quête:38 special

The fifth studio album by southern rock greats 38 Special rereleased as part of Snakefarm Records’ “Reskinned” reissue series. This version marks the first repress since the album initial release in 1982 and has been specially remastered for vinyl. Comes with sleeve notes and original artwork and pressed on 140g orange vinyl. Very Limited Edition. Numbers will be shared out when all orders in.

Released on the 40th anniversary of 38 Special’s fourth studio album as part of Snakefarm Records’ “Reskinned” reissue series. This version marks the first repress of the album since it’s original 1981 release and has been specially remastered for vinyl. Comes with sleeve notes and original artwork and pressed on 140g hot pink. Very Limited Edition. Numbers will be shared out when all orders in.

Vinyl Edition Featuring New Art! Features Guest Verses From Cormega, N.O.R.E., Meyhem Lauren, Freddie Gibbs, And More Plus Guest Production From Alchemist, DJ Premier, Pete Rock, And More. Kool G Rap doesn’t let his legend status stop him from continuing to do what he loves. Last year, the Corona, Queens veteran dropped his ‘Return Of The Don’ album, and in 2018, he’s following up the solid effort with a collaborative album full of heavy hitters behind the boards and on the mic, alongside Rochester native 38 Spesh (aka $pesh), who linked with Griselda Records’ Benny the Butcher earlier this year for the well-received ‘Stabbed & Shot’ album. The album’s tracklisting boasts veteran features like Cormega and NORE, while also brandishing newer school spitters like Freddie Gibbs and Meyhem Lauren, and Griselda Records’ Benny The Butcher. Behind the boards, as mentioned, KGR summoned production akin to MCing prowess. Alchemist heads up “Land Mine” while DJ Premier and Pete Rock lay the beats for two tracks each. Album mainstays Midnite and 38 Spesh handle most of the rest of the production. Overall, the project is a lot of what you’d expect from Kool G Rap: grimy street rhymes full of stories of peril and the beats to match. On “Land Mine,” the duo of 38 Spesh and Ransom provide a rather introspective look-back on their troubled come up while a song like “Flow Gods” reminds everyone that G and his assembly are nothing to be taken lightly when it comes to witty wordplay and velvety smooth bars.

The Sound Of Young Jamaica - More Early Cuts From The Vaults Of Studio One 1959-63

This is the second collection to bring together many of the visionary producer Clement 'Sir Coxsone' Dodd's early recordings made with Jamaica's most exciting young artists and musicians who helped define the world of reggae music over the decades following Jamaican Independence. These recordings were made when Sir Coxsone ruled the dancehalls of Kingston in the late 1950s and early 1960s with his number one Downbeat Sound System, where songs were tested out on dub plates at a dance to see a crowd's reaction - the most popular of which were then released commercially. Featuring early material by Roland Alphonso, Don Drummond, Tommy McCook (all of whom would form The Skatalites), Toots and The Maytals, young singers such as Bob Marley and The Wailers, Delroy Wilson, Owen Gray all captured in their formative days. The music here spans a wealth of styles - Jamaican rhythm and blues, jazz, gospel, proto-ska, Rastafarian - all of which were drawn upon to create the future sounds of Jamaican reggae that Sir Coxsone and the artists featured would soon create at Studio One which opened its doors in 1963. This collection is released on heavyweight triple-vinyl plus download code and double CD with slipcase. Sleevenotes and text is by the author Noel Hawks.

Justus Köhncke is a unique voice in the history of Kompakt – and far beyond. He has contributed so many unforgettable tracks to our catalogue that it was difficult for us to make a selection. His sound has often been copied, but remains incomparable. From his deep knowledge and understanding of the history of pop, schlager and disco, he distilled not only official club hits such as ‘2 After 909’ and “Timecode”, but also countless poetic gems. Both sides of Justus Köhncke’s work are united here on this record. Justus’ music knows no boundaries, only ‘​weiche Zäune (soft fences​)’.

Special attention should be paid to the included bonus 10‘. Here you will find two of his most enchanting, hard-to-find cover versions. His immortal version of Jürgen Paape’s evergreen ’So weit wie noch nie‘ and the monumental adaptation of Round One’s ’New Day”, originally released under the nom de guerre Kinky Justice.

Justus Köhncke ist eine einzigartige Stimme in der Geschichte von Kompakt – und weit darüber hinaus. Er hat so viele unvergessliche Tracks zu unserem Katalog beigesteuert, dass es uns schwerfiel, eine Auswahl zu treffen. Sein Sound wurde oft kopiert, ist aber nach wie vor unvergleichlich. Aus seinem tiefen Wissen über und Verständnis der Geschichte von Pop, Schlager und Disco destillierte er nicht nur amtliche Clubhits wie „2 After 909” oder „Timecode”, sondern auch unzählige poetische Kleinode . Beide Seiten von Justus Köhncke's Schaffen sind hier auf dieser Platte vereint. Justus’ Musik kennt keine Grenzen, nur „weiche Zäune”.

Ein besonderes Augenmerk sei auf die enthaltene Bonus-10” gerichtet. Hier finden sich zwei seiner bezauberndsten, schwer zu findenden Coverversionen. Seine unsterbliche Version von Jürgen Paape's Evergreen “So weit wie noch nie” und die monumentale Bearbeitung von Round One’s “New Day”, die ursprünglich unter dem nom de guerre Kinky Justice veröffentlicht wurde.

2026 Repress

Trickpony rightfully return with their sensual sophomore record, a six track tip of downtempo anthems elaborating on the sonic blueprint established through Pillow Talk (STEP11). Contemporary trip hop revivalists at the core; the trio specialise in new age pop collages, stripped, subbed and dubbed for your pleasure. With whispered secrets tangled over atmospheric decay and hooks that tug at heartstrings, the trickpony DNA is embedded deep in the musical discourse; “24/7 Heaven” elevates even the most devious to a divine higher place.

From top to tail slung breaks crash like waves, rolling and seeping into opulent synthesis which fills the room. Sometimes music can say a thousand words without a single lyric; Ripple and Trick Trick fixating on textural constructions, layers of harmonic delight working in unison with forward thinking percussion patterns. Angel and No/Direction delve deeper into a more sparse, stripped back landscape; delayed fragments with room to breathe between vocal stylings that will lodge themselves into your memory one word at a time.

Closing with a psychedelic exploration, Memphis Light derails structure formula and drum&bass starts to feel technicolour. With an understated maturity exuding from all angles, STEP17 offers an introspective assortment of illustrious songs ready to reach into your subconscious.

There’s a special kind of feeling when everything falls into place - when the drums bounce easy, the bassline rolls steady, and a bright guitar line cuts through the warmth of tape. That feeling became the heart of the FULLNESS, from Marcus I meets aDUBta. The sound of FULLNESS is built on simple, living elements: real drums, deep bass, a warm sound, and melodies that leave space to breathe. It moves between Early Reggae, Rocksteady, and Roots - sometimes straight and solid, sometimes stretching out into Dub and Echo. With its voice, from singer and lyricist Marcus I, FULLNESS carries the message about gratitude, love, freedom, and the small moments of everyday life. While Marcus’s singing style nods to the great singers, he stays grounded in his own experience, which perfectly complements aDUBta’s production, giving him space to shine. This LP is a complete, warm, balanced, and uplifting experience from start to finish.

FULLNESS grew from a steady musical exchange between Marcus I and aDUBta - two people on different sides of the Alps (Marcus I in France and aDUBta in Germany), finding a shared rhythm. What began in early 2022 with a few Riddims sent back and forth soon turned into a regular flow of songs. Every week brought new ideas, new words, and new melodies. When they finally met in person at aDUBta’s Attic Roots Studio in Bavaria, Germany, it all fell naturally into place. Most of the instruments were played by aDUBta, and the whole LP was mixed live on his Tascam 388, keeping that raw, handmade feel. With several friends helping bring even more color into the music, aDUBta brought in Viti Sanchez to lend his expressive saxophone and horn lines, Michael Salvermoser with his warm trombone tones, and members of the Black Oak Roots Allstars - King HuHa and Jannis Klenke on bass and guitars, along with Morry 'Da Baron' (Dub Inc.) on bass. FULLNESS means the fullness of music, of life, of friendship, of gratitude. It’s what happens when music becomes more than a project - when it turns into a shared space where things just flow.

Black Truffle is thrilled to announce Dalbergia Retusa, an extensive double LP selection of the solo guitar music of Hans Reichel, compiled by Oren Ambarchi. Last heard on Black Truffle as one quarter of the joyously anarchic Bergisch-Brandenburgisches Quartett, Hans Reichel (1949-2011) is one of the great figures of experimental guitar music. Though perhaps lesser known than peers like Derek Bailey, Fred Frith and Keith Rowe, Reichel’s rethinking of the instrument was in some ways the most radical of all. Early on, he dispensed with existing guitars to build a series of his own that explored the use of additional strings and fretboards, moveable pickups, extra bridges, special capos, and other innovations documented in the extensive booklet accompanying this release.

