmonic Coast’ opens and is a heady downtempo affair, an earthly vibration that slips effortlessly between peyote peaking trekking trips & Balearic sunset vibes. The somnambulistic drift of 'The Sun' sets the stage with a series of shimmering, circular synth pulses where hidden details slowly emerge over multiple listens. Album closer ‘Fever Mirage’ creates a clear-eyed appreciation of the pastoral beauty that surrounds us, it’s a journey that summons up an occult-like dream of glacial arpeggios and whispering synths that pull your attention in to this hypnotizing listening experience. Sun Reflector is a collective sound in which a lot is allowed, and a lot is done. That combined with the compositional ingenuity where the heterogeneous timbres create a time travelled cosmic mysticism that summons up the spirits and visions of Harmonia, Cluster, Eno and Phillip Glass. Shimmering and transcendent we present to you for your listening experience ‘Sun Reflector’

This isn't just a seminal album. It is an estuary. All the black rivers that would form Brazilian funk/hip-hop flow through it. Led by Paulista pianist Salvador Silva Filho - Dom Salvador - 'Som, Sangue, e Raça' from 1971, one year after the explosion of Tim Maia on the scene, catalyzed the bossa nova and jazz background of its leader with the rhythm and blues of its members like saxophonist Oberdã Magalhães, nephew of samba-enredo master Silas de Oliveira and future leader of Banda Black Rio, who since the group Impacto 8 (which had, among others, Robertinho Silva on drums and Raul de Souza on trombone) had already been trying to reconcile MPB with Stevie Wonder and James Brown. Add to all this a mixture of samba, Nordestino accent, and even the black side of the Jovem Guarda represented by the authorial presence of Getúlio Cortes (older brother of Gerson King Combo, our James Brown 'cover') in 'Hei! Você'. Alongside these elements and the presence of Rubão Sabino (bass), who still called himself 'Rubens', drummer Luis Carlos (another member of Black Rio), the record enlists the trumpet and flugelhorn of symphonic musician Darcy in place of the original Barrosinho (yet one more founder of Black Rio), who was traveling during the recording but would end up being a leading force of the band.

The album 'Som, Sangue e raça' paves the way for future generations of musicians and producers of the Carioca scene at the beginning of the 1970s. The lyrics that dealt with the question of race and the explosive fusion of samba, soul, jazz, and funk, elaborated by Dom Salvador and his troupe, Abolição, established the bases for the development of new sounds and tendencies in Brazilian music.

In collaboration with NETFLIX, Waxwork Records is excited to present RIPLEY Original Netflix Series Soundtrack Music by Jeff Russo. Tom Ripley, a grifter scraping by in early 1960s New York, is hired by a wealthy man to travel to Italy to try to convince his vagabond son to return home. Tom’s acceptance of the job is the first step into a complex life of deceit, fraud, and murder.



The limited series drama is based on Patricia Highsmith’s bestselling Tom Ripley novels. An- drew Scott plays Tom Ripley. Dakota Fanning plays Marge Sherwood. Johnny Flynn plays Dickie Green-leaf.

Perhaps one of the most exciting and anticipated projects in the world of heavy instrumental music is Parlor Greens, a fresh organ trio on Colerine Records! You could say that Parlor Greens are greater than the sum of their parts.. however, the individual parts are simply stellar on their own. Tim Carman (GA-20) on drums, Jimmy James (True Loves, formerly Delvon Lamar Organ Trio) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ. Parlor Greens started off as an idea before it even had a name. Carman had been chatting with Colemine label boss Terry Cole about their shared love for organ combo records of yesterday on labels like Blue Note and Prestige. Cole said he'd love to have an organ trio be the first project at the label's new studio, Portage Lounge, located in Loveland, Ohio, So when Carman tapped James and Scone for the session, the stage was set. Carman and Cole had started work a day early to dial in the drum sound, so when the rest of this murderer's row arrived they hit the ground running. It was instant chemistry, Within the first ten minutes of everyone plugging in, a song was written and recorded, "West Memphis". And over the next three days, these three maestros conducted a beautiful and soulful symphony straight to tape. As natural and fun as three old friends getting together after a long absence, only this was the first time they had written and performed together. True magic. So this is the result of that session. Eleven outs. Ten originals. Two sides. All killer, no filler. Straight to the old reliable Tascam 3BB tape machine, mixed up nice and dirty for your enjoyment. Parlor Greens are proud to present their debut long player, in Green / We Dream.

Perhaps one of the most exciting and anticipated projects in the world of heavy instrumental music is Parlor Greens, a fresh organ trio on Colerine Records! You could say that Parlor Greens are greater than the sum of their parts.. however, the individual parts are simply stellar on their own. Tim Carman (GA-20) on drums, Jimmy James (True Loves, formerly Delvon Lamar Organ Trio) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ. Parlor Greens started off as an idea before it even had a name. Carman had been chatting with Colemine label boss Terry Cole about their shared love for organ combo records of yesterday on labels like Blue Note and Prestige. Cole said he'd love to have an organ trio be the first project at the label's new studio, Portage Lounge, located in Loveland, Ohio, So when Carman tapped James and Scone for the session, the stage was set. Carman and Cole had started work a day early to dial in the drum sound, so when the rest of this murderer's row arrived they hit the ground running. It was instant chemistry, Within the first ten minutes of everyone plugging in, a song was written and recorded, "West Memphis". And over the next three days, these three maestros conducted a beautiful and soulful symphony straight to tape. As natural and fun as three old friends getting together after a long absence, only this was the first time they had written and performed together. True magic. So this is the result of that session. Eleven outs. Ten originals. Two sides. All killer, no filler. Straight to the old reliable Tascam 3BB tape machine, mixed up nice and dirty for your enjoyment. Parlor Greens are proud to present their debut long player, in Green / We Dream.

After Black Soil V1, Bouman Records is proud to present the release of the second part, Black Soil V2.

This ep is produced by Orlando Voorn, with a dub remix by Byron the Aquarius

After a 12-year hibernation, Beachwood Sparks emerges with 'Across The River Of Stars,' a transcendent and succinct sonic odyssey. Under the guiding hand of Chris Robinson, the band's revival showcases their growth and musical maturity. From their indie roots to this celestial return, the album bridges the past and present, offering a journey through cosmic and earthy landscapes. Within it's nine songs Across The River Of Stars invites listeners to rediscover Beachwood Sparks.

