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There's a comforting mechanical heartbeat to 'Proem,' like a machine that has just become aware of itself, as it creaks and stutters along timidly interacting with its human caretakers. Peak moments of minimal dub-like ingredients impart flavor to a slow simmering broth of rich ear-coating ambience. (Lost Tribe Sound)

»Februarys« is a collection of recordings taken over the past few years from these sessions. First started in a hotel room in Iceland and finished in Deupree’s studio in 2021. It is a diary of sorts, collecting these times into a small box of sounds. Taylor Deupree and Marcus Fischer have been collaborating on music for over 10 years. Ever since, and at every opportunity they are together, they record. Whether it’s in one of their respective studios, on stage somewhere or in a hotel room on tour, the tape machines are running. For some reason, this often seems to happen in the month of February.

Reissued on vinyl for the first time here, this legendary Johnny Clarke recordings - originally released in 1982 on UK label Arts & Crafts - is something you wouldn't miss. Completely written by the Jamaican singer himself - backed here by Roots Radics (the Channel One studio session group) - and arranged by Clarke and Stafford Douglas (alias Mafia Tone). »Can't Get Enough« witnesses the peak of his career with his first British production. The beginning of a period that would bring Clarke to London and see him churn out a string of hits with Douglas's production, before returning to work with Bunny Lee and Mad Professor, King Tubby, Errol Thompson, Prince Jammy. Roots reggae at its best here.

Wicked weird stuff from an independant french label. Get a listen guys !

"Let's get ready to rumbleee!” O.B.F’s latest album is just around the corner; unleashing their incendiary first single “Chainsaw”. A track born straight from the womb of soundsystem and clash culture. Already rated as a future classic by dubplate connaisseurs, the track sets the tone for what to expect from the most forward thinking dub outfit on their next LP.

Clear Vinyl

"The Fire I Long For" ist das vierte Album der 2012 gegründeten Epic-Doom- und Rockband aus Stockholm.

Wer gehofft hatte, dass Avatarium sich gegenüber ihrem letzten Album weiter steigern würden, wird an "The Fire I Long For" seine Freude haben. Diese Band strotzt nur so vor Talent und Potenzial und scheint jetzt zu ihrem Recht zu kommen. Wer stimmungsvollen 70er-Jahre-Rock mit Doom-Einschlag mag, wird sich an einem bitterkalten Wintertag an einem lodernden Lagerfeuer wärmen können.

Jan Anderzén and his partners celebrate the transcendental power of ecstatic music. Alas Rattoisaa Virtaa is the first Kemialliset Ystävät album in four years. It is the result of chance enhancing online collaboration methods, desire to get lost in the sound archives and the high art of meticulous editing. The album title is from visions of rivers running down from Heart of Darkness to the City of Joyful Noise. If contemporary music is a high speed train passing by then KY's music would be an orgy of light under a railway bridge.

A band member Lars Mattila experiences the music of Alas Rattoisaa Virtaa in spatial terms:

"There are worlds accessed only through our auditory system. I hear a Wunderkammer of freestanding sound objects. Rhythms like sequences of seemingly random stuff laid out on the forest floor: a pair of thrones, a Henry Moore sculpture, a watermelon, two thrones, a Moore sculpture, a melon... I trust the path to go on even if I can't see behind the hill. There's motion, wether it be drunk driving or super human rapid eye movement. The sheer amount of detail makes it impossible to take everything in at once. One's perception and shifting focus reshape the experience on each listen. I remember my visit to Cappella Palatina in Palermo where Normann architecture, Arabic arches and Byzantine dome form a harmonious whole. Various cultural and spiritual influences are recognized as equals. The sense of space also brings to mind the end scene of The Lawnmower Man when the dude is trying to escape the virtual world."

First ever vinyl release of this tribal ambient gem. A plethora of exotic rhythms and sonic meteorological phenomena. Loops, leftfield beats, and all kinds of textures from the 4th world and beyond. Originally released in 1994 on CD, it is a true beauty of electronic hypnotism and sonic exoticism. Through a highly developed process of layering, Jeff composes and performs music rich in texture, depth, mood, and subtle detail. His blend of electronic and acoustic instruments and textures produces haunting yet inviting soundscapes with a strong sense of place that hover somewhere between the exotic and the familiar. Moreover, you will find here collabs from other great artists: Dennis Rea (Savant) on guitar and Rob Angus with drum programming.

Jeff Greinke began composing and performing music in 1980 while studying meteorology at Pennsylvania State University. After moving to Seattle in 1982, Jeff formed the production company and recording label, INTREPID, through which he produced his first LP, Cities in Fog. He has since released twenty other recordings on various U.S. and European labels. He has composed music for film, video, dance, theatre, radio, and art installations. Jeff has toured throughout the United States and Europe and has performed in China, Canada, and Mexico. He has also been a member of numerous ensembles and is founder of the group LAND.

An original and particular approach to rhythmic electronics, with an incredible sound, like in all of Potter's works. Six hypnotic tracks from Colin's archive of rarities, for the first time on vinyl, perfect to play really loud.

These six pieces were recorded between the late 80s & mid-90s at IC Studio, which was then located in Tollerton, North Yorkshire.

“I wanted to make some tracks which were much more rhythmic. By then the studio was a 16-track and I had acquired more equipment for making sounds and changing sounds. There was an Akai S950 sampler, an Emulator II, Roland TR727 and Yamaha RX11 digital drum machines, a Roland Juno 60, and some new effects processors. I even, briefly, used an Atari for MIDI sequencing, but using a computer in the studio felt a bit weird in those days. Ironic really, given the situation now. There were a lot of new methods to learn and the tracks on this album were the result of some of these experiments, during which I also found ways of integrating the old analog synths with the newer machines. Mixing was still done hands-on, in real-time, with alternative and often radically different takes being made of the same multitrack. Very different to the way things are done now. Better or worse? Who knows? But different.” - Colin Potter, IC Studio, London 2022.

Colin Potter is a sound engineer and musician currently based in London. He has worked within the fields of electronic and experimental music for over 40 years, collaborating with the likes of Current 93, The Hafler Trio, Organum, Andrew Chalk, and most notably as a key part of Nurse With Wound alongside Steven Stapleton. He started the esteemed ICR (Integrated Circuit Records – still active today) label in 1981 releasing a several wonderful home studio recordings of his own, as small run cassette releases.

David Gedge says: "With its 1950s theremin and science-fiction sound effects, `Astronomic' sounds a bit like a cross between a psychedelic pop song and a television theme. It's also The Wedding Present's job to be educational as well as entertaining, of course, and who knew that `hypersonic speed' is actually defined as one that exceeds five times the speed of sound? Certainly not me. But I know now! Oh, and wait until the very end of the track to hear another of those occasional Wedding Present references to Status Quo, too. Meanwhile, `Whodunnit' no question mark because it's referring to the literary genre rather than asking a question is a much more melancholy affair, which is what we've come to expect from songs which are primarily Melanie Howard co-creations. It might win the prize for the most powerful chorus of the series, though" Tenth release in this monthly series, in 2022 The Wedding Present will be releasing a new 7" single every month, #9 is available for indie record stores only soonThis fascinating project - which goes under the name of 24 Songs - comes thirty years after the band's similar Hit Parade series of 7"s in 1992 and features two brandnew recordings of the current WP incarnation. Each of the records comes in a beautifully designed sleeve featuring brutalist photography by Jessica McMillan

A twirling banger of Hardfloor.
10" power !

HIGHLIGHTS FINALLY, the highly sought-after and fun 'Drácula Yeyé' by Andrés Pajares is being officially reissued on a 7" vinyl single for the first time. The version recorded by the Spanish band Doctor Explosión in the 90s helped to popularize this song that has already achieved the status of garage-yeyé holy grail. On the B side the stunning garage-beat number 'Caperucita Yeyé' brings together some of the best artists of the Spanish-sung yeyé scene of the 60s: singers Marta Baizán, Miguel Ríos and the Venezuelan garage band Los Impala. Two highly sought-after garage-yeyé songs on a double-A-side single, essential for lovers of 60s sounds. DESCRIPTION Mainly known for his career as an actor, especially during the post-dictatorship years and through his "soft-erotic" comedy films, the popular Spanish comedian Andrés Pajares also recorded several records since the mid-1960s. Among them, "Dracula Yeyé" is THE song that has conquered selected dancefloors worldwide and has been on the wants lists of 60s sounds collectors and DJs for years. A rare artifact that was originally released in 1968 and whose original copies are very scarce and currently fetch exorbitant prices in the second-hand market. The later version recorded by the Spanish band Doctor Explosión in the '90s helped to make this record better known so that has already achieved the status of Spanish garage-yeyé holy grail. The single is completed with another fun and surprising yeyé song on the B side that could well be the main track of this release since it brings together some of the best artists of the Spanish-sung yeyé scene of the 60s: singers Marta Baizán, Miguel Ríos and the Venezuelan garage band Los Impala. All of them were the uncredited artists involved in this recording that was originally released as a children's record, with the musicalized narration of the classic tale "Little Red Riding Hood" that these musicians turned into a stunning garage-beat hit. Both songs are reissued here on a 7" single for the first time.

Today Chicago-based percussionist, composer and producer Makaya McCraven announces the details of his new album In These Times, which is set for release on September 23rd via International Anthem / Nonesuch / XL Recordings. The first offering from the new album is a song tiled "Seventh String," which encapsulates the various musical dimensions present on McCraven's new album, a career-defining body of work that is a remarkable new peak for the already-soaring McCraven. In These Times is a collection of polytemporal compositions inspired as much by broader cultural struggles as McCraven's personal experience as a product of a multinational, working class musician community. It's the recording that he's been trying to create for 7+ years, as it's been consistently in process in the background while he's put forth a prolific run of releases including: In The Moment (2015), Highly Rare (2017), Where We Come From (2018), Universal Beings (2018), We're New Again (2020), Universal Beings E&F Sides (2020), and Deciphering the Message (2021). With contributions from over a dozen musicians and creative partners from his tight-knit circle of collaborators - including Jeff Parker, Junius Paul, Brandee Younger, Joel Ross, and Marquis Hill - the music was recorded in five different studios and four live performance spaces while McCraven engaged in extensive post-production work at home. Featuring orchestral, large ensemble arrangements interwoven with the signature "organic beat music" sound that's become his signature, the album is an evolution and a milestone for McCraven, the producer. But moreover, it's the strongest and clearest statement we've yet to hear from McCraven, the composer. Profiled in the New York Times, Vice, Pitchfork, Rolling Stone, the Guardian, and NPR, among other publications, Makaya and the music he makes today is what Passion of Weiss explains, "is part of a necessary conversation about the next evolution of the Black improvised music known colloquially as 'jazz.' He's found the threads connecting the past with the present, and is either wrapping them with new colors and textures, or he's plucking them gleefully like the strings of a grand instrument." McCraven, who has been aptly called a "cultural synthesizer" and "beat scientist," has a unique gift for collapsing space, destroying borders and blending past, present, and future into poly-textural arrangements of post-genre, jazz-rooted 21st century folk music. In These Times encompasses his artistic ethos, his experiences, identity and lineage, while pushing his music to new heights.

Composer François de Roubaix was born in 1939. He didn’t receive any formal musical education, but he became interested in jazz from the age of 15. His professional musical career only spanned ten years, from 1965-1975. During that period he composed for commercials, TV series, shorts, and about 30 feature-length films.