Reichel was a long-term resident of Wuppertal, the small Western Germany city that became an unlikely centre of European free jazz in the late 1960s, also home to Peter Brötzmann and Peter Kowald. His solo debut Wichlinghauser Blues was an early entry into the FMP discography and began a relationship with the label that stretched into the 1990s; all the solo performances heard here were first released on FMP. As Reichel says in the charming archival interview with Markus Müller included here, he was ‘always a cuckoo’s egg at FMP’, a label that began as an outlet for roaring European free jazz. What strikes the listener right from the opening selection on Dalbergia Retusa—‘Return of the Knödler show’, from 1987’s The Dawn of Dachsman—is the extraordinary beauty of Reichel’s music, at once alien in the shimmering sonorities and unconventional pitch relationships made possible by his invented instruments, and deeply lyrical, even romantic in its harmonic content. Growing up in West Germany in the 1960s, Reichel’s formative influences were mainly British and American rock bands, a background that shines through in many of the pieces included here: ‘An old friend passes by’ is haunted by the ghost of Hendrix’s rhythm guitar, and the wild closer ‘Heimkehr der Holzböcke’, taken from a rare 1975 7” and the only piece to use overdubbing, layers errant hammer-on and slide tones over a Canned Heat boogie chug.

Reichel was an important source for the development of Oren Ambarchi’s own extended approach to the electric guitar. Appropriately enough, his selection opens with the very first piece by Reichel he ever heard, on a flexidisc included with a 1989 issue of Guitar Player magazine. Though Reichel collaborated with others extensively in many settings and also performed on violin and his other major contribution to instrument invention, the daxophone, his music for solo guitar remains at the core of his oeuvre. Focusing exclusively on solo pieces recorded between 1973 and 1988, the 23 pieces on Dalbergia Retusa showcase the range and consistency of Reichel’s work, allowing the listener to see how his performances developed hand-in-hand with his instrumental inventions. On a piece from his very first LP, played on an 11-string instrument (partly strung with piano strings and using a schnapps glass a slide), we hear his intensive exploration of fret-hammering to create zither-like, chiming tone, which Reichel would hone further in later years with a double fretboard guitar specifically designed to be hammered rather than fretted and picked. On a piece from 1979’s Death of the Rare Bird Ymir, Reichel uses two steel-string acoustic guitars at once, with beautiful results: ‘some even say too beautiful’, he jokes in the interview included here. Many of the pieces from the 1980s make use of varieties of the ‘pick behind the bridge guitar’, instruments of uncanny harmonic richness primarily designed to be played on the ‘wrong’ side of the bridge. At times the unexpected behaviour of attacks, resonance, and decay can almost seem electronic, conjuring up the technology-assisted work of Henry Kaiser or even Fennesz, but realised solely through Reichel’s unorthodox techniques on his invented instruments. Extensively illustrated with photos and Reichel’s own plans and drawings of his instruments, Dalbergia Retusa is an essential introduction to the unique world of Hans Reichel. Rarely has music been at once so strange and so beautiful.

2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands.

To celebrate, London Records will launch a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP.

The release will be available across multiple formats, appealing to collectors and fans alike.

Complementing the physical editions, a series of brand-new digital remixes will be unveiled from world-renowned artists Daniel Avery, Paul Oakenfold, Mella Dee, and Shadow Child and more, bridging the Mondays' legacy with today's electronic innovators, and a revisit from Paul Oakenfold.

This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations

Magnificent Fall, The Notwist's new rarities compilation, compiles some special and wild moments from this unique German indie group's rich history. They've always snuck gorgeous songs and thrilling remixes onto split singles, extended plays, and other formats, across their career, and pieced together here – compiled thoughtfully, with sensitivity to flow and the listening experience – these thirteen selections work as a kind of ‘shadow narrative’ of The Notwist, an alternative index of the possibilities this shape-shifting group uncovered during their time together.

They've been smart to let go of chronology when sequencing Magnificent Fall, so the songs here move across phases and stages of The Notwist's career, helmed by brothers Markus and Micha Acher. This approach makes plenty of sense, as this music compiled here abstracts from two impulses – to push forward and not repeat what has come before, while building from the group's very specific musical language. Just one example: the loveliness of the instrumental “Avalanche”, from 2020's Ship, follows elegantly from the happy-sad glitch-pop of “Blank Air”, from a 2010 split with former member Martin Gretschmann's project Console. Different phases, different memberships, shared concerns.

The Notwist have always been interested in and open to community, and one of the many ways they reach out to others is through the remix. There are three here, sent back to The Notwist from different corners of the world, both aesthetically and geographically: Grizzly Bear take on “Boneless”, Ada tackles “Run Run Run”, and Odd Nosdam submerges “Sleep” in noise and clatter. Another connection, of course: Odd Nosdam is part of The Notwist's extended family, through Markus and Micha Acher's 13 & God project with fellow Anticon artists Themselves and Subtle.

So, the music on Magnificent Fall traverses varying terrain – abstract hip-hop, chamber pop, sweet and simple folk song, indietronica, free-floating improvisation. There are several unreleased songs, as well, drawn from across the group's history. Core to it all, though, the thing that makes The Notwist so singular, is the thumbprint of the Acher brothers, their gently poetic way of moving through the world and welcoming other musicians and artists into the fold, expressively and with generosity.

Historically aware without being nostalgic, Magnificent Fall is the perfect way to introduce The Notwist's reissue programme with Morr Music, too, including a box set, and the group's eight albums, documenting their three-and-a-half decades of music and community-making. Looking back to move forward? It's a very good idea.

“The high priest of country cool” - Rolling Stone

“I like him very much. He’s very special. He’s singing with a voice I never heard before” - Townes Van Zandt

“A conscious, soulful brother” - Horace Andy

“He’s a brother to me - one of the best singer/songwriters I’ve ever met” - Adrian Sherwood

“Unearthed mine of gems from inner Wales - a songbook of ideas - that's Jeb!” - Gilles Peterson

Jeb Loy Nichols is a bonafide Country (Got) Soul legend. The Music Maker presents 21 incredibly deep, grooving and soulful songs from the cream of Jeb's catalogue; from its earliest days to his latest unreleased gems via countless rare and unbelievably good lost-classics. This 2LP set is presented in a gatefold sleeve complete with freshly commissioned artwork courtesy of Jeb himself.

In collecting these uncut, under-heard gems, we hope to do justice to Jeb's jaw-dropping artistic brilliance. A man who, in working with Adrian Sherwood, Dennis Bovell, Dan Penn, Larry Jon Wilson and countless other legendary characters, has crafted some of the most deeply affecting folk, country, soul, funk, blues, dub, reggae, gospel, rap and electronic music, ever heard.

The first music Jeb really felt a connection with was southern soul: "I used to listen to the radio at night and fell in love with Bobby Womack and Al Green, The Staple Singers and Joe Simon – that whole Nashville/Memphis/Muscle Shoals thing.” But Jeb was so much more than a soul boy, Indeed, he "went to bluegrass festivals with my dad and come home and listened to jazz records with my mother.” And, when he was fifteen, he heard his first punk record: "God Save The Queen" by The Sex Pistols. “That and The Ramones completely changed me.” In 1979 he got a scholarship to go to art school in New York: “A great time. Punk was over but hip-hop was starting and I got into that in an obsessive way.”

His first recording, in 1980, was an unreleased rap song called "I’m A Country Boy". If that isn't an insight enough into Jeb's kaleidoscopic path through music, in 1981 he visited friends in London and found himself living in a squat with Adrian Sherwood, Ari Up (from the Slits), and Neneh Cherry. “Adrian put me to work immediately, moving boxes of records all across London. It was Adrian that was and is my biggest influence – in his complete disregard for genre purity.” So, presumably you're getting the picture? A veritable musical magpie with a voracious appetite and unimpeachable taste.

"Mine has always been a meandering career. I've done what I've done, and made the music I've made, due to chance meetings. I'm not particularly ambitious; it's more important to me that I work with friends and like-minded people. I've been a big fan of Be With for years. Everything they release is essential. When they asked about rereleasing "Countrymusicdisco45" I was both pleased and flattered. We began talking about how we'd do it; two years and twenty-one tracks later, here we are. I've always thought of the music I make as Country Music. Music conceived in the country, written in the country, recorded in the country. I left London and moved back to the country so I could live among the trees, the grasses, the animals, those things that don't go to war and get greedy. This compilation is the story of that life. Hand made, lo-fi, ramshackle, stripped down, real deal music. Heartworn and funky. Music made in the kitchen, not in the studio. As the great Skip Mcdonald said, Perfect ain't perfect. It's great to see all these tracks gathered together. It feels like a family reunion. Some older members of the tribe, some newer arrivals."