After a 12-year hibernation, Beachwood Sparks emerges with 'Across The River Of Stars,' a transcendent and succinct sonic odyssey. Under the guiding hand of Chris Robinson, the band's revival showcases their growth and musical maturity. From their indie roots to this celestial return, the album bridges the past and present, offering a journey through cosmic and earthy landscapes. Within it's nine songs Across The River Of Stars invites listeners to rediscover Beachwood Sparks.

Over atmospheric instrumentation expanded by cinematic structure and pacing, Pearlty presents Knifeplay somewhere between dream-pop influenced shoegaze and lofty slowcore, never fully committing to one or the other in its insistence on creating an immersive, organic world.

Originally released in 2019, Knifeplay’s vivid debut Pearlty documents songwriter Tj Strohmer’s expressions of early adulthood in what he describes as “the journey from innocence to experience.”

Written during a time of immense inspiration, Strohmer was able to peel himself away from detached nihilism, uncovering the physicality and therapeutic powers of songwriting. Newly emboldened by this discovery and the talented community surrounding him, Strohmer channeled this revelation into his work, taking Knifeplay from a bedroom experiment that merely wrote songs to a more substantial project with a purpose.

7A Records are proud to present our deluxe reissue of Mungo Jerry’s Electronically Tested. Released on July 19th, the album has been remastered and expanded with four bonus tracks and features extensive liner notes including Ray Dorset’s own recollections.

Electronically Tested, Mungo Jerry’s second album, was first released in March 1971. Even the title clued in listeners that this was no ordinary record. As Ray Dorset reveals, “I came up with the name of the album. Durex used to have ‘electronically tested’ written on their packets. I thought that was quite the talking point, if people in the know said, ‘That’s the same name as on the packet of condoms!’ It was taboo to mention stuff like that.” Electronically Tested offered hints of the familiar via its inclusion of the UK #1 Hits “In the Summertime” and “Baby Jump,” but elsewhere, the album was pure, eclectic Mungo Jerry. Every side of Dorset’s talents as a singer, songwriter, and musician came to the fore on Electronically Tested, with his bandmates John Godfrey, Paul King, and Colin Earl–as well as producer Murray– joining him to create a joyful noise: “It’s got a lot of tracks that could have been singles in their own right. It was good for me to be able to play all that kind of stuff”. Mungo Jerry’s singular sound has been described as rock, folk, blues, country, good-time music, jug band music, pub rock, and gypsy rock–and that’s just a partial list. One can hear all of those elements in the disparate, timeless songs that form Electronically Tested. How would Mungo himself describe it? “It’s kind of rocky stuff. It’s got social commentary. It’s got all sorts of influences in there. It’s really best to say it’s Mungo Jerry music.” Electronically Tested originally peaked at # 14 on the U.K. Albums Chart the week of April 14, 1971.

Sonor Music Editions presents this restored issue of Maestro Sandro Brugnolini's Overground. This elusive masterpiece in library music captures the most impressive work, alongside Underground (1970), of the Italian composer and alto sax player.

Sandro Brugnolini was a prominent member of the Modern Jazz Gang, a famous Italian jazz group, during the 1950s and 60s, which also included Amedeo Tommasi, Cicci Santucci, and Enzo Scoppa. The group was active from 1956 to 1965 and produced some remarkable albums such as Miles Before And After (1960) and the original soundtrack from Gli Arcangeli (1962), which featured the renowned American jazz singer, Helen Merrill. Subsequently, he recorded many of the genre's most iconic releases, including Feelings (1974), albeit uncredited, and ventured into Psychedelic Lounge Funk and Progressive Jazz Beat tunes.

Overground was released on Sincro Edizioni Musicali in 1970 as the soundtrack to Enrico Moscatelli and Mario Rigoni's documentary Persuasione, commissioned by Ente Provinciale Per Il Turismo Di Trento, a local tourism board in Italy, with music composed by Sandro Brugnolini and Luigi Malatesta featuring some of the best musicians in Italy at the time like Angelo Baroncini and Silvano Chimento on guitars, Giorgio Carnini on piano and organ, Enzo Restuccia on drums, and Giovanni Tommaso on bass and effects. The music spans from underground Psychedelic Prog. Rock with swirling organs, trippy effects, and distorted fuzz guitars to sophisticated Lounge grooves with Avant-garde orchestrations.

The music has been transferred and remastered from the original master tapes. It has been lacquer cut in stereo by Jukka Sarapää at Timmion Cutting and packed in a thick cardboard sleeve featuring a fully restored painting by Umberto Mastroianni licensed by Centro Studi dell’Opera di Umberto Mastroianni

French label and promoter Much More recordings is proud to present the third vinyl of its collection.

We have been working tirelessly for the past two years to release vinyl records with artists we love. We had the pleasure of featuring Skudge on our first vinyl, and now we are excited to have Temudo remixing Skudge's "Tryptic". Expect remarkable straight techno that takes us on a brilliant journey. In addition, our long-time friend Amarou has created the second remix of "Tryptic", featuring an ethereal mood with sweet pads, lyrical flights, and an unstoppable rhythm.

"The Last Dinner Party present a new 7” vinyl to celebrate their second single ‘Sinner'
This limited-edition white 7” release features the studio version of 'Sinner' on the A-side and an energetic live take from Melkweg, Amsterdam of 'Sinner' on the B-side.
"

Garden City Movement, the critically acclaimed Indie Pop/Rock duo who is celebrated for their

dynamic sound and experimental approach, is delighted to announce the release of three sets of

singles, paving the way for their highly anticipated sophomore album, "Never On Time",

scheduled for release on July 19 via Anova Music.

From their early days, Garden City Movement has captured hearts and minds across the globe,

earning acclaim from Pitchfork, FADER, and FACT, and gracing stages at Glastonbury, Primavera,

and Pukkelpop. Despite the challenges posed by cancer and the departure of a band member,

the duo has emerged stronger than ever, marking their territory in the music world with notable

achievements, including "Summer Night" being chosen by EA-Sports as the FIFA 22 official

soundtrack and a performance at the 2023 Formula 1 race in Singapore.


Garden City Movement, comprised of Roy Avital & Johnny Sharoni, is globally recognized for their

experimental soundscapes. They've drawn attention from prestigious platforms like Pitchfork and

FADER, and earned the title as the official soundtrack for EA Sports' FIFA 22, for "Summer Night".