The most striking aspect of François de Roubaix’s music is its versatility: on one hand, it’s his ability to create simple, memorable tunes; on another hand, it’s his bolder experiments with different timbres and recording techniques. He freely combined folkloric and electronic instruments, embracing the advent of the first synthesizers and rhythm boxes. Being a multi-instrumentalist gave him a high degree of artistic freedom, as he spent long hours at his home studio overdubbing various parts of his scores until he would reach the desired result.

Du Jazz à L’Electro 1965-1975 is a brand new compilation album consisting of compositions by Francois de Roubaix. It includes previously unreleased and hard to find compositions from tv-series like Les Survivants and Tarif De Nuit. This compilation also includes compositions for commercials of Cointreau, Muratti and Fiat Coupé. Du Jazz à L’Electro 1965-1975 is available as a limited edition of 1500 individually numbered copies on solid yellow coloured vinyl, housed in a gatefold sleeve with liner notes and background stories about the compositions.

DEDICATED COPY !

Calle Sound System est un mini-album conçu par Sidi Wacho en réponse à la crise sanitaire. Leur univers musical est constamment en
renouvellement pour sortir des stéréotypes et des étiquettes.
Leur groove binaire s’inspire de la cumbia chilienne avec des arrangements inspirés des fanfares balkaniques.
Rap, rythmes latinos et reggae peuvent aussi plonger dans cette sauce relevée à souhait !

Doppel-LP, Coloured Vinyl in Tabaluga Grün. Gatefold."Wir schauen auf dieselbe Sonne und auf denselben Mond. Wir teilen uns dieselbe Erde, sind alle im selben Boot".So lauten die beiden ersten beiden Zeilen des Refrains von "Königreich der Liebe", der ersten Single aus dem neuen Drachenabenteueralbum "Tabaluga - Die Welt ist wunderbar". Zu mitreißend-anschwellendem, vielleicht ein bisschen an Elton Johns Hymne "Circle Of Life" erinnerndem Piano-Pop zeichnen Peter Maffay und seine Duett-Partnerin Stefanie Heinzmann (die hier ausnahmsweise auf Deutsch singt) in der kraftvollen Ballade das Bild von einer besseren Welt. "Es geht nicht um Farbe deiner Haut oder um das, woran du glaubst", heißt es in dem Lied weiter, und dann: "Komm, wir bauen ein Königreich mit Liebe auf dem Thron." Mit einer stärkeren Botschaft - und einem stärkeren Song - könnten die Feierlichkeiten zum vierzigsten Geburtstag des kleinen grünen Drachen kaum eingeläutet werden. 1983 erfand Peter Maffay die kindgerecht-kluge, wenngleich etwas stoffelige Figur zusammen mit Gregor Rottschalk, Rolf Zukowski und Helme Heine. Seither hat die liebenswerte Märchengestalt auf sechs Alben, mit zahlreichen Tourneen, einem Musical, einer Zeichentrickserie und einem Kinofilm immer wieder neue Generationen von Kindern und Eltern in Entzückung versetzt, aber auch zum Nachdenken gebracht.Denn Tabaluga steht für Unterhaltung mit einer klaren, positiven Botschaft. Auf dem neuen Album, so viel sei verraten, wird der ewige Drachenjunge zusammen mit seinen Freunden und der geballten Power der regenerativen Energien gegen die Klimakatastrophe antreten. Maßgeblich verstärkt wird Tabalugas Team erstmals von Lucy, einem schlauen, gemeinsam mit dem langjährigen Partner Volkswagen, entwickelten Glühwürmchen-Charakter. Tabaluga ist also definitiv so politisch relevant wie nie, und das, unterstreicht sein Mitschöpfer, sei auch dringend geboten. "Natürlich erzählen wir eine utopisch anmutende Geschichte", sagt Peter Maffay. "Aber zu dieser Utopie sehe ich keine Alternative. Wenn wir nicht mehr an die Zukunft glauben, dann geben wir uns selbst - und unsere Kinder - auf. Wir waren noch nie so gefordert, den Zusammenhalt zu stärken, wie jetzt".Für Peter Maffay (72) krönt das neue Tabaluga-Werk ein ereignisreiches Jahr. Am 18. August ist er erstmals im TV als neuer Juror bei "The Voice of Germany" zu sehen, und einen Tag zuvor startet - mit zwei Jahren Verspätung - endlich seine große Hallentournee.

Ugandan DJ and producer Authentically Plastic presents their debut full-length on the Hakuna Kulala imprint.
‘Raw Space’ is a brilliant display of their self-described style of “free form femme fuckery”, harnessing East African influences, unstable polyrhythms and glinting techno production flourishes

Taupe's imprint Colours proudly presents another palate of delicate musical brush strokes that aims to captivate and bounce its spectator. While Taupe's refines his art, this ep has the audacity to retain itself and focus on balance and control. It's a wonderful slice of wax that has many hidden sides to it, which for that reason make it a marvelous mystery to listen to. The ep starts off with a wish-wash of stabs, creating a pressing feeling of urge and uncertainty. Whilst its progressing, things seem to shake and tumble, but never falling. The inner A-side, however, has a clear purpose! An all-present tom knocks your socks off right off the bat, followed by a moist atmosphere and an appetizing hat. While A1 aims to disorient, A2 transports you right to an intimate car-drive at 5am. Flipping the wax won't flip the theme. B1 Perpetuates the feeling of nostalgia and unknowingness by tempting and dissolving the listener with fairytale-worthy arps. Swaying from left to right, follow this dream ride! And to top off this marvelous ride, B2 gently pushes the brake in order to ascertain a comfortable speed that is exquisite for some old-skool head-bobbing. Absorb that addictive bounce!

Mental DSP style sound...With that pinch of RSF crew brilliant sound and composition... A pure jewel.

A unique italo disco masterpiece and one of the most obscure italo “barn finds” that most Italo world learned about thanks to the “Lost Treasures Of Italo disco” mix by Fleming Dalum and Filippo Bachini as well as the Hysteric’s edit from the “Mothball Dance Classics” sampler a few years back. Now Vintage Pleasure Boutique has prepared a fully official 12″ reissue with extended versions and Italoconnection remix. The material has been remastered from the original master tape, which was stored in Vittorio Acunzo’s archives for the entire 35 years.

“Final Departure” is the debut album by J-Shadow, a widescreen vision expanding out on an event horizon before us. Built using influences from London’s rich electronic, pirate radio and black music lineages (jungle, grime, hip-hop, electronica etc), the album twists and turns, lifting listeners up towards a more ethereal plane. “I see beauty in the complexity of life from the cosmic scale to the quantum,” he explains. “From all that we can observe, this world stands as a uniquely multifarious sphere in which we just happen to exist.” “I love to take ideas and attempt to conceptualise them into an audible expedition,” he explains. “I find that music serves as an extraordinary medium to project my perception of the universe.” “Sometimes I will reach for certain influences and deconstruct them into an amalgamation of conscious experiences that reflect my vision of how I see the world.”

Isokratisses (Greek for "women who sing the "iso" or "drone") is a vocal ensemble comprised of eight women who carry the ancient tradition of polyphonic songs from Epirus: a region in northern Greece and southern Albania. Born and reared in the Greek speaking villages around Deropoli and Politsani in Albania, the women of Isokratisses have sung these songs since childhood. The group ranges in age from 19 to 56 with some sisters in the group as well as an aunt. They were nurtured by this archaic music, listening and singing it with their family and friends. The songs were passed down from generation to generation. The group started its artistic activity in 2015, after the singer Anna Katsi took the initiative to encourage the younger members to perform regularly. The communal nature of polyphonic singing is a way of revitalizing an art that has declined in recent years and to reassert the primacy of female voices in the southern Balkans. Singing these songs builds an invisible bridge that connects the present with the past, the memories of childhood travel with the immediacy of daily life. On Oct 14, 2022, Third Man Records will release a full album of these solo polyphonic songs, with Grammy-winning producer Christopher King. "It is social music, woven into the fabric of poor, marginalized, and disenfranchised communities. Many of the songs are variations of mirologia (songs of fate, songs of morning) that used to be sung throughout the southern Balkans but have largely disappeared on an informal cultural level except for Epirus. Structurally, the songs are pentatonic (five notes with no semitones) and are composed of three or four distinct melodic voices that weave together in an organic yet unexpected way. The remaining members of the group provide the iso or “drone” that is the low tonic note of the melody." - Chris King.

IND in his special skillz... With melodious and nostalgic beautyful intros, opening on a light speed kick... and a crazy ambient drop sensitive and touchy.
The kick then turns more threatening... to turn Hardcore, without becoming that crazy either...

Both tunes in a pure Joe IND style.

Superb !

Whenever you think you've seen it all, SNC Recs comes round the corner with a brand new banger. Drum roll please for SNC007, shaken not stirred - the first Various Artists EP of the Ingolstadt based record label.

Fresh approach - with well known favorites. All artists on the EP have released solo or split EPs on SNC already. So you can look forward to The Duty Freedom, Raphael Schön, Maurice Paloni and Salomo. SNC 007 will make you shed a tear on the dancefloor with a late summer acid anthem from The Duty Freedom on the one hand, and on the other hand wrap you in a cozy blanket knitted from Salomo’s legendary soundscapes. However, the record not only creates romantic feelings, but also delivers breaky and trancey vibes by the Bavarian based producers Raphael Schön and Maurice Paloni, where you certainly won’t be able to stay still. What else could you ask for?

“Micro tonal poetry” - Mats Gustafsson

'Its an honor for the AFJ-Series to introduce the self-titled debut album by Danish Oslo resident Signe Emmeluth. Recorded at Flerbruket, in the forest an hour outside of Oslo - Emmeluth alone in a room with her alto and tenor saxophones.

A fantastic session of sax solo ecstasies recorded by Magnus Hemnes Nergård. Much like Joe McPhee’s Tenor and Peter Brötzmann’s 14 Love Songs, this album share the same beautiful intimacy. It is close, sparse, poetic and raw at the same time. Minimalist and soulful free music.

Signe Emmeluth is a Danish saxophonist and composer educated by the Jazz Department in Trondheim and is currently based in Oslo. Emmeluth has recently become a rising star on the international scene for improvised music. She has her own quartet Emmeluth’s Amoeba and has worked with Trondheim Jazzorkester, John Edwards, Tony Buck, Paal Nilssen-Love, Mats Gustafsson and Mette Rasmussen to name a few.'

All music by Signe Emmeluth, except 'I’ll Be Seeing You' by Sammy Fain
Signe Emmeluth: alto saxophone, tenor saxophone, recorder and electronics
Recorded at Flerbruket, Hemnes (December 2020/January 2021)
Sound Engineer: Magnus Skavhaug Nergaard
Mix/Master: Lasse Marhaug
Artwork: Kim Hiorthøy

Tak til Karl, Magnus, Lasse og Joakim for hjælp og gode vibber

Powerfull Melly is back with a full EP.
A side, a 45 Killer of a kind leads to a mental hardfloor twirling tune... That can be cool at 33 RPM too :)

The flip start with a tooth brushing 175 BPM cruiser.
Second tune is a trap door, with a loud heavy kick, 178 BPM heavy ambiance, really Hardtek in the shape, sound and ambiance.

BIG !
Illustration by Kristof Albert

3 bangers mental live set style from Matek, in a never too much spirit and one hardcore crunch from Mr Runlevel.

Pauper 08 offers 1 tune per side.
As usual each tune is an exploration...

A side is a 165 BPM old school tribe sound, very progressive and chanting... with a crazy end...
The flip starts very monomnom soundslike and finally turn cheezy old school :)
The kicks are very pumpin & electro, and the sound is loud !!!

With this release Mysteries completes the 1st decade. An occasion for us to deliver you a special treat of musical and visual art.