Opener "countrymusicdisco45" is a song Jeb wrote about how his crew lives, tucked up blissfully in the hills: "House parties full of country folk dancing to disco, reggae, soul, country, hip-hop. All night. I recorded it at home under the influence of Stevie Wonder." It's one of the funkiest records you'll ever hear. "Sometimes Shooting Stars" was recorded in Nashville and mixed by the legendary Dennis Bovell. It's deep, dubby, majestic. A thing of fragile, melodic beauty. The party ramps back up again with the undeniable groove of "Short Cut Home" before the profoundly moving "Disappointment" arrives. One of many songs he's recorded with good buddy Benedic Lamdin (aka Nostalgia 77): "We were going for a Leon Thomas meets Richard Brautigan meets Alice Coltrane kind of thing". We think they nailed it. "Days Are Mighty", like a lot of the tracks on this collection, "started life as a demo, an attempt to get something down while it was fresh. No frills, nothing fancy, just feel." And what feels!

The irrepressibly funky "Don't Dance With Me Tonight" is a deeply moving, slow-mo organ-drenched head-nod-funky country-ballad. Next up, the breezy "You Got It Wrong" was recorded in Wales with some of Jeb's good friends and neighbours, The Westwood All Stars, featuring Clovis Phillips and Will Barnes. Skanking fiddle-flecked gem "Ring The Bells" was the first thing Jeb recorded when he moved to Wales. A combination of all his loves; country, reggae, soul. It's followed by "Let's Make It Up", a truly sumptuous string-drenched emotional groover. "When Did You Stop Loving Me" is another Nashville track, written and recorded during a time Jeb was spending a lot of time with the Muscle Shoals crew, Donnie Fritts, Spooner Oldham, George Soule and Dan Penn: "It shows, I'm sure, their influence." Oh, you bet it does!

The swaggering country-funk of "Just Beginning" should grace many groove-focused DJs' sets whilst "Wintering Of The Year", again made with Clovis, is pastoral, campfire soul. The glacial, gorgeous "Let It Rain" is from an unreleased record Jeb made with the great British jazz bass player Andy Hamill and "We Tell Each Other Who We Are" is freaky country-soul made by a man with a love for strutting, wonky hip-hop stylings. Rounding out the side, "Trip To You" is pure, uncut amphetamine-propelled drum-machine soul.

The spare, beautiful "Dirt" is from an EP Jeb made with Julian Moore in his house in South London: "All first takes, straight to tape." Swoon! "Heaven Right Here" was a very minor league hit in America: "It was produced by the brilliant and much missed Wayne Nunes. It was started in the countryside of Missouri, finished in the countryside of Wales, and recorded in the countryside of Sussex." Double swoon! "If Later Ever Comes" is electronica meets J.J. Cale business whilst "Remember The Season" is truly wonderful and breezy guitar soul. "A Little Love" was made with Wayne Nunes as well, after a night of listening to Studio One and Northern Soul. Bouncy dub closer "Weary Traveller" was written by Bill Monroe, the hero of Jeb's youth: "Monroe's music was heavily influenced by black southern churches; I've tried to keep some of that feral feel." This was the final recording by Jeb's 1990s Country-Dub band, Fellow Travellers.

The name of this compilation comes from a time when Jeb lived in Peckham, south London and he used to DJ and sometimes perform at a local bar: "The owner of the bar, a Jamaican named Count Percy, once asked me what I called my music. I told him I wasn't sure, I guess just pop music. He thought about it for a minute and then said, 'no, more like mom and pop music'. Rather than call me a country singer or a folk singer he always referred to me as The Music Maker."

With the long overdue deluxe overview of his beloved music, we hope to finally shine a light on the unheralded genius of Jeb Loy Nichols. RIYL Larry Jon Wilson, Townes Van Zandt, Bobby Charles, country got soul artists, dub, deep soul, disco, dancing, heartbreak. This deluxe collection, spellbinding from beginning to end, should hopefully go some way to ensuring Jeb reaches an ever bigger, ever more appreciative crowd of followers. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The artwork has been lovingly put together by The Music Maker, himself, Jeb Loy Nichols. "Be With is the perfect home for this mongrel music. I am forever in their debt." The pleasure is all ours, Jeb.

Multi platinum-selling musician and multi-instrumentalist Jamie Cullum today announces The Pianoman At Christmas - The Complete Edition. Due for release on 19th November via Island Records. The deluxe album completes last year’s critically acclaimed hit album The Pianoman At Christmas Part 1, with its Second Part - featuring 11 covers of classic Christmas songs, as well as two original songs, including lead single ‘Christmas Don’t Let Me Down’, out now.

Drawing from the past and inspired by the present, The Pianoman At Christmas - The Complete Edition sees Jamie team up with London jazz innovators Kansas Smitty’s, as well as composer and producer The Vernon Spring and acclaimed LA-based jazz singer Lady Blackbird to complete a piece of work that is imbued with seasonal sophistication. Alongside his two original tracks, Jamie breathes new life into classics such as ‘Winter Wonderland’, ‘Silent Night’ and ‘Frosty The Snowman’, ranging from ‘Amazing Grace’ to ‘Man With The Bag’ and ‘Sleigh Ride’. The Complete Edition will be released on double CD and double black vinyl formats, alongside a limited run of 180G Heavyweight coloured vinyl in red and gold.

Speaking on the release, Jamie said -

“I had a huge amount of fun creating part two of TPAC. Recorded live, all in the room together - it’s the party after the big show, with friends, drinks and some of the finest musicians on planet earth.”

Released almost a year to the day before The Complete Edition is due out, The Pianoman At Christmas featured 11 original songs played by 57 of Britain’s best musicians, recorded in Abbey Road’s famous Studio 2 and produced by Greg Wells whose The Greatest Showman soundtrack spent 28 weeks at number 1. The album sold over 37,000 copies, spending 6 weeks in the album chart and peaking at number 11. In December Jamie broke the Guinness World Record for the largest music lesson ever, when he held a virtual piano lesson for 2,282 people, teaching them the carol ‘In The Bleak Midwinter’ with special guests Robbie Williams, Sigrid and Dodie.
With 10 million album sales and over 890 million streams to date, Jamie is a celebrated musician the world over with loyal fans in every corner of the globe. With a career spanning over 20 years, his legendary live shows have seen him perform and work alongside artists as diverse as Herbie Hancock, Pharrell Williams, Kendrick Lamar and IDLES - Jamie writing on the latter’s album Ultra Mono. The success of Jamie’s major label breakthrough, Twentysomething in 2003 and its follow up Catching Tales saw him nominated for a BRIT, Grammy and numerous other awards around the world. In 2020 he won an Ivor Novello Award for his track ‘Age of Anxiety’, taken from his acclaimed 9th studio album Taller. In addition to his enduringly successful recording career, Jamie has also established himself as a multi-award winning music broadcaster; his BBC Radio 2 show celebrated its 11th year on air this year.

With her debut album Black Acid Soul earning critical praise, Lady Blackbird is a revelatory new talent with music that transcends the jazz scene through which the LA-based artist is rooted. Reflecting influences as varied as Billie Holiday, Gladys Knight, Tina Turner and Chaka Khan, with critics drawing comparisons to Adele, Amy and Celeste, Lady Blackbird’s distinct and beguiling voice is not one to be missed.

UK band Kansas Smitty’s have developed a musical voice wholly unique from what’s happening around them. They are led by band leader and producer Giacomo Smith who's cinematic compositions feature on their releases, most recently 2021's acclaimed Things Happened Here for Berlin based label !K7. In 2015 they launched their own east London venue and bar, of the same name, which became one of the conception points for the current UK jazz boom.

Londoner Sam Beste aka The Vernon Spring is a polymath in music who has production, writing and performance credits as eclectic as Amy Winehouse, Matthew Herbert, Kano, Joy Crookes, Beth Orton, Blood Orange, Gabriels and MF DOOM. Since 2019 he has been making waves with solo project The Vernon Spring, which foregrounds his rare capacity to hold sophistication and simplicity in the same hands through highly intimate muted-piano compositions and improvisations.

Moton Records celebrates its 50th release!

We are proud to announce our 50th release sees a return for The Mighty Zaf, who did Moton 38 back in 2018 - our biggest selling Moton release to date. After four years of inactivity, largely due to the passing of best friend and genius engineer Phil Asher, Zaf has teamed up with Linkwood and created a spellbinding EP every bit as good as his previous Moton release.

‘Things Could Be’ is gospel soul funk killer and was made before its original creator Quincy Jones passed away recently; ‘Connect Here’ is one for the disco funk boys; ‘Gee Oh Dee’ is an obscure left-field disco gospel banger.

Moton’s fiftieth release promises to be special!

DJ Feedback

Colin Dale - I love this 3 tracker. In a sea of so many faceless and monotonous tracks this EP stands head and shoulders above the rest. Music drenched in soul, blues from a more innocent age from back in the halcyon days of black music. Music to ease your soul.