Their resilience in the face of adversity, including a battle with cancer that put a temporary hold

on their music, only fueled their creative fire. In 2019, they made a triumphant return, further

solidifying their international presence with a successful tour in Japan, which earned them a spot

on the Top 100 "J-Wave" Japanese charts for "Miss You Under Shimokita Sky". A few years later in

2023, they were invited to perform at the renowned Formula 1 event in Singapore. Despite recent

changes, with Joe departing and the band transitioning to a duo, Garden City Movement

continues to evolve. Their upcoming album promises exciting collaborations across genres,

reflecting their diverse influences and the personal growth from their challenges. This next

chapter is not only a testament to their artistic innovation but also their enduring spirit.

Art Blakey and the Jazz Messengers' tremendous concert at Club Saint Germain in Paris on December 21, 1958. This record presents the complete set and is produced as a three LP gatefold album with each vinyl one of three different colours: blue, white and red, representing the French flag. Au Club Saint Germain it's a memorable record and winner of numerous awards including the prestigious Grand Prix du Disque in 1959 from the Academie Charles Cros. Art Blakey and his Jazz Messengers are here with Lee Morgan on trumpet, Benny Golson on saxophone, Bobby Timmons on piano and Jymie Merrit on double bass. Drummer Kenny Clarke was living in Paris at the time and joined the group for the songs "A Night in Tunisia" and "Ending with the Theme" resulting in a session that will go down in jazz history!

Diffuse Reality presents TOBAS, its new collectible series with a sound directly aimed at the dance-floor. Timeless Techno five-tracker from Los Angeles-based artist Stephen Disario will take you through hypnotic rhythms that will trap you from the first beat, leading you into a loop of constant energy. Welcome TOBAS series!

2025 Repress

SHDW & Obscure Shape invite Invexis for his first 12" in almost 20 years as the German live act and producer returns to Mutual Rytm for his impactful EP, 'Odyssey'.

With an ethos of merging the past with the present and future, harnessing classic techno influences and shaping them into the sounds of tomorrow, SHDW & Obscure Shape's Mutual Rytm imprint has become an exciting home for rising talents of note and established artists to shine a spotlight on the genre. However, the next release on the label welcomes a long-awaited return from Georg Kohler, aka Invexis. Known for releases such as 'Kalibreur' on Salpeter Records and 'Chiffre' on Planet Rhythm Records, with further releases via Compound and Kazumi, the German talent crafted and shaped his own sound within the techno landscape in the early 2000s. Returning with his first EP release in close to two decades, late December welcomes a return to Mutual Rytm, following on from the inclusion of his track 'Elektronenwind' on the label's 'Federation Of Rytm I' release, as he delivers a selection of dynamic, melodic and driving techno offerings across 'Odyssey'.

'Silhouette' opens the package with authority as spirited drums and spiralling synths take hold of a twisting and turning lead effort, with 'Non Return To Zero' building a spiralling groove via frantic yet measured percussion, sweeping melodies and funky stabs. 'Red Storm' opens the B-side with a more up-front production combining harsher metallic tones with relentless drive and crashing hats, while 'Body Impulse' utilises dubby stabs and eerie atmospherics to balance light and dark. The title track 'Odyssey' closes the vinyl offering, with a euphoric and rapturous production harnessing resonant chords, looping drum grooves and elated leads to bring things to an impressive crescendo and deliver a record that will remain in the ears of listeners for a long time. As always with the label, digital purchasers are treated to an exclusive track as Kohler combines zig-zagging grooves, refined synths and off-kilter glitches and bleeps across digital exclusive 'Transition'.

Alton Miller is back on RAWAX MOTOR CITY EDITION!
After his outstanding debut "Amazed" on RMCE012 in 2019, we are more than happy to present you "Love Inside".
A beauty of a release, full of deep huse love from Detroit inside!
Highly recommended!

RAWAX proudly presents the upcoming CHIWAX CLASSIC EDITION by Steve Bug! This beauty came out originally on STICKMAN RECORDS in 1996. We are very happy to bring this fantastic record back to (remastered) life!

TIPP! :)

For the latest Cognitiva release the label present the 4th release of their Point of View series which focuses on dance floor-oriented sounds, this time they invite the marvellously talented Dr. Sud to deliver a wondrous, jazz laden odyssey, which entices as much as it delights - with some expert remixes to boot….
Dr Sud is the main alias of Gregorio Marigliano, an Italian music maker who was raised in Berlin. Marigliano’s music revolves around the principles of Jazz-meets-Dance music, drawing up the rich tradition that has come before in bringing a high level of musicality and ingenuity within his tunes. Moving fluidly between rhythms and feels, as Dr Sud he captures the imagination with thought provoking and captivating sequences, striking a fine balance between depth and danceability. Harmonies and groove play a key part within his music, such as was highlighted on his 2023 EP ‘Heading South’, coming courtesy of the Q1E2 imprint. This record really highlighted his profound abilities and deep set affection for instrumentation but also mood and tone, and it left many waiting for his next release with baited breath.

‘Point of View 4’ continues forth with the supreme feels that permeated through ‘Heading South’, with the key movement onwards being the inclusion of some killer remixes from Gary Superfly, Broke One, Turbojazz and Reekee. Two original cuts, ‘Breakfast Sun’ and ‘Desert Wind’, lead Sides A and B respectively, and do much to help create a distinctive balance and bookend kind of feel to the record. ‘Breakfast Sun’ begins with a wondrous polyrhythm to get things going, a lone vocal sample thrown in for good measure, and before long we are joined by some delicate but hyper precise melodic features. The slow drawn out chords contrast superbly with the short sharp stabs, acting in accordance with the drums, with the first breakdown providing space for the keys to really flourish and take over. The breakout back into the core rhythm allows for a lead synth line to emerge, and provide those bountiful feels we were all yearning for. The remixes do much to add flavour and some diverse alternative perpectives on the original, with the Turbojazz/Broke One remix taking things in a house-y leaning direction, with the hats and kicks shifting the rhythmic perspective towards sun kissed horizons. The Gary Superfly remix however takes things into a much more cosmic space, with a punchy acid line weaving within the underbelly of the track, providing that late night dance feel for club land scenarios.

On the B Side, ‘Desert Wind’ kicks things off, and once again the drums here start us off in a winning space. The groove is so delicate, poised and perfected, and when the first breakdown arrives the chords come into view, and its glorious to say the least. This track focuses on a much more smooth melodic sequence, with a greater emphasis placed on the lead line, but its just as impactful and soulful as the EPs opener. Delicate waterfall style keys shift in and out of view, providing an overall picture of sonic beauty that we can get behind time and time again. To wrap things up, the Reekee remix of ‘Desert Wind’ comes into view, with this track again moving into dance floor realms with a swinging garage beat that feels unstoppable, shifting and moving between the lines with a joyous ease.