TMH A INSEKTUS, Keflat23 and mental Reaper have provided for you 3 masterpieces of their musical creation.
Mysteries #10 gives you a genre-spanning insight into the diversity of what is mostly pressed into the drawer of Freetekno.
However, every mystery of life has its origin in the heart, and this release - illustrated and designed by Darkam and TDSignz & mastered by Pozek - is a reflection of what it can mean to us, as a label and supporter of arts.
MSTR10 comes in a fullprint cover, fullprint inner sleeve and includes a 2-sided printed 12“ artwork poster plus artwork stickers.

3-D The Catalogue features new recordings of Kraftwerk's 8 classic albums performed / filmed at various locations around the world between 2012-2016 and mixed at the band's own state-of-the-art, Kling Klang Studio, Düsseldorf

77 mins (abridged) version of full-length release containing music from all 8 albums on double heavyweight vinyl + download card

Time 2 Love is an album based on Irene’s many influences and foregrounds her sensitivities. All the tracks embody reminiscent of the 00s R&B vocals, inspired by legends like Brandy and Aaliyah.
The production has the signature of RSN, one of the music’s most influential artist and producer, who together with Irene bridge the gap between cinematic soul, R&B classics, Hip Hop and contemporary music scene.

Time 2 Love is about the journey we make from love to toxic relationships and independence. Irene’s journey goes through love to loneliness and shows how the reminisce of a past love may force to toxic old habits. Life pointed her back in the same old directions, but as she is ultimately the master of her own individual destiny, she progressed and moved from abandonment to a healing experience and she regained to be emotionally independent. The album features Anduze from Parov Stelar, MC Yinka, Word Of Mouth, Mr. Collage and the vinyl edition includes an extra track with BNC.

Time 2 Love is available on vinyl by the label Mind The Wax and on all digital platforms via Hidden Track as of September 16th 2022 and includes 10 tracks.



Irene is an R&B artist, born in Athens and based both in UK and Greece. Her debut album “Time 2 Love” is an album sank into her feelings about self-love, toxic relationships, love and independence.

Irene has received three Awards at Manhattan’s IMTA 2011 and released her breakout single ‘Like A Rainbow’ on 2016 with Ian Ikon which was included in the global collection “NOW 2016” from Universal.

In addition, Irene collaborated with celebrated artists such as Anduze (Parov Stelar) and MC Yinka and she released four songs ‘Familiar’, ‘Light It Up’, ‘Piece Of You’, ‘Whatsa Say’ (via Hidden Track Records).

From the mid-90s to 2005, Sweden’s Defleshed churned out a white hot blend of thrash, death metal, and grindcore, marking themselves as one of the most vital bands in all three of those genres. Having run out of inspiration and wanting to try other things they called it a day the same year they released their fifth album Reclaim The Beat, and ever since fans have hollered for their reunion. In 2021 they got what they were asking for when the band’s core lineup - guitarist Lars Löfven, drummer Matte Modin and bassist/vocalist Gustaf Jorde - got back together. None of the members took any convincing to reform or to push ahead with the full-length, starting to seriously write in Autumn 2021, and there was no masterplan guiding them. “We just wanted to see what we sounded like today, with new perspectives on things. We knew it had to be fast and furious yet diverse.” The result is an album “filled to its maximum with power and energy”, this made clear by opener “Bent Out Of Shape”, which is perhaps the greatest start to any of their records. They do not take it easy on the listener from there on, with the likes of the thrashy “Dear Devil” and groove-laden “Unburdened By Genius” taking very different tactics in the damage they wreak, the band making a point of not repeating themselves while staying true to that classic Defleshed sound.

Old school rave sound from Acid House to UKG and rave sound... Crazy stuff !!

Superb EP ! The best from them with a banging full Electro Techno/Freetekno side and 2 Electro Techno groovers on the flip.. Some vocal samples you could recognise from big cheezy classics...
Sound is quite minimal and spacy, the bass is light and groovy, in that Pumpin 2.0 style proper to Ixindamix.

The full EP provides a wicked printed sleeve.

BIG !

Das erste Weihnachts-Album der GRAMMY Award Gewinnerin Joss Stone erscheint.

Die mit einer enorm kraftvollen Stimme ausgestattete Joss Stone ist besonders für ihren sehr auf klassischem
Soul basierenden Sound bekannt. Bereits seit ihres Karrierestarts als Teenager hat sie anhaltend Fans
weltweit mit ihrer Musik begeistert. Die britische Sängerin hat sich zunächst mit ihren Neuinterpretationen
klassischer Soul-Songs ein treues Publikum im In- und Ausland erspielt, das sie mit ihrem Können als
Songwriterin und ihrer Fähigkeit, Stile zu erforschen, die weit vom klassischen R&B, ihrer ersten Liebe,
entfernt sind, erweitert hat. Ihr anstehendes Weihnachtsalbum schließt an die zuletzt zusammen mit Dave
Stewart aufgenommenen Soloalben an.
„Merry Christmas, Love“ ist ein Album, gefüllt mit Festtags-Klassikern wie „Winter Wonderland“, „Silent
Night“, „The Christmas Song“ und vielen mehr!
Das Album ist als Jewel Case CD und Vinyl erhältlich sein.

featuring Tennishu and R4ND4ZZO BIGB4ND


Ihr neues Album Butcher Brown Presents Triple Trey featuring Tennishu and R4ND4ZZO BIGB4ND erscheint am 16.09.
Das fünfköpfige Kollektiv Butcher Brown aus Richmond veröffentlicht mit Unbelievable bereits ein weiteres Stück aus ihrem kommenden Big-Band-Album. Der Track ist ein Beispiel der dynamische JazzNeuinterpretation des gleichnamigen Songs von Notorious B.I.G. und wird von einem mitreißenden Video
der Band begleitet, die den Song live performt.
Das Album wurde ursprünglich vom MC und Multiinstrumentalisten der Band, Tennishu, als HipHopAlbum geschrieben und produziert und hat sich seitdem zu Butcher Browns eigener eklektischer Ode an
den Big-Band-Jazz entwickelt, ihrem ersten Ausflug in dieses Format. Butcher Brown Presents Triple Trey
ist bahnbrechend in seiner Annäherung an den klassischen Jazz. Die Band und die R4ND4ZZO BIGB4ND
spielen eine Collage aus Jazz-Suiten für ein HipHop-Album und integrieren gleichzeitig die ganz eigene
Mischung aus Soul, Funk und Rock-Elementen, für die Butcher Brown bekannt ist.

"UNITED", Tristesse Contemporaine’s new album is like a space shuttle, full of metropolitan and eccentric music makers.

Inside the shuttle: Narumi, Leo & Mike, respectively from Japan, Sweden and Jamaican-British. All "united" behind the unique Tristesse Contemporaine flag and led since the start by French label Record Makers (Kavinsky, Sebastien Tellier, Cola Boyy…).

After three rock & post-punk infused albums: "Tristesse Contemporaine" (2012), "Stay Golden" (2013) and "Stop and Start" (2017), they’re off to a new start and open a new cycle with their new opus "UNITED".

Who other than young prodigy Lewis OfMan, the one-man band behind hits like "Attitude" and renowned collaborations including Rejjie Snow or Carly Rae Jepsen, to join the joyous ride?

After hearing "Sly Fox"'s first demo in 2019, they convinced him to produce a whole album for them and became the fourth member of sorts, adding his pop sensibility, mixing genres and emotions with funky basslines, strong hooks, and digital arrangements.

A free-spirited album filled with irresistible beat-driven tunes thanks to Mike's thunderous voice, Narumi's sparkling synths and Leo's gleaming guitar, conquering new territories from reggae to 90’s breakbeat or New-York disco. A unique and united style glued together by a rare ability to switch moods and dynamics in a gleam of light, like a skilled DJ would.

Giorgia Angiuli’s 13 track album ‘Quantum Love’ on her UNITED label combines and contrasts fast, insistent dance beats with her signature melodic synths and dreamy lyrics; ‘an eclectic work including piano downtempo tracks and techno melodic tracks with ethereal vocals’ (Angiuli).

The multi-talented live artist/DJ/producer/vocalist/lyricist and studio-building tech wizard used lockdown as a creative nexus. Einstein’s ‘Imagination is more important than knowledge’ led her to explore quantum physics, while her first India tour inspired ongoing interest in sound meditation and philosophy, culminating in the LP.

‘Quantum Love’ has many moods and speeds; physics and philosophy, contemplative and full-on fast, sweet vocals, meaningful lyrics or purely instrumental, it’s all there. ‘’Quantum Love’ is my inner soundtrack to my recent transformation, summarized in the following sentences: we are made of energy, everything is vibration. We are each our own placebo, happiness can be a choice, we have all the elements inside us for the right path. Nature can teach us everything.’ (Giorgia Angiuli)


Press:

DJ Mag Feature

Flow Music Interview

DJ Mag Post

Four Four Magazine News Piece


DJ Feedback:

Sasha (Last Night On Earth) - solid!

Guy Mantzur (Kompakt, Bedrock, Lost & Found, Sudbeat) - love them all

Anthony Pappa (Selador) - The Timo Maas Remix is excellent.

AFFKT (Sincopat) - Superb remixes!

Fur Coat (Oddity / Delete) - Nice Armonica and Glowal remixes

Israel Sunshine (Fur Coat / Oddity) - Great job! digging all tracks specially Timo and Glowal

Animal Trainer (Mobilee / Stil Vor Talent) - fab remix by Armonica!

Dee Montero (Knee Deep in Sound, Selador Recordings, Anjunadeep) - Timo Maas mix for me

Siavash (You Plus One) - Glowal mix takes the cake in this ep

Chris Fortier (Thoughtless / Sullivan Room / Balance) - super super

Pisetzky (JUST THIS / Last Night On Earth / Oddity) - amazing giu

Sinca (Anjunadeep) - Great remix ep

James Trystan (Suara / Bedrock) - Feeling this!!! Timo Maas for me

Henri Bergmann (Automatik) - armonica always!

Cesar Romero (Simply City) nice!

juSt b (Bedrock / Configurations of Self) nice release, love the key work and vox.

Nhii (No Human Is Illegal) (Sounds of Khemit / Stil Vor / Kindisch) - Timo Maas remix right up my alley!

Ndikho Xaba was born in 1934 in Pietermaritzburg, KZN, South Africa. For thirty-four years — 1964 -1998 — he lived in exile in the US, Canada and Tanzania. Originally issued by Trilyte Records out of Oakland, California, this 1970 recording is bracing, freewheeling Now Thing, suffused with SA idioms, and focussed by a political urgency wiring together US Black Power, Black Aesthetics and the anti-apartheid front-line like nothing else. You can hear Trane from the off — 'a spiritual offering to my ancestors' — and plenty of Sun Ra, with whom The Natives several times shared double-bills. (Xaba was to become close with Phil Cohran and the AACM.) Freedom is a gutbucket-soul rendition of the people's anthem; Nomusa is dedicated to Xaba's new wife, a poet and CORE activist from Chicago. The thunderous finale Makhosi features drummer Keita from the West Indies, and Baba Duru, who studied percussion in India, before winding up with Xaba blowing eerily through a horn made from a giant piece of tubular seaweed. Hats off to Matsuli for this outstanding reissue.

BACK IN STOCK

Precious, timely, moody reflections on migrating from Côte d’Ivoire to Moss, in Norway, over ruff breakbeat funk supplied by the nimble bass-playing of Maimouna’s old man (from Kambo Super Sound), and the expert conga and kit-drumming of Stliletti-Ana (from Jesse, in Helsinki). Even in their delirium, b-boys and girls will savour traces of the Incredible Bongo Band, in the chorus. Over the eight minutes, and going deeper on the flip, the mix lifts off into a cosmic steppers dub, featuring Gilb-r alongside Sotofett on keyboards, with no let up for the dancefloor in energy and vibes.