Rocky x press 2: Another mighty 3 track ep of killer cuts from Moton. Perfect companion to the Ghosted Edits 49th release. Loving all 3 edits but Things Could Be is a worthy a side and definitely my favourite. A tribute to the late Quincy Jones and a little nod to Phlash on the label. Class all the way. Massive props to Zaf and the Moton crew.

Jeremy Underground: Uplifting outro that takes you to a higher dimension!

Norman Jay: Does some justice to Q’s work..

Robert and Lyric Hood aka Floorplan return to Classic with two-track release ‘The Curse Breaker / What You Need’, further demonstrating their unique gospel house sound. With their growing catalogue of previous Classic releases gaining extensive club support from tastemakers such as Dan Shake, TSHA, Jamie Jones and Seth Troxler to name a small few, as well as widespread specialist radio support, the appetite for Floorplan’s Classic output is evident. Now the father and daughter duo return with another adventurous vocal sample for their latest release; ‘The Curse Breaker’ combines a religious sermon with expertly produced house, building from a small flame to its euphoric, blazing climax. Next up, ‘What You Need’ displays the duo’s disco influences with a heavy dose of classic 20th century soul.

"We find ourselves venturing into the depths of a rugged terrain. In our hands, we hold stones and minerals, each possessing its own distinct texture, weight, and sonic potential. It is through the artistic touch and through the musical instruments that these earthly treasures, once dormant, are awaken to life." — Sara Oswald + Feldermelder

The 3rd collaboration of prolific cellist Sara Oswald and electronic musician Feldermelder evokes captivating sensations that oscillate between impending doom and hope. The albums' sonic journey is highly immersive, transporting the listener from one cerebral landscape to another. The transformative nature of metallic elements being integrated in sustained orchestral tones weaves the sonic tapestry, resulting in a captivating experience for the listeners. The organic sounding — reminiscent of minerals' timbres — brings a touch of brightness and a distinctive edge, while the orchestral harmonic structures lend a sense of grandeur and continuity. The origins of this music remain enigmatic, while the tracks of the album gradually unveil concealed aspects and the hidden truth.
One can step into a realm where melodies are reborn, as Sara Oswald's cello spins tales and emotions burst forth. Nature's eternal splendor intertwines with the essence of music, as she infuses harmonies with the soul of mountains. Vibrant hues come alive with delicate strokes, and cascading notes resonate with a select few. Feldermelder conjures profound echoes that swirl like ancient whispers of the earth's primordial past. He sculpts textures, from fragmented glitches to expansive atmospheres, that warp the fabric of reality. The two musicians merge together harmoniously, blending the acoustic and electronic worlds into a transcendent unity. This fusion of contrasting elements adds a unique and intriguing quality to the music. The cello's warmth merges with pulsating electronic beats, creating a symphony of contrasts and sonic upheaval. Each composition is woven in intricate layers, combining electroacoustic architecture with delicate precision. A subtle balance of chaos and control permeates the music as it meanders through the labyrinth of the mind. The soundscape unfolds like a grand tapestry, distant echoes murmuring like grains of sand.

Trained in baroque cello and advocating improvised music, Sara Oswald is the perfect match for sound artist and electronic musician Feldermelder. She plays solo, composes for film and theatre and collaborates with musicians like The Young Gods, Pascal Auberson, Sophie Hunger and Julian Sartorius. Feldermelder is a polymathic creative whose artistry spans composition, sound design, installation and code. He is co-founders of -OUS and part of Encor.studio, a collective of artists who specialise in creating immersive audio-visual installations. Through his work, he explores the idea of secrecy and its impact on our lives, using music and sound to create a thought-provoking and immersive experience for his audience.

“Weird, rowdy and just a little bit black metal” – TWIN SERPENT’s sophomore album out in May via Svart Records Facilitating country influences and the energy of punk, Twin Serpent is a noisy but cute outsider band that manages to blur genre boundaries. Inspired by the likes of The Taxpayers and 16 Horsepower, this crust-country band applies lo-fi black metal aesthetics without having to bathe in blood. Songs about love, betrayal and defiance are delivered with acoustic to amp-wall dynamics, duelling vocal harmonies, shrieking solos and distorted banjos. The debut album Feels Like Heaven, North Of Hell (2022, Loyal Blood Records) was described by the press as genre-defying and compared to bands like GY!BE and Tom Waits. The sophomore TRUE NORWEGIAN BLACKGRASS turns the volume to twelve and the trainbeat races down the tracks at a derailing speed. Covering topics on windmill resistance, porn industry and post-Trump America accompanied by playful country punk with a twinkle in the eye, laced with cosmic and occult undertones. “We’re super happy to finally unbox our sophomore weirdo rocker! And we’re specially stoked to do so on the amazing Svart Records! This particularly hits home with Timo who was born in Finland.

There’s even a song in Finnish on the album, which came out great! The artwork is amazing and everything is there for a reason. We recorded it during the year of the serpent at Piir studio, just a 5-minute walk from our home in Svartlamon, Trondheim, NO. Vebjørn Svanberg Numme aka the wizard technician did an amazing job capturing the essence of the Twins during a hot summer week. 12 songs about love, betrayal and black holes with country licks, rock’n’roll kicks and heaps of punk attitude is the result and we’re super proud to present the first tease from it! We’ve kept things close to home as our resident artist Hanna and designer Tony did the cover art! It’s weird, rowdy and just a little bit black metal", comments the band on the new album. With a slew of sold out shows in their hometown of Trondheim, the band is delighted to spread their cosmic gospel to the people! Twin Serpent goes hard with in-your-face attitude and fits in barn dances as well as punk festivals!

A new EP by Extrawelt is always something special, as they continually manage to reinvent themselves while remaining unmistakably true to their sound. The a-side „Moonster“ of their latest record forms a subtle and almost magical bridge to early musical influences such as Immortal Coil, Chris & Cosey, The Cure, and Throbbing Gristle.
In doing so, they reclaim, or rather reintroduce, a powerful, mystical element into their music, one that is integrated so naturally it feels as if it has always been an essential part of Extrawelt’s sonic DNA. Beyond that, the track unfolds through numerous facets, constantly shifting and evolving. Just when you think it is settling into a familiar direction, small variations emerge, keeping the piece remarkably alive and unpredictable.
You can clearly sense how much fun Extrawelt had working on this track. It is bursting with ideas, energy, and vitality, radiating a playful confidence that makes it endlessly engaging.

The b1 track „Bettermaker“ takes a different route, dedicating itself entirely to a single mood. Through subtle pitch bending and a carefully shaped tonal palette, the track unfolds with a slightly eerie, enchanted atmosphere.
From beginning to end, „Bettermaker“ remains focused and unwavering. There are no breaks or dramatic shifts in direction, instead, the piece commits fully to its initial setting. A monolithic, almost mantra like motif forms the core, creating a distinctive ambience, mystical, shadowy and faintly oriental in character.
This atmosphere is carried and reinforced by percussive, ethno inspired drums, which add an organic, ritualistic pulse. The result is a hypnotic soundscape that draws its strength from consistency and depth rather than contrast, inviting the listener into a secluded, otherworldly space.

The final piece of the EP „Popcorn Forever“ reveals another side of Extrawelt’s thinking. The track unfolds like a curious experiment in motion. Instead of building toward a predictable climax, sounds are gradually tossed into an ever running loop fragments, textures and small rhythmic ideas appearing almost casually, as if the piece were assembling itself in real time.
At first the elements seem loosely connected, sometimes abstract, sometimes slightly mischievous in the way they twist and bend. It almost feels like an impossible construction task. But Extrawelt’s experience quietly guides the process. Bit by bit the scattered parts begin to communicate with each other.
Repetition becomes the hidden engine. With every return of the loop new details slip into the structure, and what once appeared random slowly starts forming relationships inside the listener’s mind. The track never forces a clear explanation, yet the brain begins to tie the loose ends together almost automatically.
Popcorn Forever therefore works beautifully as a kind of transit piece within the EP. It moves between ideas, linking moods rather than closing them off. In typical Extrawelt fashion, the result is playful, slightly surreal and full of subtle discoveries that reveal themselves over time.

Faitiche welcomes a new artist: Christina Kubisch belongs to the first generation of sound artists. Her practice ranges from performances, concerts, to works with video and visual art, but she is best known for her sound installations and electro-acoustic compositions.

TUNING brings together three pieces by Christina Kubisch from different periods of her oeuvre. What they have in common is the way they transform sound phenomena originally considered “non-music” into compositions.

Jan Jelinek: Gaming in Silence (2024) is the most recent work on this compilation. It’s a collage of electromagnetic waves, voice, and abstract sound textures. How did this combination come about?