Dr Sud may be a producer to keep a keen eye on, with this latest EP certainly doing that sentiment a great level of justice. This EP provides not only two beautiful original cuts from the man himself, but some imaginative remixes that honour the originals and provide us with an record that will linger long in the memory. For home use, down by the rivera, or in the club, this one has the lot…..

Six Nine Records Ltd. UK proudly presents Davey-H’s (David Humphrey) first vinyl release on the label containing the mighty fine track “Keep Movin” with a remix of the same by Yuki “T-Groove” Takahasi on the flip side!

“Keep Movin” is the long awaited and much anticipated first new
material from David Humphrey in a long time. This up-tempo boogie bomb created a real buzz when released digitally in summer 2022 and is now finally available on a shiny vinyl 7”!

Definitely not to be missed as it is a limited UK press with full colour
printed picture cover!

2024 Repress

In the midst of House music's burgeoning scene in 1986 Chicago, a young local DJ named Jonathan Gilbert, known as Scrappy, seized a golden opportunity to showcase his skills at the renowned Medusa's Club's video room. It was in 1987, one fateful night, when the main DJ failed to show up, that Gilbert stepped in, securing a residency at one of the city's hottest spots. As the year progressed, Gilbert ventured into music production, teaming up with The Boxx Boys--Jim Marcus and Van Christie, notable for their later formation of the iconic group Die Warzau. Their collaboration birthed the legendary acid house anthem from Chicago, "Freeze," which Gilbert released under his Zap Records label in 1988, solidifying his place in Chicago's music history. The track became a timeless favorite, and is often featured in Jerome Derradji's sets. With Scrappy's gracious consent, we have the privilege of reissuing this seminal track, along with delving into his archives to uncover previously unreleased gems and alternate versions from his Atlantic Records era around 1990. For a brief period, Scrappy rode the waves of Chicago's house scene with his distinctive flair before bidding farewell to pursue new horizons in California. Presented for the first time on Still Music, "Acid House + Medusa's - Chicago, 1987-1992" invites listeners on a journey through the vibrant tapestry of late-eighties Chicago House. DJing, indulgence, romance, and the pulsating beats of acid house defined Scrappy's era, and fortunately, he left behind a legacy of unforgettable house tunes, emblematic of the city's unparalleled musical spirit. This limited edition DLP release, accompanied by an insert detailing the captivating tale of one of Chicago's unsung talents, ensures that Scrappy's story and his contribution to the era remain etched in musical history.

Tom Noble, digger extraordinaire, owner of Superior Elevation Records, and general Brooklyn/LA legend, dons his House Of Sprits moniker for the first single from a forthcoming LP on Razor-N-Tape.

'Times Are Changing' sets the tone for this album project that collects the work of nearly 15 years, a gritty vision of modern-retro soul that throws a reverent nod to its Mizell Brothers and Patrick Adams influences as it brings the sound into the future. Recorded with all live instrumentation and mixed tough for the dance floor, this limited 12 Inch boasts an extended original and instrumental on the A side, and a huge remix from Aussie synth wizard Harvey Sutherland on the flip that highlights the rich instrumentation and extremely catchy vocal hook. A surefire summer jam, this is timeless music that is only the tip of the iceberg from a future classic album

The album was created in two versions - a limited "color in color", of which 100 numbered pieces were produced, and a classic version with black wax, of which 200 pieces were produced.

After 10 years, Kixnare returns to U Know Me Records with his fourth original album. "Asteria" is a step towards even more experimental and abstract corners of electronic music. Each of the seven songs on the album reveals a fascination with completely different musical areas - from dark ambient ("Plaga"), through oriental ("Mystic Journeyman") / dubbing downtempo ("Impass") to stronger acid ("Mutacja") and techno ( "Omnis"). What connects everything is a constant atmosphere of anxiety - a reflection of the times we live in. Despite a completely different musical climate, "Asteria" refers in its character to Kixnare's last album "Rotations" from 2014, continuing the concept of inter-genre collage. All this comes together in the weekly radio show "Rotations", in which Kixnare presents his recommendations from the world of underground and experimental electronics on Radio Kraków.

"Asteria" is an album consisting of seven songs - almost 38 minutes of an amazing journey, the sound of which was worked on by the legendary Stefan Betke from Berlin (mastering author). The cover is the work of the flawless Animisiewasz.

Emerging Belgian DJ/producer STEYA shares her debut EP on IMF, becoming just the ninth artist to release a full body of work on Marcel Fengler's influential label.
The Berlin-based artist has stamped herself as one to watch since breaking through in 2022, a regular at RSO Berlin and Grelle Forelle in Vienna, she's also played Tomorrowland, Exhale, Rex Club andBasement in NYC.
Her first forays into production reinforced her quality, with 'Neon Reecho' featuring on RAW's Third Eye compilation in 2021, followed by the release of 'Elysian' on BCCO's second V/A as well as the excellent 'Prototype X' on the '10 Years of IMF' that dropped in 2022, followed by a standout contribution to the label's new HARDPROOF V/A series in 2023 with 'Trigger Me'.
Her debut EP crystalises 20 years of devotion to techno, presenting abroad palette of sonic influences formed since her early days as araver in Antwerp. At the same time, it continues the label's philosophy of pairing a next generation artist with one of the greats of the genre, with STEYA's hero Rolando featuring on her 'Dopamine EP' with a remix of the incandescent 'Things You Never Said'. Growing up in Belgium where the 'Knights of the Jaguar' was a staple childhood anthem, it was "one of her biggest wishes to have him as a remixer".
An EP borne through two years of dedicated studio time, 'Dopamine EP' kicks off with the electric title track, a gritty tribal outing marked by dynamic shifts in tempo throughout. 'Fast Life' is a slick bass-led cut with plenty of bottom-end kick before a punchy synth melody get sadded to the brew. Swedish producer Hertz - a favourite of STEYA's ("I've played one of his tracks in every set since the beginning of my career") joins the project to re-work the title track, upping the energy ofthe original. 'Things You Never Said' begins life centred around energetic rolling grooves, before warm synth rushes give it a distinct Motor City vibe. Rolando fittingly steps up for remix duties to close out the EP, delivering a masterclass in deep simmering techno, extending the original by two minutes.
"It's a big honour to release my debut EP on such an amazing label like IMF, which is very close to my heart. I poured my heart and soul into this project. It showcases the artistic direction I've developed overthe last few years and is an important milestone in my artist journey." - STEYA
"After experiencing many of her stunning DJ sets, it's wonderful to seeher thriving also as a producer. What really excites me is witnessing her continuous growth, always fuelled by her deep passion for music. So, I'm thrilled to release STEYA's debut EP on IMF, featuring three original dancefloor anthems and two stellar remixes by Rolando and Hertz." - Marcel Fengler