Dear friends, Can you imagine a rolling recording studio? This is exactly where recordings of Himbert´s „Old Banger EP“ took place. For his debut on Brombert Records he put all his gear into an old campervan. Footloose and fancy-free Himbert produced four tracks with dry and almost tangibly sound aesthetics, that take you on a trip into a world remote from commercialized rave and club culture. The EP kicks off with „C35“, a track driven by a gritty bassline that is counteracted by an euphoric chord pattern. This combination pushes into a thrilling atmosphere that keeps you in excitement all the time. „T3“ releases tension with a swirling bass and soft sound pads and sends you on a diving trip. „MB100“ comes in entirely different. This track is a mad rush! An absurd bass-engine and pointed dub echos force up ecstasy with every single loop. Last but not least, „J5“ shows yet another side of Himbert´s sound. With airy-fairy woodblock hits and an eerily beautiful synthline this one has an almost trance-touch and leads you into full contemplation.

repress

Play that funky music white boy! In 1977, San Francisco singer-songwriter Matthew Larkin Cassell privately pressed and distributed his debut LP "Pieces" to little fanfare. It took over two decades and being sampled by Madlib for listeners everywhere to recognize Cassell's unique combination of soul, funk, and rock as ahead of its time. Even now, 45 years after its release, the record sounds fresh.

Diggin’ in the vast vaults of Victor Simonelli, a collection of classic Jazz-N-Groove remixes from the legendary Bassline Records label, fully remastered for the first time on one 12”.

Started back in 1993 by the man himself, the label features releases from the likes of Romanthony, Jocelyn Brown, DJ Duke and many more, also going on to spawn the Big Big Trax sublabel too.

For this 12 inch, a spotlight on Jazz-N-Groove, the legendary production team consisting of Marc Pomeroy, Brian Tappert & previously Roy Grant. Showcasing soulful house done properly, this EP takes in four of their sought-after ‘90s remixes of anthemic cuts from Northbound, Body Moods and Strive For Jive. For the house trivia heads out there, the pair also went on to launch Soulfuric Records and also digital download store, Traxsource.

'Razen is the collective consciousness of core members Brecht Ameel and Kim Delcour, who since 2010 have realized themselves through virtuoistic and highly expressive improvisations with lesser-heard instruments. Experimenting with repetition of tones through controlled breathing and phrasing, Razen arrive at a synesthetic playground of auditory textures and colorful imagery.

The ensemble is carefully orchestrated for every occasion with the intent and desire to escape to environments unbeknownst to them, taking shelter in the fleeting ego-dissolving moments that arise, whether divine or disturbing. While the formula of instrumentation and like-minded peers may appear mundane on paper, it’s Brecht and Kim’s outlook and imagination beyond musical references that’s the immeasurable catalyst to their peculiar pursuits. Conversations about paintings, books, or films ultimately manifest themselves into live performances or album recordings - with the philosophy of embracing playfulness and exploration through the lens of a child’s eye.

Only six collaborators have been invited to their inner circle to date. This is mainly attributed to the rarity of finding spiritual counterparts that are seeking freedom outside the confines of written musical scores. Trading notes and rhythms for strokes and color, the band embodies emotive and meditative drones that demand a deep listening state. Joined by Will Guthrie and Paul Garriau, Razen venture into their vision of Arcadia through Regression, proudly presented by Marionette. On this album, Brecht Ameel turns to his trusty prepared harmonium and celesta, while Kim Delcour controls air and breath on various wind and reed instruments. Featuring Will Guthrie on tuned and melodic percussion (timpani, glockenspiel, marimba, vibraphone), the recordings have a distinct flow and fluid movement when compared to some of Razen’s previous works where rhythm is taking a backseat. Hurdy-gurdy specialist, Paul Garriau, plays accompanying melodies and drones on Moon, Aether and Nebula.

The album's earthly elements deal with survival, timelessness, and simplicity; such as the life affirming rewards of finding refuge and the wonders of observing the interstellar. The unearthly elements pitch this narrative into the realm of mythology and superstition, in the hopes of trying to understand our primeval universe and thrive in the unknown. Regression also addresses Razen’s fascination with inhospitable places and how to adapt to the sorrows that come with this sort of brutalism. The resulting destination is a mind and time bending zone - one that can be reached by riding sound waves that transcend the past, future, and present.'

Brand new Italian label “WeDoThings” is happy to introduce “The Beetools” with the debut album ‘SoulNova: The Magical Tones Revenge’.

“The Beetools” are a four elements crew who love music and mostly enjoy live playing instruments and synths.

Their roots start from Latin and Electronic Music as well as Funk & Jazz, inspired and influenced by Mambo & Samba rhythms too.
Starting from here, they have joined together and created an Italian soup/group as follows:
Original Recipe:
- take four poor guys with different music styles and put them in a mixing bowl
- add few spoons of keys, flutes and some drums
- put inside a pinch of synths
- mix and fry 180 grams of magical sound
- a sprinkle of groove and trumpets on top
Everything seems to work fine and now it’s cooked to perfection, ready to please your ears.

Strictly serve it hot on a “vinyl plate”
It’s a limited pleasure, this one is a keeper !!

'Marasma Vussa is the Brainchild of Antonio Feola a long standing figure on the London music scene, Antonio has been running the Fish Factory Studio in Willesden, North London for over two decades now. Throughout the years, he has had a major role in helping many of the current lead players of the London scene have a place to record and define their sound.

Antonio's project Masmara has existed for over 30 years and here has found its place on record. Recorded on tape over time with some of the most sought after players in London and edited during the lockdown period, Vussa is an album of mind-bending deep, cosmic mediative jazz experiments. Boasting catchy melodies and heavy, heavy jazz breaks!'

The absolute Don of Italo piano house, Don Carlos brings his legendary sound to RNT with an EP of classic floor fillers. Don (Carlo Troya) and S-Tone (Stefano Tirone) released two records on Bologna label Calypso in the early 90s under the artist name Montego Bay.

Incredibly, the four tracks on this EP were also produced 30 years ago, then shelved and forgotten about until recently when a connection with RNT inspired to Don dig up their rare vintage! From pumping melodic house jams like Music All Night and Waited So Long, to sampled disco house cuts Keep Dancing the Boogie and Gotta Keep Dancing, this EP is a veritable time capsule, dripping with the swag and sonics of the golden era of 90s club music.

Shinedoe readies her fifth album ‘Freedom Riders’ on her MTM Records imprint with the release of her vinyl-focused ‘Wake Up’ EP, offering a four-track preview into the project while unveiling a selection of diverse electronic productions for home listening through to the dancefloor.

Over two decades, Dutch DJ and producer Chinedum Nwosu, aka Shinedoe, has established her presence as one of house and techno’s most loved talents, while carving a true path to her own vision. Based in Amsterdam and featuring as a key part of the city’s rich and blossoming underground scene, with performances across De Martkantine, Shelter and Thuishaven to international institutions such as Berghain to fabric, her releases on the likes of Rekids, Cocoon, Bpitch Control and her 2021 release ‘The Observer’ on Jeff Mills’ iconic Axis cemented her reputation as one of the scene’s first talents. Having launched her own label MTM Records in 2018, releasing four EPs on the label to date, October signals the arrival of the label’s first album in the form of her ten-track ‘Freedom Riders’ - an expansive and diverse project created in lockdown capturing sonics from across the spectrum - with the LP preceded by Nwosu’s four-track album sampler EP titled ‘Wake Up’.

“Freedom Riders is about living in a world where there is peace, and all our basic needs are fulfilled. Each being having the right to live in peace, be happy and to be. We are all Freedom Riders, some of us get lost and need to get back to the source.” - Shinedoe.

Opening production ‘Wake Up’ is a tension-building journey through metallic textures, warped vocals and eerie interludes, while album title cut ‘Freedom Riders’ fuses hazy atmospherics, rich chords, crisp percussion and sweeping acid lines to offer a late-night ride through smoky territories. On the flip, B1 ‘Peace’ offers an exemplary balance of light and dark with delicate yet vibrant leads guiding murky undertones and sharp percussion throughout, before closing with the hypnotic, off-kilter and mind-altering sonics of ‘Safety First’, traversing soundscapes to showcase and excellently crafted early-morning cut.

Cuts across the album continue this wide-reaching and rich variation, with the likes of ‘Shine’ and ‘Lockdown’ drawing on classic and modern house influences to offer striking additions for the dancefloor, while ‘Floor Action’ and closing track ‘See The Light’ veering into more dubby, paired back territories to offer up a sense of space and tranquillity - with the ten-track project showcasing a carefully crafted album rich in sound design showcasing one of Amsterdam’s finest talents.

DJ FEEDBACK

early support from



Laurent Garnier: Really like PEACE & SAFETY FIRST niiiiiiiiice

Marcel Dettmann: thx

Luke Slater: nice release thanks!

Ame (Innervisions): thanks

Ben Sims: safety first my fave, thx!!

Slam (Soma): Thanx

Chris Liebing (CLR): great vibe

Radio Slave (Rekids): Woah ! "Freedom Riders" is great... and just in time for the weekend ! Thankyou x

Bambounou (50 Weapons / Sound Pellegrino): There's a vibe I like it thanks

Anthony Parasole (The Corner) this is so good

Truncate: Solid cuts!

'Big or profound sensations from small gestures which are carefully arranged. Using a mixture of sacred and profane, or classical and prosaic sound sources, knitted into intricate, fleet-footed compositions that virtually spring into the ear. Profondo Rosa is composer Ailin Grad’s first vinyl album following years embedded and loved in the Argentinian experimental music scene, with past treats on labels Krut, Sun Ark, Orange Milk Records and her own label Abyss, devoted to ‘connecting Latin Juke with the world’.

There’s a playfulness at the heart of Profondo Rosa that’s immediately charming, with a sense of scale and spatialisation in the sounds being toyed with, exploring the strange pleasures and satisfaction in her approach to delightful and fresh feeling sound design. Aylu is known to be as likely to deploy the sound of a finger click, a fizzy drink being cracked open, or a fly buzzing past the ear, as she is drawn to sampling gorgeous strings or instrumentation. Her debut album for Mana constantly builds territories that tug at your heartstrings and then have you grinning five seconds later. This versatility and acceleration has often resulted in her music being compared to footwork, alongside collaboration with other producers experimenting in that sphere; in 2017 she and Foodman put together a dizzying hour of sounds for NTS.

Her miniaturisation of rhythm and ringtone-like sample size could also bring to mind SND circa their warmer softer glitch Tenderlove phase, or perhaps the approach that Teenage Engineering take to designing tools for music making. Each are deriving pleasure from small and satisfying shapes, as well as advocating an object-oriented philosophy and minimalisation in their work that sidesteps a draining of colour. Sound is fun, and in Profondo Rosa it sounds like Aylu has that at the forefront of her mind.

Her hyperreal sound and its link to the languages of electroacoustic or computer music are clear, but she outmanoeuvres many of the overly-academic and formless examples of those genres. Profondo Rosa’s skeletal assembly of objects becomes tunes in an elegant, almost understated way; tactile elements quickly combine and roll into deeper and persuasively emotional places. These compositions give off an air of being very free, very experimental, despite being meticulously artful and studied arrangements on precise and nimble coordinates.'

'Swooping, sub-heavy sci-fi from Riz Maslen. Leda Maar is a new moniker for the established artist who’s released a crop of downtempo and electronic music as Neotropic and Small Fish With Spine, as well as collaborated with the likes of Future Sound of London, filmmaker Andrew Kötting, and featured in PSP-era Grand Theft Auto soundtracks.