Christina Kubisch: Gaming was commissioned as a fixed-media composition for the Sound Dome at ZKM Karlsruhe. Since Resonances: The Electromagnetic Bodies Project (2005), I’ve been making recordings in the old and new server rooms at the ZKM and in their permanent collection of historical computer games. Computer games like Asteroids (Atari, 1979) and Poly-Play (VEB Polytechnik, 1986) have specially generated analogue electromagnetic waves that interest me in particular on account of their density, rhythms and textures. I originally studied painting and to me the work of composition often feels like painting an abstract picture. I alter my source material as little as possible, layering and overlapping until a distinctive sound space emerges. In recent pieces, I sometimes combine magnetic waves with field recordings or live instruments. In Gaming it’s my recording of a Chinese song about silence.

JJ: Two persons walking through a street in Madrid (2004) is a recording from your Electrical Walks series. Here we should give a brief explanation of one of your best known works: participants in an Electrical Walk move through public spaces wearing prepared headphones that allow them to receive electromagnetic waves from their surroundings – for example from security gates, ATMs or neon signs. They discover a situation that normally is inaudible to the human ear and they can actively shape it by choreographing their movements. I really admire this piece, not least because there’s no clear dividing line between participants and artist. What exactly do we hear in Two persons walking through a street in Madrid (2004)?

CK: With this early work, I wanted to understand what is heard by people participating in an Electrical Walk in the same place but moving in different ways. The Spanish composer Miguel Alvarez-Fernàndez and I set off from opposite ends of a major shopping street in Madrid, met briefly in the middle, and then continued to the end. We both recorded our walks and I then layered them over one another. You might call it a work of electromagnetic conceptualism.

JJ: Diapason (2009 version) is an installation that plays a composition based on sounds from fifteen tuning forks. This setting is audible in the recording: there’s no dramatic arc, no beginning or end – instead, it recalls a piece of aleatoric music focussing on the decay phase. How did you come to make this work and could you tell us something about your compositional method?

CK: Diapason is part of a series of three pieces that deal with “non-instruments” or instruments that no longer exist: electrical mine bells used to send signals to the workers underground; a historical glass harmonica originally used for medicinal purposes; and tuning forks that were used by doctors to test people’s hearing. All of these methods are no longer in use. The sound of the tuning forks, audible only if held close to the ear, was recorded at the electronic studio at Berlin’s Technical University in such a way that even their decay remained audible. The frequencies range between 64 and 2048 Hertz and they can be adjusted at micro-intervals using small movable weights. The sequence and the duration of the pauses are dictated by chance and were not defined in advance. The 2009 version was created for an installation in the historic Holy Cross Church (Korskirken) in Bergen. Visitors could enter and leave the space at any time, deciding for themselves where and for how long they wished to listen to the sounds played back over an array of small loudspeakers placed on the floor of the apse.

Credits:

Gaming in Silence: commission of the ZKM/Hertzlab, Karlsruhe 2023
elektronic sound processing: Tom Thiel
sound engineering and mixing: Eckehard Güther

Diapason: produced at Elektronisches Studio of TU Berlin
rearrangement: Eckehard Güther

Christina Kubisch, published by Edition Christina Kubisch / Random Musick Publishing

image front: Transitionen 2021 by C. Kubisch, sonagrams of electronic waves (courtesy: Galerie Mazzoli Berlin)
image back: Diapason Tuning Fork, property of Folkmar Hein, Photo: Archiv Christina Kubisch

design by Tim Tetzner
mastered by Giuseppe Ielasi
Thanks to Miguel Álvarez-Fernández, Folkmar Hein, Dominik Kautz and Mario Mazzoli

Riotvan opens 2026 pulsating with drama in the form of a sad Valentine and a special collaboration: Hard Ton, joined by New York City icon Amy Douglas. “How am I going to fill the hours now?” It’s an emotion we’ve all known; and one we all dread, the raw burning haunting ache, when left alone with ourselves after loss. Hard Ton and Amy take us on a soul scorching journey through hollowed out earlymorning emotions, set to a raw, early-2000s house energy—somewhere between Berlin and New York, without drifting into nostalgia. Adding a layer of raw intimacy is a stripped-back piano interpretation shaped by Hard Ton together with maestro Matteo Baroni, whose freestyle takes became the emotional backbone of this version. From there, the release branches out: Massimiliano Pagliara stretches the original into a deep, slow-burning piece of late-night elegance, while Sylvio B flips the energy entirely, firing it back onto the floor with bold grooves and big-room confidence.

To celebrate its 25th anniversary, XL Recordings today announce a special, expanded version of Leila’s acclaimed second album Courtesy Of Choice. Originally released on 11th September 2000, the album followed the success of her Rephlex Records debut Like Weather and felt like a broadcast from a futuristic radio station no one else could tune into. Twenty-five years on, alongside collaborations with the likes of Bjork, Aphex Twin and Terry Hall and iconic performances at the likes of the V&A and Venice Biennale, more and more listeners have found the frequency. While Courtesy of Choice's influence continues to transmit through contemporary culture. the Iranian-born, London-raised producer remains utterly singular:

"I realised very early on that people don't really belong anywhere. That's what gives me the freedom to do any kind of music...I don't feel any commitment or loyalty to anything. My commitment is to noise." – Leila


This new version, Courtesy Of Choice… asides and besides, re-presents the original 14 track album — including the previously vinyl-only “Relax the Pleasuredome” — alongside a wealth of unreleased material. Leila chose to re-edit rather than remake the album (she has all the original data… midi and audio), choosing to set the parameters of only recovering buried details while preserving its spirit. “I wanted this reissue to be honest,” she explains. “Nothing added, just making sure the performances came through as they were meant to.” Among the twenty unheard tracks are Roya Arab’s striking collaboration on Cabaret classic “Mein Herr,” the surrealist collage “A Reasoning” with a sample of Max Ernst, the hypnotic “Acid Frog Fave,” the digi rave blowout “Birdie Rave,” and “techyarr”’s future forever funk from the realm of primetime Neptunes. Together they reveal both the breadth of Leila’s vision and the enduring power of an album that continues to sound ahead of its time.

Active for 40 years, Nurse with wound is one of the projects of Steven Stapleton, materialized in a very wide range of hysterical noise over sound collages and cut ups, abstract music, soothing drones and surreal sound paintings, and more rhythmical and mechanical pieces, always inspired by Dadaism and Futurism, Krautrock, jazz improvisation, surrealism, never losing his main goal, that is having fun and enjoying himself.He has had many collaborators, a recurrent one in the 80s and 90’s being Current 93’s David Tibet, another noticeable one still at work with him is Andrew Liles.The main line of this unpredictable sound builder is hectic and uncompromised, his point of view is that everything is possible and applies it to himself. As a youngster he wanted to be an artist so decided he was one . He is not a musician, and says he has no interest in becoming one. Surprisingly, (or not!), the love of his life is building sculptures out of recycled and reclaimed materials, building things with anything, even junk. And sounds, we are a witness to it.With these very strange juxtapositions of styles and manners, female rap music and 50s and 60s lounge music having a special top priority in Steven’s tastes, and a creativity that has no bounds no taboos, with a taste of novelty every time, Nurse with wound will no doubt continue to surprise people listening to his works, and himself, as he wants to keep it fresh every time, mostly for him.

2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands.

To celebrate, London Records will launch a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP.

The release will be available across multiple formats, appealing to collectors and fans alike.

Complementing the physical editions, a series of brand-new digital remixes will be unveiled from world-renowned artists Daniel Avery, Paul Oakenfold, Mella Dee, and Shadow Child and more, bridging the Mondays' legacy with today's electronic innovators, and a revisit from Paul Oakenfold.

This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations

2026 Repress


Psychedelic Krautwave wrapped in analog warmth, raw guitar bursts, and machine-driven pulse, carried by a mesmerizing voice. Songs that stretch time, reject convenience, and crave the real. A romantic revolt against the daily noises that numb and distract – slow, honest, and widely aware. For those who still long to long and refuse to get comfortable. Changing Rules is the third studio album by Berlin-based duo AFAR – a sonic manifesto of presence, eruption, and resistance.

Miles Davis' Final Collaboration with Arranger Gil Evans Yields Watershed Innovations: Flamenco-Themed Sketches of Spain Spins Graceful Webs of Sound and Emotion Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP Set Brings Out the Record's Full Spectrum of Color: 65th Anniversary Edition Pressed at Fidelity Record Pressing and Strictly Limited to 5,000 Numbered Copies 1/4" / 15 IPS analogue master to DSD 64 to analogue console to lathe Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers. For their final act, they created Sketches of Spain, a peak moment in each luminary's legacy.

The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis' lyrical methods in a tender ceremony that resonates more than six decades after its original release. Part of Mobile Fidelity's Miles Davis restoration series, this 1960 landmark has been afforded the ultimate white-gloves treatment for its 65th anniversary. Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing, this UltraDisc One-Step 33RPM 180g LP set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record's enjoyment. You can now hear the full-range responsiveness of the woodwinds, strings, and percussion, all of which come alive with superior definition and detail.