LP Black Vinyl with DLC, CD Capacity Wallet. "Her significant solo output has been remarkable" Drowned In Sound. Following a special vinyl release for this year's Record Store Day celebrating its tenth anniversary, 'Crooked' will be reissued on black vinyl and CD on 27th September. 'A figurehead for feminist indie rock' (Classic Rock), Kristin Hersh achieved a music and publishing first when her eighth solo album was initially released as a multi-media book in 2009. Hersh's "poetic, provocative and puzzling songcraft" (The Washington Post) makes 'Crooked' a stunning record. The resplendent, melancholic 'Flooding' came to Hersh in the form of song but was also a premonition of the imminent death of close friend and musician Vic Chesnutt. Mainstay in her recent live shows, 'Mississippi Kite' is snarly and unsettling whilst the spectral psychedelic tones of 'Rubidoux' stem from a 50foot Wave car ride and a late-night recording session. The songs still lead the way hitting Hersh fully formed but it's her beguiling raspy vocals paired with guitar, and any other instrument that she chose to play on this album, that has a beautiful intensity that's jarring, unpredictable and inherent in her music. "She's still as powerful a presence as she ever was." Pitchfork_

Ein sehr persönliches soziopathisches Juwel, das als futuristische Interpretation der Funktionsweise von Musik geliefert wird, eine melodiöse Brise mit einem Hauch von giftigem Lärm. Ein Album mit zehn Songs, dazu ihr zehntes Studiowerk. Die Gegenüberstellung des Konzepts des `dunklen Sonnenscheins', eine brütende Solo-Platte, auf der Kristin Hersh zusammen mit Freunden ihre klangliche Vision erweitert; ein quietschender Mix aus disharmonischer Schönheit, Rückkopplung und Phasenkreisel von einfach klirrender Normalität. Man stelle sich Dinosaurier Jr. und My Bloody Valentine vor, die Dylan Verse vertonen. Mit beiden Extremen des Klangspektrums: atonal und arrhythmisch, ein einzigartiger Sound und eine glorreiche Rückkehr zur Form für eine der wahren Innovatorinnen des Alternative Rock. "Imagine truly buying your own sunshine and charm, but also your darkness and violence; the two sides of your psychology showing each other off in relief. Songs can do that...we can't, really. Darkness we've seen." - Kristin Hersh, July 2018 "She's still as powerful a presence as she ever was." - Pitchfork "The prodigious output and commitment to quality is pretty staggering, but then Kristin Hersh is a very, very special musician." - The Quietus

Remastered edition on 180 grams double vinyl of 'Euskal Herria Jamaika Clash', released by Talka Records & Films in 2006. To the 12 tracks that appeared in the original CD edition we have added 5 remixes made by producers as renowned as Xabi Pery, Rob Smith, Neil Perch, Peter Rose or Nebukhednezzar and Daniel Díaz. DESCRIPTION "On the wall of the toilet a freshly made graffiti, "Get out of the ghetto, organize the hate", reminded me of the rage we owe to this society. However, I was also at ease, savoring our Original Soundtrack: "ROOTS, ROCK, RAP, REGGAE". This phrase belongs to the song "B.S.O." from the album "Gure Jarrera" by Negu Gorriak. For music fans, the real ones, the ones who spend their fingers searching for rare vinyls in second-hand shops, there are records that have a special meaning. That record has special meaning for me for several reasons, but one of them is singular: it has helped me to discover a multitude of music. It turns out that the credits of that album were full of fundamental names in rock, hardcore, funk, Hip Hop, soul, ska, Latin music... a good guide for the young man of musical discoveries that I was fifteen years ago. But there was also that song, "B.S.O.", with the word "REGGAE" at the end of the chorus. A genre that I had never paid much attention to and that since then, slowly, I have been tasting... from classic figures to new trends, from Jamaican reference records to admirable peninsular formations (Basque Dub Foundation, Lone Ark or The Starlites). A few years ago I had the opportunity to interview Fermín Muguruza and in one of his answers he said: "It's clear that the basis of reggae is going to remain firm, because it's been a constant since Kortatu's first album. Reggae will be there in any of its expressions or derivations, of which there are already many". And it's true. Going through Fermín Muguruza's discography, and his groups, forwards or backwards, we come across reggae in different doses, proportions and orientations, but it has been present in all his albums. And in his "solo" stage, in a more prominent way. Now he releases "Euskal Herria Jamaica Clash", a coherent link in his chain of albums, where he accentuates that proportion of reggae, looking more than ever at the classic conception of the genre, but with some mestizo nuances present (rock strength, some Hip Hop drums or the sound of the trikitixa). The album has been recorded in Jamaica and has featured some renowned figures from those lands: U-Roy, Luciano, Lisa Dainjah, Masta Blasta, Yacine, Toots and the I-Threes (the usual female vocal trio in Bob Marley's albums, to which Rita Marley belongs). The new album offers twelve tracks, where, apart from reggae, one can also feel the optimism of the new lights that illuminate the future of the Basque Country ("Euskal Herria Jamaika Clash")... an optimism that is intertwined with descriptions of local customs ("Azoka Eguna"), rebellious spirit ("Mongolian Barbecue", "Basque Xamuraia", "La Fille Du Quartier Populaire"), songs of hope ("Yalah Yalah Ramallah"), a snapshot of a symbolic triumph ("Beamon Jauzia"), criticisms of alienation ("Askatasun Parabolika"), to the dictatorship of the empire ("Plastic Turkey"), a poetic air of rest on music and feelings ("Baxua eta Lurra"), a final instrumental ("Le Mouv Dub") and a luminous and hopeful revision in reggae key of an old song by Kortatu ("La línea del frente"). "Euskal Herria Jamaika Clash. The soundtrack of the present: DREAMS, HOPE, ROOTS, REGGAE." FM-Hop (2006)

To celebrate 10 years of one of London’s most loved underground club nights, Tangent, Mr Bongo are thrilled to launch this new compilation series. Crafted by its two residents, John Gómez and Nick the Record, it aims to transmit a taste of Tangent’s spirit. A party rooted in inclusivity and open-mindedness, whose name captures the spontaneous switches in musical direction that are a defining element of their nights. For the compilation, the pair have cherry-picked a selection of their prized, rare and dancefloor-ready tracks from around the globe, that have soundtracked the past decade of parties.