Mana’s long lasting love of Riz’s 1996 Laundrophonic EP, released under her Neotropic name, spurred this new release. That 12” was a deep and dark web of rhythm and ghostly urban found sound that one Discogs reviewer aptly named “coin-slot Dubstep”. With elements mostly sourced from tape recordings made in and of her local laundromat, it still stands out as a remarkably contemporary feeling work; more like a post-Fisher, post-hauntology observation of urban life from the last decade, taking the ambient temperature and undercurrent pressures of the 90s. Asking if she had anything in continuity with this slice of her discography, and describing our interest in her take on “space and bass”, Maslen returned to us with Stairway 13.

Heavy-lidded and ethereal in long form, the album’s balance of bass weight, mechanical metre, and darkly tinted new age feels like a cinematic re-approach to some of the textures, moods, and themes of Laundrophonic. Originally designed for an installation, Stairway 13 folds in her decades’ experience in sound design and theatre, along with shards and elements abstracted from her more recent folk-like music, zoning into a deep, retreated, altogether dreamlike and expansive atmosphere. The scale and soundscape is reminiscent of Geinoh Yamashirogumi and their Ecophony album series, resonating to similar frequencies and exploring themes of chaos and re-birth in feature-length form.

Stairway 13’s four parts spread and swoop as single extended sides across this double LP. Carried by waves of sub bass and heavenly chorus, and later punctuated with autonomic clicks of machinery, whirrs, and pulses - sometimes reminiscent of FSOL’s weirder and more clipped staccato sampling in sections of their cyberpunk ISDN - the work forms a gothic, otherworldly ambience. A subtle space opera.'

Multiphonic trills and yodels, loops of ululations, sudden percussive outburst, warbling glissandi. Ute masks her voice with bird whistles creating a hybrid vocal persona with sculptural, oscillating, swirling tone-colours. The vocal sounds seem to be disconnected from the human voice dissolving into the sounds of birds, of machines, of electronics, of fragmented language.

'Ute Wassermann´s vocal practice is so unique and specialized that it seems to challenge our ability to understand it’s sounds as vocal.' - Aaron Cassidy, Noise in and as Music, University of Huddersfield Press, 2013

'Wassermann sings as a bird, rather than like one. And as philosophers Gilles Deleuze and Félix Guattari point out in A Thousand Plateaus, “Becoming is never imitating.” … The Wassermann soundworld takes form within waveflows and fluctuating particles.' - Julian Cowley, Outer Limits Review, CD review radio tweet, The Wire, March 2016 (Issue 385)

Charlotte Dos Santos announces debut album Morfo with lead single 'Hello Hello'. Described as 'as assured as Solange' by The Guardian, Charlotte Dos Santos is a formidable multi-faceted producer, single and composer who has worked with the likes of Blood Orange and Gotts St Park and makes music free of any confines
“MORFO is a sonic tale about transformation, about love and pain. It's a playful journey through my deepest inner thoughts combined with elements of music I admire, such as Soul, R&B, Funk, MBP/Samba and Classical. I am a child of the world, born in two cultures and on this album I am digging deeper into my ancestral roots and into my consciousness, and MORFO is the result”. – Charlotte Dos Santos

Indie store exclusive is a Gatefold sleeve, Galaxy blue vinyl, the Bonus Disc Banana Yellow vinyl. Standard LP is a Gatefold sleeve, Black vinyl with a banana yellow vinyl bonus disc. Double CD digipak with a Bonus Disc tht includes Flood era tracks Proud, Morning Song, BBC R1 Sessions and 12 page booklet with original lyric illustrations. Trapped Animal is pleased to announce the return of 90's legends Headswim! We present a reissue of their seminal psych-grunge masterpiece, Flood. Pressed on 180G, Double Vinyl Gatefold with photo lyric insert all printed on uncoated card, this is an absolutely stunning package that truly matches the timeless quality of the songs it houses. Flood #Redux - Headswim's seminal 1994 Psych-Grunge masterpiece gets its first reissue since the original 1994 pressing. A highly sought after record and produced with mountains of love between label and artists. Previously unreleased BBC sessions, and material from the Flood era. Available on double vinyl, double CD and lossless download.

Available on limited edition translucent gold vinyl and very limited vinyl-style cd. "The Young Ones' Flaming Lips meet Jacques Brel in a pean to lost youth, 'Comme dans un Reve' Dream bossa chanson a la Gainsbourg/ Birkin. ‘Dreams’ is the second of the final trilogy of albums by critical darlings The Real Tuesday Weld following last year's acclaimed noir-themed ‘Blood'. This collection references late sixties songwriting a la Lee Hazlewood, Jimmy Webb and Burt Bacharach with nods to Flaming Lips and Tin Pan Alley, all mixed up with hazy lo-fi electronica, ghostly atmospherics and cinematic instrumentals. Guest vocalists A Girl Called Eddy, Sephine Llo and Oriana Curls provide a counterpoint to main man Stephen Coates' Gainsbourg-like crooning. Continuing the band's long preoccupation with dreams, the songs were written in the early morning or late evening on 'either side' of sleep: ‘I’d rise super early and go straight to it with the emotion of the night’s imaginings still heavy on me or work in that strange space-time just before sleep claims us”. The album is sequenced in an approximation of a life, from youth to age, with the band’s perennial focus on London, love, the English landscape and time passing. ‘Bone Dreams Blood’ in particular is a sonic memorial to friends loved and lost in the life of London. "beautiful...giddily recalls Gainsbourg, Pulp, Cole Porter, early Disney soundtracks and seedy postwar revue bars" SUNDAY TIMES // "Utterly unique, utterly delightful" THE TELEGRAPH // "These heart-pricking songs speak to us all" WORD // 'Utterly decadent and darkly humorous' TIME OUT LONDON // 'Superbly atmospheric' UNCUT // Track listing: 1 The Young Ones 2 Kinky Love 3 Bone Dreams Blood 4 I Awoke to Find I was Dreaming 5 Ever After 6 Lost Endeavour 7 Curtain Call 8 Comme Dans un Reve 9 Bodhisattva of the Gulag 10 Everything 11 Last Light

Written and recorded in the midst of a dizzying stretch in which nearly everything about the way the band lived and worked was turned on its head, Motel Radio's "The Garden" is indeed a work of relentless hope. The songs are profoundly vulnerable here, and the performances are warm and breezy, calling to mind everything from Andy Shauf and Cass McCombs to Beck and Tame Impala with an easygoing demeanor that belies the deep emotional work underpinning them. Motel Radio generated early buzz in their adopted hometown of New Orleans on the strength of their 2015 debut EP, Days & Nights, which helped land them dates with the likes of Kurt Vile and Drive-By Truckers in addition to festival slots at Firefly, Jazz Fest, and more. The band followed it up with the similarly well-received Desert Surf Films in 2016 and their first full-length, Siesta Del Sol, in 2019, touring the country on a seemingly endless loop as they built up their devoted following one night at a time. Since then, the band had set a goal of becoming more self-sufficient and learning to record on their own, and when it came time to cut The Garden, they dove in headfirst, cutting half the collection in an old fishing camp south of New Orleans with the help of engineer Ross Farbe (Video Age, Esther Rose) and the other half fully remotely while engineering themselves. "There was this real creative freedom that came with working remotely and learning how to run the sessions on our own," explains co-lead singer Ian Wellman. "Synths, samples, beats, plug-ins; suddenly these whole new worlds of sound were at our fingertips and the possibilities were limitless." That creative liberation is easy to hear on The Garden, which opens with the mesmerizing "Wise." Like much of the album, it's a gentle meditation on finding joy and fulfillment, on spreading love and positivity. "I've gotta open my eyes," co-lead singer Winston Triolo sings over dreamy guitars and a hypnotic digital drum loop. "I only get one life, well now how can I live it wise?" The airy "Outta Sight" celebrates the simple pleasures of letting go and being present, while the washed-out "Sweet Daze" revels in the warmth of human connection, and propulsive "Happiness Pie" looks for ways to share the comfort and contentment that comes with self-acceptance. On The Garden, they've realized there's no sweeter garden than the one you grow yourself.

For its second release, Forbidden Teachings is proud to welcome back Italian artist Nigh/T\mare with his ep “Ceremony”, which also features a remix by Alexey Volkov. While staying true to his sound, the artist invites the listener on a journey, reminiscent of a ceremony where opposing forces reach equilibrium. Light and darkness, hope and despair, instinct and reason, humanity and technology… It is between these tensions that this journey seeks to find a balance. The richness of these themes is represented through four distinct and skillfully crafted tracks that blend powerful drums and immersive atmospheres. Finally, the journey ends with Alexey Volkov’s interpretation of “The Cry of Diomedee” almost entirely performed with live instruments, adding another color to this already rich ep.

Akae Beka's inimitable style of rich, deep, multi-layered songwriting, uncompromising devotion to RasTafari and soulful healing melodies developed over decades performing with St. Croix based band Midnite and countless recordings. At the point of his untimely passing in 2019, he had released over 70LP's. He is without a doubt one of the most prolific reggae artists ever known.

The stellar production trinity that is Zion I Kings have been involved collectively and individually in creating some of the most highly regarded contributions to the vast Akae Beka catalogue. Beauty For Ashes was named as the best reggae album of 2014 according to iTunes. A monumental achievement for undiluted, uncompromising RasTafari roots reggae music this side of the millennium. Two of the LP's tracks, Weather the Storm and Same I Ah One, have been catapulted into global notoriety in part due to the viral success of the YouTube video of the 'Dub in the Rainforest' session organised in St. Croix by Tippy I in 2014. The video offered an unparalleled audio visual insight of the powerful, captivating, energy of Vaughn Benjamin, Pressure Buss Pipe, Ras Batch, and many of the bredrin and sisterin of St. Croix rallying around the I Grade Dub living dub experience.

Following 8 years of anxious anticipation, for the countless Akae Beka fans that are also vinyl connoisseurs, this LP is now being released on as a 12" vinyl LP courtesy of Before Zero Records. This offers the listener not only the chance to enjoy this LP in an analogue form, but also the chance to hold the artwork as a 12" square masterpiece, created by the hands of Ras Marcus, the artist who gave the powerful visual presence that became synonymous to much of the I Grade / Akae Beka works over the years.

As the sun sets on a quaint East Nashville house, a young man bares a piece of his soul. Facing the camera, sporting a silky suit jacket/shirt/slacks/fingerless gloves ensemble that announces "singer" before he's even opened his mouth, Lee Tracy Johnson settles onto his stage, the front yard. He sways to the dirge-like drum machine pulse of a synth-soaked slow jam, extends his arms as if gaining his balance, and croons in affecting, fragile earnest, "I need your love… oh baby…"

Dogs in the yard next door begin barking. A mysterious cardboard robot figure, beamed in from galaxies unknown and affixed to a tree, is less vocal. Lee doesn't acknowledge either's presence. He's busy feeling it, arms and hands gesticulating. His voice rises in falsetto over the now-quiet dogs, over the ambient noise from the street that seeps into the handheld camcorder's microphone, over the recording of his own voice played back from a boombox off-camera. After six minutes the single, continuous shot ends. In this intimate creative universe there are no re-takes. There are many more music videos to shoot, and as Lee later puts it, "The first time you do it is actually the best. Because you can never get that again. You expressing yourself from within."