The beautiful presentation of this UD1S set befits the record's historical importance. Housed in a deluxe slipcase, it features a special foil-stamped jacket and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP. This reissue is made for discerning listeners who desire to fully immerse themselves with the album. And who wouldn't want to go deep with Sketches of Spain? Whether it is the somber mood piece "Concierto de Aranjuez," renowned for Davis' flugelhorn performance, or the folktale-based "Solea," Sketches of Spain transfixes with playing, ideas, and innovations exclusive to this incomparable effort. It's one reason why Mobile Fidelity's engineers took all available measures to insert listeners into the space originally occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and an 18-piece orchestra. The results are as breathtaking as the music.

Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform flamenco-spiced pieces. Davis' famous Harmon-muted trumpet is complemented by an assortment of bassoons and French horns. Heard together, they create pleasing contrasts and sounds (pp, mf, ppp) that get to what resides at the heart of Sketches of Spain: color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out tones, shades, layers, and textures. What they achieved continues to draw praise from the global music community in the 21st century. Ranked #358 on Rolling Stone's 500 Greatest Albums of All Time, deemed "a work of unparalleled grace and lyricism" by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken "jazz in a new direction," the Grammy Award-winning effort has never been better.Miles Davis' Final Collaboration with Arranger Gil Evans Yields Watershed Innovations: Flamenco-Themed Sketches of Spain Spins Graceful Webs of Sound and Emotion Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP Set Brings Out the Record's Full Spectrum of Color: 65th Anniversary Edition Pressed at Fidelity Record Pressing and Strictly Limited to 5,000 Numbered Copies 1/4" / 15 IPS analogue master to DSD 64 to analogue console to lathe Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers.

For their final act, they created Sketches of Spain, a peak moment in each luminary's legacy. The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis' lyrical methods in a tender ceremony that resonates more than six decades after its original release. Part of Mobile Fidelity's Miles Davis restoration series, this 1960 landmark has been afforded the ultimate white-gloves treatment for its 65th anniversary. Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing, this UltraDisc One-Step 33RPM 180g LP set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record's enjoyment. You can now hear the full-range responsiveness of the woodwinds, strings, and percussion, all of which come alive with superior definition and detail. The beautiful presentation of this UD1S set befits the record's historical importance. Housed in a deluxe slipcase, it features a special foil-stamped jacket and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP.

This reissue is made for discerning listeners who desire to fully immerse themselves with the album. And who wouldn't want to go deep with Sketches of Spain? Whether it is the somber mood piece "Concierto de Aranjuez," renowned for Davis' flugelhorn performance, or the folktale-based "Solea," Sketches of Spain transfixes with playing, ideas, and innovations exclusive to this incomparable effort. It's one reason why Mobile Fidelity's engineers took all available measures to insert listeners into the space originally occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and an 18-piece orchestra. The results are as breathtaking as the music. Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform flamenco-spiced pieces. Davis' famous Harmon-muted trumpet is complemented by an assortment of bassoons and French horns. Heard together, they create pleasing contrasts and sounds (pp, mf, ppp) that get to what resides at the heart of Sketches of Spain: color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out tones, shades, layers, and textures. What they achieved continues to draw praise from the global music community in the 21st century. Ranked #358 on Rolling Stone's 500 Greatest Albums of All Time, deemed "a work of unparalleled grace and lyricism" by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken "jazz in a new direction," the Grammy Award-winning effort has never been better.

I had known of Ontology for a few years now, for her releases on Meditator Music & some of the sublabels of Amenology, but I got to know her a bit better last year, when she helped me & Dwarde get a booking in Nashville, Tennessee, where she is based & we got to meet her, work on some music with her and also see her DJ.

Since then, she's been sending me some wicked tunes of hers that she's been making and "This Music Belongs To All Of Us" was a track she sent me, which I absolutely could not refuse. I had to have it for release on Future Retro London and that led to FR038, which also has remixes from DJ Sofa, me & a VIP mix that Ontology had made shortly after finishing the original.

Big up to Ontology for the wicked beats, for DJ Sofa for her quality work on the remix & a special shout to all the people me & Dwarde hung out with in Nashville (Nicholas Latiff, Sterbo, Digimon, Lapilli & everyone else I've forgotten to mention!)

Fauxpas Musik is excited to present the upcoming six-track EP by Dutch artist Convolute, based in Groningen. This release continues the label's tradition of showcasing subtle, atmospheric, and deeply immersive electronic music.
If you haven't heard of Convolute yet - even better. This EP offers the perfect entry point into his sonic universe: intricate, textured, and marked by a quiet intensity that unfolds with each listen.
A compelling journey through carefully crafted soundscapes, this record is made for discerning listeners and dance floors alike.
Vinyl Tastes Better...

NOW is pleased to announce the next addition in the Millennium series NOW –the ultimate celebration of the finest pop hits from the 2000s . NOW – Millennium 2008-2009, bringing the first decade to a close – out September 27th! Available on STD 4CD set and a special edition 84-track 4CD set is housed in ‘hard-back-book’ packaging, including a 28-page booklet summary of the years and a track-by-track guide and 30 tracks across 2LP’s, pressed in a Gorgeous Gold and a White Vinyl, showcasing some of the most iconic sounds of the noughties!

TELEFAX PRODUCTIONS present a special, four-track wax release of one of 2024’s hottest club cuts - revivalist hip-house jam ‘Break This House Down’. Formed by two vastly experienced producers whose working partnership began way back in the late 1980s, TELEFAX PRODUCTIONS was born to provide a platform for established and unknown artists. One of 2024’s hottest club cuts supported by Honey Dijon, Luke Solomon and London’s Faith crew, ‘Break This House Down’ stars previously unheard mic man DeeVoeNay – a young rapper hailing from Buffalo, NY. Joining the original on this vinyl package is a live version with DeeVoeNay’s band HR Nightmare, alongside a bruk remix from London broken beat torchbearer EVM128, plus TELEFAX PRODUCTIONS’ vinyl-only Acid House Remix. ‘Break This House Down’ spotlights DeeVoeNay’s distinctive flow and party-starting lyrics front and centre, with the well-established, multi-faceted artist Jimmy Cauty responsible for the bold and highly stylised artwork - with Cauty also designing a special physical print included in this unmissable vinyl package.

AFIN returns to Frank Music with round 3! Alexander Franz is back on the sampler, delivering another fierce pack of tracks for the dancefloor. First up is "Disko Inferno", a peak-time-power-disco-house (PTPDH) banger that lives up to its name, igniting the energy. Next, "The Beloved" brings a groovy vibe, perfect for those with dancing feet and open hearts. Rounding out the release is "Body Rock", a track that gets your body moving, featuring a special vocal announcement that adds extra flavor. Once again, Birbs and Planties delivers solid gold basslines, locking in the rhythm.
Get ready for non-stop movement as AFIN delivers the goods. This one’s vinyl-only, so don’t wait—snag your copy and let’s make this spring real fun.

Dua Lipa veröffentlicht zum bevorstehenden 5-jährigen Jubiläum ihres mit einem GRAMMY Award ausgezeichneten und mit Platin zertifizierten zweiten Studioalbum Future Nostalgia eine 3LP Special-Edition.
Gepresst auf einer gelben Splatter-Vinyl und zwei schwarzen Vinyl, enthält das 3-LP-Set die 11 OriginalTracks des Albums sowie die Deluxe Moonlight Edition und das Remix-Album Club Future Nostalgia.

A Lost Hi-NRG Gem Returns – After 38 Years!

Another iconic diamond of German electronic disco is finally back on vinyl after 38 years! This is no ordinary reissue – it’s a Mike Mareen production, the mastermind behind the legendary “Love Spy”. Released under his Night’n’Day Records, a label that ruled the ’80s dancefloors, this track is pure Hi-NRG gold.

Enter “Roadrunner”, a high-energy banger from Jeff Harrison, this time hiding behind the alias U.K.. Packed with playful synths, an electrifying tempo, and Jeff’s dynamic vocals, this track is made for the dancefloor—like a fitness trainer hyping you up for that final rep!

But that’s not all! This special edition also includes never-before-released versions straight from the original recording session. Stored on tape, buried in a drawer for 38 years, and now – FINALLY – ready to hit your turntable.

Get it. Spin it. Feel the energy!

Hip-hop legend Rakim is breaking new ground with his upcoming studio album, G.O.D.'S NETWORK (REB7RTH), by flexing his skills both on the mic and behind the boards. Widely lauded as the best lyricist of all time, The God MC himself is blessing the culture with the next step in his historic career.

“I feel like the battery in my back has been reenergized,” Rakim said about his new album, which arrives nearly four decades after the release of his classic debut with Eric B., Paid In Full. Since then, he’s continued to shape the landscape and culture of hip-hop as we know it, inspiring rising artists with his hype live shows and incredible studio albums. And while he’s produced some of his previous work—notably “Don’t Sweat the Technique,” “Juice (Know The Ledge),” and “Paid In Full”—this feels like new territory for the 18th Letter, whose production and scratching talents are nothing short of remarkable.