Friends for close to 20 years, music lovers, record obsessives and internationally renowned DJs in their own right, John and Nick have two lifetimes worth of musical knowledge to draw from. John a long-standing NTS Radio resident and compiler for Music From Memory. Nick one of the UK’s go-to record dealers, resident DJ since the ‘90s at one of Japan’s pioneering parties, Life Force, and co-captain / co-edit-expert of Record Mission with Dan Tyler (Idjut Boys).

In 2014, the pair decided to bring some of Life Force’s grassroots principles to the UK, whilst channelling underground clubbing institution Plastic People’s meticulous attitude to sound. Tangent grew from being a small gathering of friends, to an established fixture in London’s nightlife, whilst always maintaining a strict no guest DJ policy. “As London’s clubs have become increasingly reliant on international guests, we wanted to emphasize the importance of a club night growing through its residents”, John and Nick reflect. With 10 years of the duo at the helm, an intimate connection between DJ and dancefloor has been built, allowing for freedom of expression on both sides of the decks.

Tangent reaches around the globe and across different eras to make connections that stimulate emotional reverberations in the unfamiliar. Where the blissfully Balearic ‘Laberinto’ by Miguel Perikás, goes hand-in-hand with the Cameroonian hip-house of King B.’s ‘Love is Crazy’. The thundering ‘Amek Amek’ by L'Innovateur Djoe Ahmed et le Zoukabyle, rubs shoulders with the soulful Caribbean-influenced touch of Champagn’s ‘Bel Ti Négress’. And Pellegrin El Kady’s afro-cosmic ‘Seiva de Carnaval’, crosses paths with Kajou’s Kompa disco anthem ‘Tet Chajé’.

Tangent’s longevity is in part down to it having always embraced contemporary sounds. The sub-rattling bass of Srirajah Sound System’s stunning Molam dub stepper ‘Si Phan Don Lovers Rock’ and the slow, woozy mantra of leftfield dancehall explorer Androo’s ‘Lyriso’, are two shining examples.

This compilation represents an ongoing dialogue between past and present, transporting listeners to the heart of a pure musical experience, where open minds and open hearts are eager to follow the tangent.

“MARK” is the new solo record from acclaimed drummer and composer Mark Guiliana: an auditory manifestation of one of theworld’s most creative and innovative musical minds. Ever since the first day he picked up a pair of drum sticks, Mark Guiliana has been instinctively exploring and absorbing themusic and rhythms that have been ever-present in his life. Fast forward to the present day and he has earned a formidable reputation as a world-class drummer, composer and thinker at the forefront of contemporary jazz and beyond. Guiliana’sartistry defies convention, weaving together a musical output beyond jazz with the ultimate goal of creating compelling musical narratives.

His songs serve as a conduit for his relentless quest for creativity, striving to share his sonic visions withthe world in their most unadulterated form. Guiliana’s new album “MARK”, represents an introspective voyage into his creative depths. On the record, Mark performs soloon a wide array of devices; you can hear his quintessential grooves intermixed with intriguing percussive soundscapes,sublime tapestries of synthesisers and fragments of spoken word. “MARK” is an album that peels back the layers of Guiliana’sexperiences, reflections, and the wisdom gleaned from a life immersed in music. It transcends genres and defiescategorisation, floating in the boundless space of pure expression.

Through music and through life, Mark looks into the mirrorand asks eternal questions of identity and growth: who am I, where am I going and what do I stand for? This album invites listeners to share in Mark’s personal dialogue, offering a sanctuary where they can begin to untangle and examine themselves track by track. “MARK” is an exploration of new and uplifting musical territory, unrestricted by norms andfree from preconceived ideas or satisfying (but ultimately unfulfilling) genre expectations. It embodies the impact of Guiliana’sjourney, marking his evolution as an artist. This record echoes the spirit of freedom, the courage of inquiry, and the beauty of unfettered expression.

Pearlescent White Vinyl with A5 card inserts.

I have no neat and tidy way to summarize Joan of Arc. The group's obdurate dedication to shape-shifting reinvention charmed and frustrated in equal measure, and often simultaneously. Any conversation of who or what Joan of Arc is must also consider what the band is not—beyond a unit that avoided convention. Only one person, bandleader Tim Kinsella, remained in Joan of Arc from its 1996 debut to its final days in 2020. For nearly a quarter century, Joan of Arc maintained a fluid lineup that drew from a multitude of subversive Chicago music communities. Every musician and behind-the-scenes collaborator that played a role in Joan of Arc (a number that exceeds 100) influenced the band's direction and character. All the while, Tim helped maintain Joan of Arc's singular identity throughout all the shifts. No two Joan of Arc albums sound identical, but if you listen close enough, you trace ideas that took root on one LP and blossomed in the next. This book expands and deepens the story of Joan of Arc's first five albums (its Jade Tree period) with archival photos and pages ripped from Tim's journals, presented alongside Tim's recollections and a compact early history. This book comes with a live recording of the one and only show by Red Blue Yellow the band Tim started just before Joan of Arc presented here on a 7", along with download code for a couple hundred bonus tracks from the group's archives.

Having been ‘discovered’ working in Liverpool’s Probe
Records during the punk rock explosion of the late 1970s,
Pete Burns found himself fronting his own band,
Nightmares In Wax who mutated into the more familiar
Dead Or Alive, eventually bringing Pete into the UK pop
mainstream, and a star was born.
Bringing together two-self-released 1982 singles and a collection
of early versions of Hi-NRG tracks which would eventually find
their way onto the band’s debut album, ‘Let Them Drag My Soul
Away’ showcases the blossoming of one of the 80s pop scene’s
most colourful characters. Unapologetic, unfiltered, loud and
proud – Pete Burns singularly brought a punk rock mindset to the
pop paradigm, providing a much needed antidote to the sexless
Thatcherite stars beginning to dominate the UK pop charts
during the middle of the decade – this collection of recordings
captures something of that spirit and the energy of the driving
force behind it.
Pressed on deep red vinyl and housed in a cover photograph by
Dead Or Alive’s then manager Francesco Mellina, ‘Let Them
Drag My Soul Away’ presents a last glimpse at a pre-stardom
Pete, and a long overdue back story accompaniment for fans and
collectors alike.