"I Need Your Love" dates from a lost heyday. From some time in the '80s or early '90s, when Lee Tracy (as he was known in performance) and his music partner/producer/manager Isaac Manning committed hours upon hours of their sonic and visual ideas to tape. Embracing drum machines and synthesizers – electronics that made their personal futurism palpable – they recorded exclusively at home, live in a room into a simple cassette deck. Soul, funk, electro and new wave informed their songs, yet Lee and Isaac eschewed the confinement of conventional categories and genres, preferring to let experimentation guide them.

"Anytime somebody put out a new record they had the same instruments or the same sound," explains Isaac. "So I basically wanted to find something that's really gonna stand out away from all of the rest of 'em." Their ethos meant that every idea they came up with was at least worth trying: echoed out half-rapped exhortations over frantic techno-style beats, gospel synth soul, modal electro-funk, oddball pop reinterpretations, emo AOR balladry, nods to Prince and the Fat Boys, or arrangements that might collapse mid-song into a mess of arcade game-ish blips before rallying to reach the finish line. All of it conjoined by consistent tape hiss, and most vitally, Lee's chameleonic voice, which managed to wildly shape shift and still evoke something sincere – whether toggling between falsetto and tenor exalting Jesus's return, or punctuating a melismatic romantic adlib with a succinct, "We all know how it feels to be alone."

"People think we went to a studio," says Isaac derisively. "We never went to no studio. We didn't have the money to go to no studio! We did this stuff at home. I shot videos in my front yard with whatever we could to get things together." Sometimes Isaac would just put on an instrumental record, be it "Planet Rock" or "Don't Cry For Me Argentina" (from Evita), press "record," and let Lee improvise over it, yielding peculiar love songs, would-be patriotic anthems, or Elvis Presley or Marilyn Monroe tributes. Technical limitations and a lack of professional polish never dissuaded them. They believed they were onto something.

"That struggle," Isaac says, "made that sound sound good to me."

In the parlance of modern music criticism Lee and Isaac's dizzying DIY efforts would inevitably be described as "outsider." But "outsider" carries the burden of untold additional layers of meaning if you're Black and from the South, creating on a budget, and trying to get someone, anyone within the country music capital of the world to take your vision seriously. "What category should we put it in?" Isaac asks rhetorically. "I don't know. All I know is feeling. I ain't gonna name it nothing. It's music. If it grabs your soul and touch your heart that's what it basically is supposed to do."

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Born in 1963, the baby boy of nine siblings, Lee Tracy spent his earliest years living amidst the shotgun houses on Nashville's south side. "We was poor, man!" he says, recalling the outhouse his family used for a bathroom and the blocks of ice they kept in the kitchen to chill perishables. "But I actually don't think I really realized I was in poverty until I got grown and started thinking about it." Lee's mom worked at the Holiday Inn; his dad did whatever he had to do, from selling fruit from a horse drawn cart to bootlegging. "We didn't have much," Lee continues, "but my mother and my father got us the things we needed, the clothes on our back." By the end of the decade with the city's urban renewal programs razing entire neighborhoods to accommodate construction of the Interstate, the family moved to Edgehill Projects. Lee remembers music and art as a constant source of inspiration for he and his brothers and sisters – especially after seeing the Jackson 5 perform on Ed Sullivan. "As a small child I just knew that was what I wanted to do."

His older brother Don began musically mentoring him, introducing Lee to a variety of instruments and sounds. "He would never play one particular type of music, like R&B," says Lee. "I was surrounded by jazz, hard rock and roll, easy listening, gospel, reggae, country music; I mean I was a sponge absorbing all of that." Lee taught himself to play drums by beating on cardboard boxes, gaining a rep around the way for his timekeeping, and his singing voice. Emulating his favorites, Earth Wind & Fire and Cameo, he formed groups with other kids with era-evocative band names like Concept and TNT Connection, and emerged as the leader of disciplined rehearsals. "I made them practice," says Lee. "We practiced and practiced and practiced. Because I wanted that perfection." By high school the most accomplished of these bands would take top prize in a prominent local talent show. It was a big moment for Lee, and he felt ready to take things to the next level. But his band-mates had other ideas.

"I don't know what happened," he says, still miffed at the memory. "It must have blew they mind after we won and people started showing notice, because it's like everybody quit! I was like, where the hell did everybody go?" Lee had always made a point of interrogating prospective musicians about their intentions before joining his groups: were they really serious or just looking for a way to pick up girls? Now he understood even more the importance of finding a collaborator just as committed to the music as he was.

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Isaac Manning had spent much of his life immersed in music and the arts – singing in the church choir with his family on Nashville's north side, writing, painting, dancing, and working various gigs within the entertainment industry. After serving in the armed forces, in the early '70s he ran The Teenage Place, a music and performance venue that catered to the local youth. But he was forced out of town when word of one of his recreational routines created a stir beyond the safe haven of his bohemian circles.

"I was growing marijuana," Isaac explains. "It wasn't no business, I was smoking it myself… I would put marijuana in scrambled eggs, cornbread and stuff." His weed use originated as a form of self-medication to combat severe tooth pain. But when he began sharing it with some of the other young people he hung out with, some of who just so happened to be the kids of Nashville politicians, the cops came calling. "When I got busted," he remembers, "they were talking about how they were gonna get rid of me because they didn't want me saying nothing about they children because of the politics and stuff. So I got my family, took two raggedy cars, and left Nashville and went to Vegas."

Out in the desert, Isaac happened to meet Chubby Checker of "The Twist" fame while the singer was gigging at The Flamingo. Impressed by Isaac's zeal, Checker invited him to go on the road with him as his tour manager/roadie/valet. The experience gave Isaac a window into a part of the entertainment world he'd never encountered – a glimpse of what a true pop act's audience looked like. "Chubby Checker, none of his shows were played for Black folks," he remembers. "All his gigs were done at high-class white people areas." Returning home after a few years with Chubby, Isaac was properly motivated to make it in Music City. He began writing songs and scouting around Nashville for local talent anywhere he could find it with an expressed goal: "Find someone who can deliver your songs the way you want 'em delivered and make people feel what you want them to feel."

One day while walking through Edgehill Projects Isaac heard someone playing the drums in a way that made him stop and take notice. "The music was so tight, just the drums made me feel like, oh I'm-a find this person," he recalls. "So I circled through the projects until I found who it was.

"That's how I met him – Lee Tracy. When I found him and he started singing and stuff, I said, ohhh, this is somebody different."

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Theirs was a true complementary partnership: young Lee possessed the raw talent, the older Isaac the belief. "He's really the only one besides my brother and my family that really seen the potential in me," says Lee. "He made me see that I could do it."

Isaac long being a night owl, his house also made for a fertile collaborative environment – a space where there always seemed to be a new piece of his visual art on display: paintings, illustrations, and dolls and figures (including an enigmatic cardboard robot). Lee and Issac would hang out together and talk, listen to music, conjure ideas, and smoke the herb Isaac had resumed growing in his yard. "It got to where I could trust him, he could trust me," Isaac says of their bond. They also worked together for hours on drawings, spreading larges rolls of paper on the walls and sketching faces with abstract patterns and imagery: alien-like beings, tri-horned horse heads, inverted Janus-like characters where one visage blurred into the other.

Soon it became apparent that they didn't need other collaborators; self-sufficiency was the natural way forward. At Isaac's behest Lee, already fed up with dealing with band musicians, began playing around with a poly-sonic Yamaha keyboard at the local music store. "It had everything on it – trumpet, bass, drums, organ," remembers Lee. "And that's when I started recording my own stuff."

The technology afforded Lee the flexibility and independence he craved, setting him on a path other bedroom musicians and producers around the world were simultaneously following through the '80s into the early '90s. Saving up money from day jobs, he eventually supplemented the Yamaha Isaac had gotten him with Roland and Casio drum machines and a Moog. Lee was living in an apartment in Hillside at that point caring for his dad, who'd been partially paralyzed since early in life. In the evenings up in his second floor room, the music put him in a zone where he could tune out everything and lose himself in his ideas.

"Oh I loved it," he recalls. "I would really experiment with the instruments and use a lot of different sound effects. I was looking for something nobody else had. I wanted something totally different. And once I found the sound I was looking for, I would just smoke me a good joint and just let it go, hit the record button." More potent a creative stimulant than even Isaac's weed was the holistic flow and spontaneity of recording. Between sessions at Isaac's place and Lee's apartment, their volume of output quickly ballooned.

"We was always recording," says Lee. "That's why we have so much music. Even when I went to Isaac's and we start creating, I get home, my mind is racing, I gotta start creating, creating, creating. I remember there were times when I took a 90-minute tape from front to back and just filled it up."

"We never practiced," says Isaac. "See, that was just so odd about the whole thing. I could relate to him, and tell him about the songs I had ideas for and everything and stuff. And then he would bring it back or whatever, and we'd get together and put it down." Once the taskmaster hell bent on rehearsing, Lee had flipped a full 180. Perfection was no longer an aspiration, but the enemy of inspiration.

"I seen where practicing and practicing got me," says Lee. "A lot of musicians you get to playing and they gotta stop, they have to analyze the music. But while you analyzing you losing a lot of the greatness of what you creating. Stop analyzing what you play, just play! And it'll all take shape."

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"I hope you understood the beginning of the record because this was invented from a dream I had today… (You tell me, I'll tell you, we'll figure it out together)" – Lee Tracy and Isaac Manning, "Hope You Understand"

Lee lets loose a maniacal cackle when he acknowledges that the material that he and Isaac recorded was by anyone's estimation pretty out there. It's the same laugh that commences "Hope You Understand" – a chaotic transmission that encapsulates the duality at the heart of their music: a stated desire to reach people and a compulsion to go as leftfield as they saw fit.

"We just did it," says Lee. "We cut the music on and cut loose. I don't sit around and write. I do it by listening, get a feeling, play the music, and the lyrics and stuff just come out of me."

The approach proved adaptable to interpreting other artists' material. While recording a cover of Whitney Houston's pop ballad "Saving All My Love For You," Lee played Whitney's version in his headphones as he laid down his own vocals – partially following the lyrics, partially using them as a departure point. The end result is barely recognizable compared with the original, Lee and Isaac having switched up the time signature and reinvented the melody along the way towards morphing a slick mainstream radio standard into something that sounds solely their own.

"I really used that song to get me started," says Lee. "Then I said, well I need something else, something is missing. Something just came over me. That's when I came up with 'Is It What You Want.'"

The song would become the centerpiece of Lee and Isaac's repertoire. Pushed along by a percolating metronomic Rhythm King style beat somewhere between a military march and a samba, "Is It What You Want" finds Lee pleading the sincerity of his commitment to a potential love interest embellished by vocal tics and hiccups subtlely reminiscent of his childhood hero MJ. Absent chord changes, only synth riffs gliding in and out like apparitions, the song achieves a lingering lo-fi power that leaves you feeling like it's still playing, somewhere, even after the fade out.

"I don't know, it's like a real spiritual song," Lee reflects. "But it's not just spiritual. To me the more I listen to it it's like about everything that you do in your everyday life, period. Is it what you want? Do you want a car or you don't want a car? Do you want Jesus or do you want the Devil? It's basically asking you the question. Can't nobody answer the question but you yourself."

In 1989 Lee won a lawsuit stemming from injuries sustained from a fight he'd gotten into. He took part of the settlement money and with Isaac pressed up "Saving All My Love For You" b/w "Is It What You Want" as a 45 single. Isaac christened the label One Chance Records. "Because that's all we wanted," he says with a laugh, "one chance."

Isaac sent the record out to radio stations and major labels, hoping for it to make enough noise to get picked up nationally. But the response he and Lee were hoping for never materialized. According to Isaac the closest the single got to getting played on the radio is when a disk jock from a local station made a highly unusual announcement on air: "The dude said on the radio, 107.5 – 'We are not gonna play 'Is It What You Want.' We cracked up! Wow, that's deep.