G.O.D.'S NETWORK (REB7RTH) is proof that Rakim is truly one of the most special artists we’ve known not just in hip-hop, but all of music. You can tell he feels that level of praise when speaking about the genesis of the album. “Having the ability to showcase my talents behind the boards coupled with the elite lyricism the world already knows and gives me infinite praise for alongside some of the best talents to ever do it is truly a blessing and for that I am humbled,” he said.

Rakim is more than an official triple-threat as an artist, because he’s also showing off skills as a curator. On this album’s seven tracks, he enlists a who’s-who of top hip-hop talent, including the dearly departed Nipsey Hussle, Fred the Godson, DMX, and Prodigy (of Mobb Deep). Rakim also linked with many of his contemporaries, such as Snoop Dogg, Method Man, KXNG Crooked, B.G., and Kool G. Rap, among others.

The album’s first single, “Be Ill,” is the perfect introduction, as it pairs Rakim’s raw rhymes and head-nodding production with slick guest features from Kurupt and Masta Killa. Elsewhere, Rakim slows it down for the soulful “Love Is The Message,” which features Nipsey Hussle, Planet Asia, Louis King, Snoop Dogg, Sally Green, Kobe Honeycutt, and the LA Grand Choir. And then there’s the chest-thumping “International,” a straight-up slapper with hard-hitting rhymes from Kool G. Rap, Tristate, and Joell Ortiz.

For fans of hip-hop, and especially of Rakim’s storied discography, there is so much to love on this record. You can hear his hunger as an emcee and producer on every track, as well as his desire to collaborate with so many respected artists. Despite having decades in the game and many classics to his name, it feels like Rakim is just getting started.

While the world awaits the July 26th release date, fans can catch Rakim performing live throughout the US from now until the end of year in support of G.O.D.S Network (REB7RTH). In addition to debuting new material, he’ll be performing all the classics from his beloved catalog.

Hip-hop legend Rakim is breaking new ground with his upcoming studio album, G.O.D.'S NETWORK (REB7RTH), by flexing his skills both on the mic and behind the boards. Widely lauded as the best lyricist of all time, The God MC himself is blessing the culture with the next step in his historic career.

“I feel like the battery in my back has been reenergized,” Rakim said about his new album, which arrives nearly four decades after the release of his classic debut with Eric B., Paid In Full. Since then, he’s continued to shape the landscape and culture of hip-hop as we know it, inspiring rising artists with his hype live shows and incredible studio albums. And while he’s produced some of his previous work—notably “Don’t Sweat the Technique,” “Juice (Know The Ledge),” and “Paid In Full”—this feels like new territory for the 18th Letter, whose production and scratching talents are nothing short of remarkable.

G.O.D.'S NETWORK (REB7RTH) is proof that Rakim is truly one of the most special artists we’ve known not just in hip-hop, but all of music. You can tell he feels that level of praise when speaking about the genesis of the album. “Having the ability to showcase my talents behind the boards coupled with the elite lyricism the world already knows and gives me infinite praise for alongside some of the best talents to ever do it is truly a blessing and for that I am humbled,” he said.

Rakim is more than an official triple-threat as an artist, because he’s also showing off skills as a curator. On this album’s seven tracks, he enlists a who’s-who of top hip-hop talent, including the dearly departed Nipsey Hussle, Fred the Godson, DMX, and Prodigy (of Mobb Deep). Rakim also linked with many of his contemporaries, such as Snoop Dogg, Method Man, KXNG Crooked, B.G., and Kool G. Rap, among others.

The album’s first single, “Be Ill,” is the perfect introduction, as it pairs Rakim’s raw rhymes and head-nodding production with slick guest features from Kurupt and Masta Killa. Elsewhere, Rakim slows it down for the soulful “Love Is The Message,” which features Nipsey Hussle, Planet Asia, Louis King, Snoop Dogg, Sally Green, Kobe Honeycutt, and the LA Grand Choir. And then there’s the chest-thumping “International,” a straight-up slapper with hard-hitting rhymes from Kool G. Rap, Tristate, and Joell Ortiz.

For fans of hip-hop, and especially of Rakim’s storied discography, there is so much to love on this record. You can hear his hunger as an emcee and producer on every track, as well as his desire to collaborate with so many respected artists. Despite having decades in the game and many classics to his name, it feels like Rakim is just getting started.

While the world awaits the July 26th release date, fans can catch Rakim performing live throughout the US from now until the end of year in support of G.O.D.S Network (REB7RTH). In addition to debuting new material, he’ll be performing all the classics from his beloved catalog.

PRESSED ON BLACK & WHITE SPLASH COLORED VINYL

Limited to 1000 copies

Benny The Butcher and 38 Spesh helped put Upstate New York rap on the map when they released Stabbed and Shot, their now classic collaborative album. Since then each rapper has reached new levels of commercial and critical success while cementing their legendary status in the rap game. However, throughout their rise, fans of Benny & Spesh have never stopped asking for the duo to reunite for a full-length album. More than six years after the initial release of Stabbed & Shot, the wait is finally over as Benny & Spesh are drop Stabbed & Shot 2, their long-awaited, full-length collaborative album, and follow up to Stabbed & Shot. The new 16-track project was worth every bit of the wait, as the duo trade bars with each other alongside featured guests Ransom, ElCamino, Klass Murda, OT The Real & Busta Rhymes over production by Daringer, Harry Fraud, V Don, StreetRunner & Chup the Producer and more

PRESSED ON CLEAR WITH RED & BLACK SWIRL COLORED VINYL
Limited to 1000 copies

Benny The Butcher and 38 Spesh helped put Upstate New York rap on the map when they released Stabbed and Shot, their now classic collaborative album. Since then each rapper has reached new levels of commercial and critical success while cementing their legendary status in the rap game. However, throughout their rise, fans of Benny & Spesh have never stopped asking for the duo to reunite for a full-length album. More than six years after the initial release of Stabbed & Shot, the wait is finally over as Benny & Spesh are drop Stabbed & Shot 2, their long-awaited, full-length collaborative album, and follow up to Stabbed & Shot. The new 16-track project was worth every bit of the wait, as the duo trade bars with each other alongside featured guests Ransom, ElCamino, Klass Murda, OT The Real & Busta Rhymes over production by Daringer, Harry Fraud, V Don, StreetRunner & Chup the Producer and more

Wenn sich eine musikalische Familie zusammenfindet, um eine Platte aufzunehmen, kann Magie geschehen, und genau dafür sind die VAN ZANTs da!
Die Brüder Johnny und Donnie Van Zant (aktueller Leadsänger der Southern-Rock-Ikonen Lynyrd Skynyrd bzw. Gründungsmitglied von .38 Special)
fanden 1998 zum ersten Mal Platz in ihren vollen Terminkalendern und nahmen ihr gemeinsames Album „Brother to Brother“ auf: eine Hommage an
ihren verstorbenen Bruder und Lynyrd-Skynyrd-Sänger und Gründungsmitglied Ronnie. Diese Veröffentlichung wurde von der Presse und den Fans
weltweit hoch gelobt und veranlasste das Duo dazu, 2001 ein Folgealbum mit dem schlichten Titel „II“ aufzunehmen. Die Zusammenarbeit der beiden
Brüder endete nicht, als sie mit der Veröffentlichung von Get Right With the Man„ (2005 in den USA mit Gold ausgezeichnet) und später mit My Kind
of Country“ (2007) in einen mehr Country-orientierten Stil eintauchten.
Nun erfinden sich die Brüder erneut neu und bieten ein christlich geprägtes Album an, das ihre Rock- und Blues-Wurzeln (und einen Hauch von
Country) mit einbezieht. Das Ergebnis Always Look Up“ besteht aus Songs, die das Herz und die Seele des Hörers berühren, mit einer emotionalen
Tiefe, die in der heutigen Musiklandschaft ihresgleichen sucht.

Out of print for 15 years, Soul Jazz Records’ “Do It Yourself” features a host of postpunk, punk, punk funk/dance and electronic experimentation from UK bands in
the late 70s and 80s that all arrived in the aftermath of punk. As well as loads of
great music, the album also charts the rise of the independent music industry in
Britain that similarly thrived during this time.
Featuring classic groups such as The Buzzcocks, A Certain Ratio, The Fire Engines,
Glaxo Babies and a host of lesser known, rare and obscure tracks and artists, this
new 2024 edition comes as a limited edition special coloured version double vinyl
pressing, complete with deluxe gatefold sleeve with two unique inner sleeves.
This fully remastered album comes with extensive sleevenotes and photography
as well as interviews with key behind-the-scene players – including studios,
cutting rooms, print works – that together bring a fantastic insight into the DIY
music and culture of this period and the explosion in the independent music
industry after punk.