Autorisierte Deluxe 2LP Ausgabe des von Henry 'Junjo' Lawes produzierten 'Evil Curse of the Vampires'.
Original Greensleeves zusammengestellter Dub-Klassiker, entscheidende Auswahl von Junjos klassischen, von Roots Radics angetriebenen Rhythmen, aufgenommen bei Channel One und gemischt von Scientist bei King Tubby's.
Das remasterte, ikonische Dub-Album ist jetzt mit einer zweiten Disc mit den Original-Vokalversionen versehen.
Streng limitierte einmalige Halloween-Pressung auf orangefarbenem Vinyl.

Repress.

Welcome to “Through Lines”, a collection of hand picked tracks by genre nomad and bass innovator Martyn, made between 2005 and 2015, carefully recovered and remastered for vinyl and digital release on 3024. Previously only available on 12” across a scattering of different labels, this set includes essential ‘Martyn Music’ (as the producer likes to classify it); tracks like “Vancouver” (A 140 staple to this day), “Mega Drive Generation” and his classic remix of TRG’s “Broken Heart”, as well as deeper cuts like the rare “Friedrichstrasse” and house gem “For Lost Relatives”.

This is not just a compilation of remastered music, it’s a document of an era of UK inspired dance music where ideas, genres, tempos and scenes seemed to rapidly merge and splinter off. An exciting time where producers constantly tried to one-up each other with new ideas and influences, in a vibrant international scene of small club nights from FWD>> and DMZ in London to Red Zone (co-run by Martyn) in the periphery, the earliest online forums like Dubstepforum and radio shows like Dj Flight’s BBC 1xtra show and Mary Anne Hobbs’ Breezeblock. Innovation in music never happens in a vacuum and is always a product of community, producers, writers, and other makers continuously inspiring and pushing each other to come up with the next thing. This ethos is present in all of Martyn’s music throughout the years, but also in his work with Jeroen Erosie as 3024 and within the 3024 Mentoring Program he runs today.

PATRICK HIGGINS is an American composer, guitarist, and producer from New York City, known for his work in experimental and contemporary classical music. Higgins plays guitar and composes in the band Zs, described by The New York Times as "one of the strongest avant-garde bands in New York." Heralded as a "formidable concert music composer" (Boston Globe) and "one of the most gifted guitarists working today" (The Quietus), Higgins has received attention for bridging traditions including baroque chamber music, contemporary noise, electronics and 20th century minimalism. His work has been performed in over 25 countries internationally, and he has composed works for some of the world's leading ensembles, ranging from chamber orchestra works, percussion cycles, and string quartets to smaller ensembles and soloists. He has scored works for television, museum exhibitions, and films both short-form and feature-length. Since 2013, he has operated Future-Past Studios, a recording studio in upstate NY.
He recently had a solo exhibition of artworks and sheet music, as well as two world premiers, at The Clark Museum in MA, USA. In 2019, he was a curator and headliner of the Le Guess Who festival in Holland. Higgins has performed and presented works at many of the world's largest festivals and venues across the past 12 years, including The Broad Museum (LA), The Warhol Museum, SF MOMA, Unsound Festival (Poland), Pioneer Works (NYC), Monom Berlin, Sony Ginza Park (Tokyo), ReWire (Holland), Cleveland MOCA, ICA Boston, Teatro Carignano (Torino IT), Sacrum Profanum (Kracow), Merriweather Post Pavillion, Donau Festival (Austria), Paula Cooper Gallery (NYC), Club Unit (Tokyo), Shakespeare Theater (Gdansk), The Netherlands Philharmonic Orchestra and many more.

Come Play With Me and Breed Media are excited to present Come Play With Breed, Vol. 2. Featuring D5, Graft, Hannah Rowe and Mica Sefia, the 10” compilation spotlights the Northern Hip Hop and Soul scenes respectively. On the A-side, D5’s upbeat UK Rap opener, “What’s That”, is followed by Graft’s reflective Jazz-influenced Hip Hop track “Vows To The Art.” Hannah Rowe opens the B-side with an addictive fusion ballad for old souls. Finally, Mica Sefia closes the release with a powerful narration on her experiences as a black woman.

Artist Bios:

D5

Hailing from Leeds, West Yorkshire, D5 draws influence from the likes of Drake, Skepta and Brent Faiyaz and his sound flits between moody R&B and upbeat Rap that oozes a calm confidence. Elements of genres such as Garage, UK Rap and US Hip-Hop intertwine neatly to create his signature style. A style that crystalised on his 2020 EP Channel 5. Consisting of 8 songs, all helmed by producer and close friend CSHARP, the project is D5 at his most personal and led to the video for lead single ‘Silence’ premiering on Link Up TV and garnering him his highest streams to date. However, before ‘Channel 5’ D5 had created the EP If Only We Could Go Outside during the height of the pandemic. The track ‘Movies’ received airplay from the esteemed BBC Radio 1 Presenter Melvoin Odoom. With backing from the likes of GRM Daily and DJ Target spinning 2022 single ‘What’s Up’ on BBC Introducing, D5’s star is surely set to rise as he continues to develop his artistry. In addition to this, he has opened up for the likes of Novelist and fellow hometown hero Graft, proving with every successive performance and release that he is worthy of being a headline act.

Graft

Graft, winner of MOBO Unsung and BBC Three's The Rap Game UK, has propelled himself to national recognition for his unwavering sense of self and musical talent. Hailing from the vibrant city of Leeds, Graft’s topical and poetic approach to songwriting takes inspiration from genres such as Hip Hop, Neo-Soul, Jazz and Alternative Rap. This fusion of inspiration has seen him grace the stage at the acclaimed Reading and Leeds Festival, and has collaborated with esteemed brands such as Adidas, Virgin Media, Boohoo and Leeds United. Now with this national acclaim, Graft prepares for the release of his highly anticipated EP, Golden Child.

Hannah Rowe

Hannah Rowe’s emotional range transcends generations; the young singer writes about experiences and shifts in life, offering all listeners a sense of reflection within her rich, authentic, jazz-infused sound. Hannah is backed by a group of highly accomplished musicians who happen to be her adored closest friends. After finding one another at university, Sam Hughes on guitar, Luke Harrison on bass, Owen Moriarty on keys and Charlie Tanner on drums intertwined their varied influences to paint their own alluring and soulful sound - one difficult to define, but has been said to resemble the likes of Raye, Lianne La Havas, Moonchild and Yebba.

Mica Sefia

Liverpool born, Leeds-based future-soul Queen Mica Sefia endorses the interpretive nature of music as an art to be studied and related to by the public. Mica’s own exploration of self-expression solidified her passion in the production of a timeless and authentic style of music. Preferring to keep her lyricisms and narrative open to interpretation, Mica relates to a balanced approach to songwriting, in which her music remains subjective, but retains its emotive sensitivity. Mica’s music leans into the genres of Alt Soul, Rock and Jazz intertwining them to create atmospheric sounds and textured layers.