"It was a whole racist thing that was going on," he reflects. "So we just looked over and kept on going. That was it. That was about the way it goes… If you were Black and you were living in Nashville and stuff, that's the way you got treated." Isaac already knew as much from all the times he'd brought he and Lee's tapes (even their cache of country music tunes) over to Music Row to try to drum up interest to no avail.

"Isaac, he really worked his ass off," says Lee. "He probably been to every record place down on Music Row." Nashville's famed recording and music business corridor wasn't but a few blocks from where Lee grew up. Close enough, he remembers, for him to ride his bike along its back alleys and stumble upon the occasional random treasure, like a discarded box of harmonicas. Getting in through the front door, however, still felt a world away.

"I just don't think at the time our music fell into a category for them," he concedes. "It was before its time."

=

Lee stopped making music some time in the latter part of the '90s, around the time his mom passed away and life became increasingly tough to manage. "When my mother died I had a nervous breakdown," he says, "So I shut down for a long time. I was in such a sadness frame of mind. That's why nobody seen me. I had just disappeared off the map." He fell out of touch with Isaac, and in an indication of just how bad things had gotten for him, lost track of all the recordings they'd made together. Music became a distant memory.

Fortunately, Isaac kept the faith. In a self-published collection of his poetry – paeans to some of his favorite entertainment and public figures entitled Friends and Dick Clark – he'd written that he believed "music has a life of its own." But his prescience and presence of mind were truly manifested in the fact that he kept an archive of he and Lee's work. As perfectly imperfect as "Is It What You Want" now sounds in a post-Personal Space world, Lee and Isaac's lone official release was in fact just a taste. The bulk of the Is It What You Want album is culled from the pair's essentially unheard home recordings – complete songs, half-realized experiments, Isaac's blue monologues and pronouncements et al – compiled, mixed and programmed in the loose and impulsive creative spirit of their regular get-togethers from decades ago. The rest of us, it seems, may have finally caught up to them.

On the prospect of at long last reaching a wider audience, Isaac says simply, "I been trying for a long time, it feels good." Ever the survivor, he adds, "The only way I know how to make it to the top is to keep climbing. If one leg break on the ladder, hey, you gotta fix it and keep on going… That's where I be at. I'll kill death to make it out there."

For Lee it all feels akin to a personal resurrection: "It's like I was in a tomb and the tomb was opened and I'm back… Man, it feels so great. I feel like I'm gonna jump out of my skin." Success at this stage of his life, he realizes, probably means something different than what it did back when he was singing and dancing in Isaac's front yard. "What I really mean by 'making it,'" he explains isn't just the music being heard but, "the story being told."

Occasionally Lee will pull up "Is It What You Want" on YouTube on his phone, put on his headphones, and listen. He remembers the first time he heard his recorded voice. How surreal it was, how he thought to himself, "Is that really me?" What would he say to that younger version of himself now?

"I would probably tell myself, hang in there, don't give up. Keep striving for the goal. And everything will work out."

Despite what's printed on the record label, sometimes you do get more than one chance.

Rance Allen, from Monroe Michigan, with older brother Tom on drums and younger brother Steve on bass recorded their first record and won a talent contest in Detroit and were subsequently signed to Stax's Gospel Truth label in 1971. After four albums Rance signed to Capitol and made his most highly acclaimed album 'Say My Friend'. It was produced by the Mizell Brothers (responsible for iconic albums on Donald Byrd, Bobbi Humphrey, Gary Bartz and Johnny Hammond). 'Reason To Survive' and 'Peace Of Mind' were the two singles, and both these 7' versions have been impossible to find. Original copies are expensive and extremely sought after. Expansion can now deliver both A sides back to back remastered from the original tapes in all their glory. The full album is available on CD from Soul Brother Records.

40th anniversary year of this (15 million + selling) classic release. Sony Music will be repromoting both formats. A 12 track double gatefold LP with 16 page booklet containing full script, lyrics, original paintings and credits. A double 17 song CD format. There is a 15 date UK arena tour in November/December, featuring Jason Donovan, Newton Faulkner, Adam Garcia and the 3D hologram of Liam Neeson. There is also a major 3 part adaptation of the H.G. Wells novel will on BBC 1 in late November/early December starring Eleanor Tomlinson, Robert Carlyle, Rafe Spall and Rupert Graves. National TV ad campaign across all networks to Xmas. Radio features, spot plays and ad campaign. Press ads and features. Online/social media activity. Poster campaign and database mailout.

It’s taken a long time for me to feel good about myself,” says Andreya Triana of the journey to her third album. “As a musician, as a woman, it’s difficult getting to that space. It’s really wonderful where you reach that time of having more good days than bad.” That sense of celebration is what drives ‘Life In Colour’, Andreya’s most confident, instinctive and heartfelt work to date; a record that celebrates love, freedom, independence and womanhood. “‘Life In Colour’ is about stepping into my womanhood and being like ‘OK, I know this space. Let me try some s**t. I know it’s going to be hard but I know it’s going to be OK’. I just wanted to put some good energy out there.” The first taster of that sweet release was teased with lead single ‘Woman’ - a soulful pop anthem of self-love, tracking Andreya’s life from awkward teen to mighty queen, from memories of heartache and trauma to triumph. “You know when you’re feeling so uncomfortable in yourself and you just want to be swallowed up into a hole in the ground?,” Andreya recalls of her youth. “This is about moving on from being a victim to a place of strength, to feeling like a superhero. “Anyone who has gone through difficult times like I have, should know that it’s absolutely possible to get to a good place. It doesn’t define who you are or your future. You have to fight like hell every day to move forward but anything is possible. We’re all full of so much goodness. Don’t lose sight of that.” The lyric video is a tribute to Andreya’s mother, grandmother, the strong females of her life and the many sacrifices that women make day-to-day, generation after generation.

The third album 'Life In Colour' by the MOBO nominated British soul/jazz singer Andreya Triana who's collaborated with Bonobo, Flying Lotus been endorsed by the likes of Gilles Peterson & Jamie Cullum.

Back in stock soon...


An oddball fantasie by Bulgarian brainiac Puma & The Dolphin out now on a newly born Brussels imprint

REPRESS

“Sketches of Spain since its release in 1960 has been one of the most widely distributed and popular of all jazz records. Even people who don’t collect jazz records tend to have a copy tucked away somewhere.” - Penguin Guide To Jazz

“Sketches of Spain remains, and rightly so, one of the jewels of Miles Davis’ discography.” - Jazz Magazine (France)

“This recording is one of the most important musical triumphs that this century has yet produced. It brings together under the same aegis two realms that in the past have often worked against one another - the world of the heart and the world of the mind. To Davis and Evans goes not the distinction of five or 10 or a zillion stars in a review rating, but the burden of continuing to show us the way.” - Bill Mathieu, DownBeat

After his appearance on Frigio Allstars Vol 3, Scannoir (also half member of the amazing GOTT project) delivers his first full length EP with "Through My Silence". Emotive and raw, the style pursued blurs the lines between synth wave, EBM and techno. “Industrial Technology” opens with powerful percussion and thick strings as distant vocals recite the coming of change. “Get Ready (For Sorry)” maintains the stern drum patterns as samples and lyrics float on rumbling chords. The breadth of Scannoir’s style is truly remarkable, with this amazing 5 track EP being emblematic of his range. The flip takes a different direction, the lovelorn lament of “Through My Silence” melts sweetened synth lines with cold pain-streaked words before blooming into a brooding burner. A shaky alliance between samples and vocals runs through the rhythmic assault and violent undertones of “Why Old News.” The closure comes with the marching melancholy of “Alles Wird Gut”, a dark and moody end to this debut EP.

Repress incoming..!

Two of the finest tracks from Lance Ferguson's Rare Groove Spectrum Vol. 1, the stellar takes on EW&F's Brazilian Rhyme and James Mason's Sweet Power Your Embrace, have been picked up for this limited Japanese 7" edition courtesy of Jet Set Records - and a ridiculously strong pairing it is too.

Cut loud to 7" wax and served in a polybag with Japanese insert. We've not got many of these so get in quick!

Jerry Bell, brother to Philly legend Archie Bell, has recorded, toured and performed as vocalist with New Birth, the Dazz Band and in his own right as a solo artist since the 1980s. His 1981 album “Winter Love Affair” contains the classic track “Tell Me You’ll Stay”, never previously been issued as a 7” single until now. The song is written and produced by Michael Wycoff (who gave us “Looking Up To You”) and his an uplifting soulful dancer adopted by the rare groove scene.

The first full length album from renowned electronic dance artists Benoit & Sergio.

The next album announced from FourFour Records, the new label from Jonathan Galkin, co-founder of DFA Records.

Mixed by Beatriz Artola (Fleet Foxes, Adele, A$AP Rocky) and Mastered by Heba Kadry (Bjork, Ryuichi Sakamoto, Nicolas Jaar).

Benoit & Sergio have previously released music on DFA, Ghostly, Hot Creations & Soul Clap Records.

"Bobby Dove is a gifted artist, and a brilliant new light on the songwriting scene - A time traveler, Bobby's songs meld genres with the touch of a master - I am a fan" – Mary Gauthier.Bobby Dove has built a following across Canada and beyond Born in Montreal, Quebec, Bobby has become known as one of the country's most dedicated troubadours, crooning live audiences with heart- worn originals, and paying tribute to the golden age of Country music. Along the road, Bobby has worked with a number of legendary players, and shared stages with artists such as Mary Gauthier, Richard Thompson, Irish Mythen, The Sadies and JD Mcpherson.

Bobby Dove's new album, Hopeless Romantic, offers eleven new
original Americana/Country songs on subjects such as unrequited love, being on the road, a haunted hotel and a hard-rocking pallbearer. Co-produced with Bazil Donovan (Blue Rodeo) and Tim Vesely (Rheostatics) at The Woodshed studio in Toronto,On, the record includes some of the finest in Canadian Country music including members of Blue Rodeo Jim Cuddy, Bazil Donovan and Jimmy Bowskill (The Sheepdogs, Blue Rodeo), and Burke Carroll (Kathleen Edwards).

The Dove is currently perched in western Manitoba, supporting the launch of Hopeless Romantic, as well as releasing The Bobby Dove Show, a virtual variety show, featuring Bobby's new songs, and interviews with renowned roots/Country singer- songwriters from across Canada. Sponsored by the Canada Council for the Arts, the show can be streamed on Bobby's social- media as well as on bobbydove.

"Dove can write rings around all but the very best of troubadours, telling stories in a compelling way…. This is very impressive indeed and I suggest you get Bobby Dove on your radar immediately." – Country Music People Magazine

Sofa Movements is pleased to present a collection of five dancefloor friendly house jams and one kinda-303-triphop gem from Paradiso Rhythm.

Back from a hot summer we are presenting you this great new release by Steve Mill who truly captures the sun and warmth in these new jams for us. The Greek born artist who lives between Berlin and Thessaloniki just released his “The Mistake EP” on Tensnake’s own True Romance label where we could already hear his soulful and groovey disco infused sound.

The opener “Love Attack” is a real “good times” tune with catchy vocal snips and a bad ass funky arpeggio bass line topped with spaced out strings and pads, this one reminds us a lot of Krystal Klear material and our own Lorenz Rhode. Saying that, we of course could not think of anyone better than him to take on this tune and drawing the inspiration to create his own super funked up version! As always all parts are played and recorded live in his Cologne studio with the same hot summer vibes on this one as well! You can find the vox version on vinyl and an instrumental as bonus digital track to get your party really started. On repeat!