Keep on Dancing EP by Marky Ramone's Blitzkrieg on 10-inch 45 rpm vinyl with four versions fresh out of the oven. Faithful to the essences, the band of the only Ramone still standing trims all the fat off the originals and makes every second count. High voltage. DESCRIPTION Marky Ramone needs little introduction. The only Ramone still standing was born in 1952 in Brooklyn and joined the band in 1978, replacing Tommy, and remained with the Ramones until they disbanded in 1996 (with a 1983-1987 hiatus due to personal problems). He is a restless person and has never stopped recording and performing live, either solo (MR & the Intruders, MR & the Speedkings) or in projects and collaborations (Joey Ramone, Teenage Head, Tequila Baby, Wardogs...). MARKY RAMONE'S BLITZKRIEG is the name of the band with which he has been touring the world for 15 years celebrating the Ramones' legacy, as well as adding some own-penned songs and some covers of other iconic punk rock bands to his repertoire. Over the years the line-up has varied, but in recent times the band has consolidated its position on stage with the resounding presence of Vitoria-Gasteiz's own Iñaki Urbizu "Pela" (La Excavadora, Victima's Club) as frontman and vocalist, and the Argentinians Marcelo Gallo and Martín Sauan (Expulsados) on guitar and bass. So, the time seemed right to transfer all the energy generated live to a 10" plastic EP. Four versions fresh out of the oven. Three tracks under two and a half minutes and one just over three minutes. True to the Ramones essence, they remove all the fat that was left over from the originals and make every second count. The Gentrys' "Keep On Dancing" opens the selection. The original track reached number four in the US charts in 1965 and, after passing through the hands of MARKY RAMONE'S BLITZKRIEG, classic Ramones covers like "Do You Wanna Dance" inevitably come to mind. The idea is easy, speed up the original a bit, in 4/4, and then play it faster. The hard part is that the result is so exciting and energetic. "It's Not Unusual", the Tom Jones hit, becomes maximum fun. The familiar, catchy tune is elevated to a whole new level of energy and intensity so that the chorus can be belted out loud. The Beatles' "Octopus's Garden", originally composed and sung by Ringo Star, is transformed into a playful punk-pop song to escape, if only momentarily, from the worries of the earthly world in the backdrop of a bar with a good sound system. Closing "New York, New York", the classic song from the Frank Sinatra songbook, celebrates New York City. It fits perfectly with Marky's identity as a native of the city, rooted in its culture and spirit, capturing the vibrant energy and rebellious attitude of the city that never sleeps. Some can cover hundreds of different songs and make them their own, and others can't. MARKY RAMONE'S BLITZKRIEG, like their originators, are certainly one of those who can. The band is just as comfortable with a colossal song as they are with a ditty, it's all about electric atmosphere and chemistry and, on each of these new recordings, the voltage is very high. One euro from the sale of each record will go to the victims of war. Stop the war!

A new album is finally on Drivecom. A 2xLp full of new tracks recovered and rearrenged around 2022-23. No doubt the legacy of the past works are represented. Some arpeggios and melody lines will remember us to sonic landscapes from the “La Hora de las Máquinas” or “The Source” albums by Boris Divider but with a new and refreshed production sound, for sure this will be a must item for all the electro community and fans of the label.

The album opens with the intro track “The Way You Feel Me” a mix between electro and synthwave with a moog bass and arpegio reminiscent of some Arpanet’s “Wireless Internet” tracks. Then followed for the “Letters From A Sleeper” theme. As the track’s name reflects, it's a clear tribute to the synth era of David Harrow/Anne Clarke’s “Sleeper in Metropolis” just like a reply from a postnuclear future, with a big role carried out by the initial synthline. Then the first slow bpm track is for “Distante” where synthlines a la Tangerine Dream are crossed and mixed with vintage digital rhythm machine sounds and the pattern seems to be taken from those Dire Straits’ “Money for nothing” intro drum arrange in an infinite and repetitive way.

In the B Side “You Know What I Know” track is again showing an Arpanet-ish intro synthline followed by a sequential prophet's arpeggio which bring us back to the old “La hora de las máquinas” sound. Closing the first 12 inch is “Sin Mirar Atrás”. One of the most important tracks of the album for the author. A big dimensional and introspective track full of vintage synthlines and reverb. Time for “Your Light” track is again here. This song was already presented with its own reference on Drivecom. A future pure Electro classic which was announcing the album months before.

In the same side, we find another slow tempo theme called “Recursos Infinitos” an instrumental track which implements several synthlines that interlink themselves into an infnite Tangerine Dream’s soundtrack that serves as a little break to the power and darkness of “Cenital”. Electro rhythm patterns and dark arpeggio synthlines in the vibe of Vangelis’ Blade Runner are mixed in this cold dystopian agressive dancefloor track. Later we find the theme that gives name to the album: “ Memories From The Dust” a slower track which mixes sounds and melodies between “La Hora de las Máquinas“ and other 80's digital keyboard sounds. The last track is just an outro theme called “Out of Sync”. Its name is a clear statement of its own musical arrangement, synthlines are full out of timing and synchro, it was recorded in realtime from a modular synth to a digital device in one take.

Brussels residents The Untouchables return to Samurai for their fifth full release for the label.

While working on their next full length LP for Samurai, a cluster of tunes began surfacing where their inherent dub flavourings had become the dominant characteristic of the tune. Such was the infectious power of these rhythms, it became apparent a full EP of this sound was presenting itself organically. Onward Forward is the EP The Untouchables have always needed to make - a release that will leave an indelible mark on the year. We're delighted that Samurai is the imprint that releases the EP to kick off our summer 2024 collection.

Nick Cave & Warren Ellis present a suitably epic, wondrous soundtrack suite for Mars, the National Geographic Channel's 6-part series. The fictional TV series tells the story of the first astronaut crew on a mission to Mars in 2033. Directed by Everardo Gout and produced by Ron Howard & Brian Grazer, the series aired in November 2016. Composers Nick Cave and Warren Ellis deliver a pitch-perfect score to complement the thrilling yet daunting mission to a desolate alien planet in which the human species struggle to survive, thrive and forge an existence in this new world. Cave and Ellis provided thirteen tracks including the show’s theme song, which occupies a similarly cosmic electronic atmosphere as the band’s album Skeleton Tree. Mars is available as a limited edition of 1000 individually numbered copies on yellow flame coloured vinyl and includes an insert.