“Make Me Feel” featuring the Berlin based vocalist Tee Amara has disco flavors all over it and is just an irresistible house tune, majestic and soulful. Followed by the slow and developing “Next to You” that’s steadily building towards a crescendo “heaven” gem, much in the tradition of disco edits from back in the 80’s. It reminded us a lot of our old Ben La Desh records we put out some good 10 years ago. Maybe this one is our personal fave, for sure a tune you could drop on any floor: disco, electro or house.

Get in the groove with Steve and Lorenz and let us surprise you with a truly funky, groovey and above all positive vibes only release to reminiscent the summer time. Enjoy!


All tracks have been mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

A colossus of the funk & soul world, Adam Gibbons (aka Lack of Afro) has been releasing music for 15 years and continues to go from strength to strength. Previously signed to Freestyle Records in London and running his own label The Bastion Music Group since 2015, he has been responsible for some of the genre’s most important releases, not least his debut album Press On described by iDJ as “one of the most important albums of the modern funk era” and more recently given ‘classic’ status by Future Music Magazine.

An accomplished multi-instrumentalist, producer, DJ and composer, his music has won worldwide critical acclaim and to date has gained 115 million streams on Spotify. It has been featured on films, TV shows and adverts all over the globe, on networks including HBO, ABC, Sony Pictures, BBC, ITV, Sky TV, Fox Pictures & Warner Brothers Television, and used in multi million ad campaigns by the likes of Google, Spotify, Miller Lite and Adidas.

As a DJ and live performer, he has performed in over 20 countries worldwide and undertaken countless live sessions for radio and TV including two for the BBC at the highly revered Maida Vale Studios.

To date, he has released seven albums under the Lack of Afro moniker (most recently I’m Here Now in 2020), three as The Unity Sextet, one under LUSTRE, one under his own name, an EP with Herbal T as The Damn Straights, albums for other artists, music for several TV shows and over 60 remixes. He has also produced 13 award winning, sample packs for Loopmasters.

We are excited to reissue Kuedo's classic 2011 album 'Severant' on double vinyl for the first time, and with a bonus track 'Work, Live & Sleep In Collapsing Space'. The cover artwork has been redesigned by Raf Rennie (Who also designed Kuedo's recent album on Brainfeeder, Infinite Window). In terms of feeling, ‘Severant’ explores the space between the detached world of the imagination and the real-time world; that feeling of coming out of a daydream, on the edge of the drift from the day-to-day grind. Jamie says of this moment ”As reality shapes imagination and escapism affects your choices in the real world, there is a strange relational loop between the two and the space in between the two. There’s a bitter sweetness in that gap, it has a certain emotive quality, kind of in between being and non-being”. Again, musically ‘Severant’ is inspired by related themes. It sounds as if it’s in a sweet spot between the emotive, innately futurist synth soundtracks of Tangerine Dream and Vangelis, borne from a time when the very idea of futurism was more prevalent, in combination with musical ideas and inspiration from the emotionally ambivalent, materialist fantasies of ‘coke rap‘ such as The Clipse. Rhythmically the record is influenced by what Jamie calls ”the two ultra modernmusics of modern times”, footwork from Chicago, which Planet Mu has explored in depth on its recent releases, and again the drum machine grids of coke rap. Jamie says ”I wanted to capture a really futurist sentiment, kind of melancholy and grand luminescent, so I used the instrument that most evokes that for me - that sweeping Vangelis brass sound.” And on coke rap he talks about the emotional ‘half being’ of the music, the energetically charged, detached ambivalence of the MCs, and the admission that the MCs could be ”fantasising without admitting to doing so.”

Substrata was the third studio album by the Norwegian electronic artist Biosphere, released 25 years ago by All Saints Records in London. Here are ten alternative versions picked from the Substrata recordings sessions that took place between 1995 and 1996.

Repress 2022

Das Duo Boy Harsher Aus Northampton, Massachusetts Gibt Es Seit 2014 Und Sie Verbinden Düstere Dance-beats, 80er-jahre-versatzstücke Mit Sehr Ätherischen Vocals Und Schaffen So Eine Unheimliche, Intensive Und Fesselnde Klangwelt.
Nach Ihren Ersten Ep&album-veröffentlichungen "lesser Man (diverse Pressungen 2014 - 2018, Soft Science / Nachtaufnahmen / Aufnahme + Wiedergabe / Nude Club) Und "yr Body Is Nothing" (diverse Pressungen 2016 - 2018, Dka Records / Nude Club), Ist - careful Nun Der Nächste Schritt - Vielleicht Noch Einen Schritt Weiter In Richtung Dunkelheit.

Augustus Muller Entwickelt Den Unterbau Der Tracks Aus Präzisen Und Kraftvollen Beats (die Irgendwie Nach Damals Klingen, Aber Von Heute Stammen) Und Schleift Darüber Noch Sägende Synthies, Während Jae Matthews Dazu Haucht, Schreit Und Singt. Diese Kathartischen Aber Auch Magnetisierenden Tracks Wurden Innerhalb Kurzer Zeit Zu Hits Eines Real Existierenden Untergrunds. Das Album - careful Wurde Hauptsächlich In Massachusetts Geschrieben, Mit Einer Handvoll Synthesizern Und Einem Laptop. Für Muller Ist Ein Minimales Set-up Sehr Bedeutend In Diesem Prozess. Gemischt Wurde In Italien Mit Maurizio Baggio Von La Distilleria Studio.

Boy Harsher Haben Sich Über Die Letzten Jahre Bereits Eine Sehr Treue Untergrundgemeinde Er- Und Zu Beginn Des Jahres Eine Triumphale, Restlos Ausverkaufte Tour Durch Europa Gespielt. Es Folgte Eine Weitere Tour Durch Europa Und Zwei Us-touren, U.a. Mit The Soft Moon. Im Frühjahr Folgt Die Eigene Headline-tour Durch Europa.

Pure Wicked Tune is a mixtape-style collection of extracts & cut-ups, taken from DIY cassette recordings featuring rare groove and "soul blues" soundsystems playing at early morning house parties and blues dances - mostly in South & East London - between the mid 1980s & early 90s.

Sounds like Funkadelic, Touch of Class, Latest Edition, JB Crew, Manhattan, 5th Avenue (and the many more featured on this tape) originally began to form in the mid-1980s. With lovers rock dwindling, and the reggae scene becoming dominated by harder digital-style dancehall, these sounds provided a tight but loyal crowd with a potent alternative - playing a mixture of killer rare soul, funk and boogie records in an inimitably reggae soundsystem style, complete with toasting, sirens and effects aplenty.

They were most well-known for playing at house parties and blues dances, typically in small flats or warehouses, with timing of such events generally running from the early morning hours until late the next afternoon. Though the popularity of the sounds faded following the dance music explosion of the early 1990s, there has been continued demand for revival sessions ever since. Whilst the influence of key British reggae & dancehall soundsystems on subsequent UK sounds like hardcore & jungle is relatively well documented, a similar line can just as easily be drawn from these sounds and the aforementioned styles' tendency toward sampling popular rare groove cuts, particularly well evidenced in the work of Tom & Jerry, 4hero, Reinforced & LTJ Bukem among others.

This represents the first outing in a series of collections exploring the sounds of UK soundsystem culture, via extracts from archival DIY cassette recordings of blues parties, dances & clashes made between the late 70s and early 90s. Often duplicated and shared widely, these ruff and ready "sound tapes" provided keen ears with music that wasn't otherwise readily available on the airwaves or in the record shops, and would go on to leave a deeply-rooted but too often overlooked influence on the UK's musical landscape.

Pittsburgh, PA-native Buscrates returns to Bastard Jazz with a synth-heavy 7" single, "Internal Dialogue." The two-tracker sees the artist take an easy-going approach to his signature funk-filled sound, with a slowed-down tempo and melodic key riffs. "Internal Dialogue" is a mellow boogie joint that combines plenty of Moog, rich ARP strings, and syncopated clavinet chord stabs; "Early Morning" is reminiscent of a late-90s neo-soul beat, with rich Rhodes chords, while a squelching bass line evokes 70s electro-funk. Both tracks are undeniably Buscrates and are sure to have your head bobbing.

Buscrates - aka Orlando Marshall - is a DJ, producer, and multi-instrumentalist based in Pittsburgh. He draws influences largely from 90s hip hop and early-mid 80s electronic funk, which is evident in the boomy, swinging drums and bubbly Minimoog bass lines heard throughout some of his productions. He works locally and sometimes internationally either behind a pair of turntables spinning 45s or working his trusty Roland SP-404SX sampler and various other little portable gadgets at one of his beat sets. Some of his production credits include Phonte & Eric Roberson, Wiz Khalifa, and the late great Mac Miller.

Growing Bin say sayonara to summer with these bittersweet Balearic gems from Japan’s Nuback. Emotional pop and daydream dub to make you feel younger than yesterday. While the Discogs hipsters hastily hunt down the last, lost street soul OGs, Growing Bin choose instead to indulge in a little Nuback swing. Enlisting the talents of Tokyo’s Dai Nakamura, Hamburg’s home for sensitive sounds provide a much needed vinyl release for the misty-eyed ‘When The Party Is Over’ and ‘Heartbeat Summer’. Largely operating through his own Too Young Records, Nuback trades in textured soul, sympathetic synthesis and forlorn funk - a master at making you move while breaking your heart. Back in 2013, he waved ‘Goodbye To Summer, Again’, giving a digital release to these two tracks, which lurked a little low for the radar until Dai and Basso met somewhere beyond the algorithm, soon bringing this release to bloom. Opening with a fanfare of featherlight pads and full bodied bass, ‘When The Party Is Over’ is pure sonic seduction, holding both Balearic boogie and City Pop in a tender embrace. Delicate guitar and sparkling sequences tug the heartstrings with nostalgic beauty, and Dai’s smooth vocals are made to make you swoon. Emotional pop at its finest folks. On the B-side, ‘Heartbeat Summer’ drops the tempo and soaks up the sun, losing its cares in a haze of loved up dub. As soulful keys sink into spring reverb and steam kettle synths ride a rolling bassline, this downbeat delight lays back in the long grass, making shapes from the clouds and sipping a cool koshu. For summer lovers everywhere; A facemask ruins a first kiss, so start your romance right with Nuback.

How do you breathe new life into a treasured, classic track? Answer: let Danny Krivit loose on it!

Who better to inaugurate our Mr Bongo Edit Series than one of the bosses of the art of the edit. More than just simple re-touches or loops to make the track easier to mix, Danny works his magic by employing all those years of studying and working with music as a remixer, producer and DJ. He has been honing his craft since the art form began and he seems to have a natural intuition for what works on the dancefloor.

When we asked Danny if he would be interested in reworking some tracks from Mr Bongo's back catalogue we knew the edits would be special, but Danny has outdone himself with these beauties, and arguably they are more than just edits.

By sheer chance, Danny had already worked on a rough personal mix of Sabu Martinez's 'Hotel Alyssa-Sousse, Tunisia’, a track taken from the treasured 'Afro Temple' album originally released in 1973. Danny just needed to freshen and tighten it up to a standard he was happy with, and the result is pure Latin fire.

The Belgian / Dutch orchestra leader Nico Gomez's 'Lupita' from 1971 is an undisputed banger, this underground Latin-crossover favourite has been causing mayhem on dancefloors for years. Here Danny takes it into another sphere adding extra drama and build-ups, adding and overlaying fresh percussion which sounds like it could have been taken from lost outtakes. Even those who may have heard 'Lupita' countless times, are sure to be impressed by the new lease of life that Danny has breathed into it.

2 huge tracks and 2 killer edits from a master of the craft.