Up To Here ist das diamantene Debütalbum von The Tragically Hip, das ursprünglich am 8. August 1989
veröffentlicht wurde.
Es enthält einige der beliebtesten Songs der Band: „Blow At High Dough“ und „New Orleans Is Sinking“
- beides Nummer-1-Radio-Singles in Kanada sowie die Fan-Favoriten „Boots Or Hearts“ und „38 Years Old“.
Die erweiterte Neuauflage von Up To Here ist ein Muss für Sammler. Sie wird in Form von vier Doppel-LPSets auf 180g-Vinyl sowie einem Vier-CD-Set und einem Buch, das die Geschichte des Debütalbums dokumentiert, präsentiert. Die Neuauflage enthält ein 2024-Remastering des Originalalbums, eine Aufnahme
von Live at The Misty Moon, dem 1990 für MuchMusic gedrehten Special aus dem The Misty Moon in
Halifax mit begleitendem einstündigen Konzertfilm auf Bluray, sowie die Demos der ursprünglichen Aufnahmesession von 1988. Vier bisher unveröffentlichte Songs, die es nicht auf das Original-Album Up To
Here geschafft haben - „She’s Got What It Takes“, „Get Back Again“, „Rain, Hearts And Fire“ - sind Teil
dieses erweiterten Pakets, das in Atmos neu gemastert wurde.
Erhältlich ab dem 8. November!

In 2009, you couldn't ignore Kyteman. It truly was his year. His album "The Hermit Sessions" likely topped the year-end lists of many critics and music enthusiasts. With his HipHop Orchestra, sometimes 25 members strong, Kyteman made more than his mark at numerous festivals, including Pinkpop, Paaspop, Oerol, North Sea Jazz, Lowlands, Appelpop, a sold-out gig at the HMH in Amsterdam, and many club performances, always bringing the energy to the next level. His appearances on Dutch televisionshows like 'Raymann Is Laat' and 'De Wereld Draait Door' are also legendary. Now, 15 years later, the music has not lost any of its power. It is high time for a re-release of this iconic album in a special Anniversary Edition, with an additional insert with photo's, credits and a reflection by Colin Benders.







g Sorry Live @ Tivoli

i It Curcus [Not]







[g] Sorry [Live @ Tivoli]

[i] It Curcus [Not]

In 2009, you couldn't ignore Kyteman. It truly was his year. His album "The Hermit Sessions" likely topped the year-end lists of many critics and music enthusiasts.

With his HipHop Orchestra, sometimes 25 members strong, Kyteman made more than his mark at numerous festivals, including Pinkpop, Paaspop, Oerol, North Sea Jazz, Lowlands, Appelpop, a sold-out gig at the HMH in Amsterdam, and many club performances, always bringing the energy to the next level. His appearances on Dutch televisionshows like 'Raymann Is Laat' and 'De Wereld Draait Door' are also legendary. Now, 15 years later, the music has not lost any of its power. It is high time for a re-release of this iconic album in a special 15th Anniversary Edition, with an additional booklet with photo's, credits and a reflection by Colin Benders.

After four tape editions on Seil Records, Sofie Birch's 2019 debut record "Planetes" is finally available on vinyl featuring new artwork and a beautiful analog remastering.

Sofie creates dream-like, elegant ambient music with an emphasis on exploration and wonder. Her distinctive organic and melodic sound is shaped by improvising with analog synthesizers, acoustic instruments, and field recordings. Repetitiveness is clinically avoided with harmonic progressions that resolve all tension brilliantly. Planetes was described as a beautiful sound universe where the atmospheric sound surfaces and textures gently and elegantly take the listener to new places all the time by Danish experimental music media Passive Aggressive.

For this record's 5th anniversary, apart from the regular vinyl edition, there are two special editions. The first one comes in translucent blue vinyl and includes a limited edition K7 inspired by 70’s yoga tapes. It contains a 20-minute guided meditation on one side and two beautiful unreleased tracks on the other. The second special edition comes in yellow vinyl and includes an inner sleeve with stickers so that you can create your own cover/ constellation for the record.

Sofie's own words about the release:

“It's a dream coming true to see my debut release Planetes coming out on vinyl for its 5th anniversary! Planetes means “a wanderer” in Greek, and I love how this word describes the wandering of celestial bodies, and how we humans wander through life both on a physical and spiritual plane. Wandering is being alive. Wandering is moving, and everything is always moving and changing. Shifting and transforming. The music was created with recordings from a pilgrim trip in Italy with my mom on a little cassette recorder and the music evolved from synth improvisations and the discovery of trusting sound as it is and creating music from immediacy rather than concept.”

Acid scooter, with 150 to 180 BPM tunes, offering a superb kick design and lots of acid casualties.
A special dedicace for the Danse Macabre and its Acid cricket ambiance.

Deejay-turned-produced Jah Thomas’ Midnight Rock helped shift roots reggae to dancehall in the late 1970s and Thomas continued producing in the new millennium, sometimes revamping Roots Radics tracks from Channel One, and alternately cutting fresh work at King Jammy’s, Black Scorpio, and Mixing Lab. Secret Tapes has stellar guests like roots messenger Luciano, dancehall don Super Cat, supreme crooner Courtney Melody, Jah Thomas himself, and a collab between Pinchers and Josie Wales; Tony Curtis, Ghost and Mitch are courtesy of a Buju Banton co-production. Special request to all dancehall fans!

Defined by a riveting array of Caribbean rhythms, Etienne Charles's first album featuring his big band arrangements is a personal triumph, but Creole Orchestra is also part of a much larger Story. Drawing on material from several different commissions and projects, the album encompasses the key players from Charles's band Creole Soul and features special guest vocalists Rene Marie and Brandon Rose, plus DJ Logic (turntables).

English musician Bryn Jones is one of the most original and productive artists on the post-industrial scene. He has released an incredible amount of music in just 16 years. According to current estimates, he has released at least 200 albums for a total of over 1,900 songs in circulation.

The Extreme Years 1990-1994 is a compilation of all Muslimgauze's music, released on the Australian label Extreme Music between 1990 and 1994.

According to many critics and fans, this was a unique and very special period in Bryn's work, during which he went from amateur musician to experimental sound sculptor. Sadly, Bryn passed away in early 1999 at the age of 38.

The original tracks have been perfectly remastered for this first vinyl release and the new masters have been praised by Extreme Music owner Roger Richards.

Defected welcomes one of Chicago house’s founding fathers Marshall Jefferson into the illustrious list of House Masters with this exclusive wax release. An artist that has successfully navigated major cross-over success while retaining utmost respect from the inner circle of electronic music’s underground, Marshall has been behind countless seminal records over his five-decade career. Now a selection of the very best tracks from his new House Masters compilation appear together on vinyl for the very first time, showcasing the impressive output of this house pioneer from his most well-known solo records, to major production credits, key remixes and the underground gems still favoured by selectors today.

Cutting his teeth as a producer for Chicago’s Universal Recording Studios, Marshall was one of the most active DJ and producers on the Windy City’s music scene during the 1980’s house music boom. Working under a plethora of aliases such as Virgo, Jungle Wonz, Truth and On The House, as well as producing for names such as CeCe Rogers, Curtis McClain and Evelyn "Champagne" King, Marshall’s status as a bona fide house music luminary is well documented.

‘Defected presents House Masters - Marshall Jefferson’ is an all-encompassing guide to his tremendous career. A trailblazer and genre-defining artist, Defected is honoured to welcome Marshall into the House Masters Hall of Fame with this very special vinyl compilation.

A new release on this label; this time a special one for Fruity-6

Am 12.04.23 veröffentlicht Unter Schafen Records das Best Of-Album ''Retrospective'' von Sharon Stoned als limit. 2LPVersion bei Unter Schafen Records.

Die experimentelle Lo-Fi-Noise-Rock-Band Sharon Stoned wurde 1995 von Mark Kowarsch und Christopher Uhe direkt nach der Trennung ihrer Band Speed Niggs gegründet. Nach ihrem großartigen Debütalbum „License To Confuse“ und der Tape-EP auf dem Berliner Label City Slang unterschrieben Mark und Krite bei Sony Columbia und veröffentlichten das hochgelobte Doppelalbum „Sample & Hold“, das besondere Gastbeiträge von Künstlern wie Evan Dando enthielt (die Band unterstützte The Lemonheads während ihrer Car Button Cloth Europatour 1996), Lou Barlow, The Notwist, Tom Liwa, Furtips, Gitbox!, Tuesday Weld, Tocotronic und Mitglieder von HP Zinker und Die Goldenen Zitronen.







[g] My Style [feat. The Notwist] (05:11)
[h] Special Plan [feat. Evan Dando] (03:54)

[j] Some [feat. Lou Barlow] (02:40)

[l] Down [feat. Roeland Van Niele] (03:52)
[m] Never Dare To Ask [feat. Dirk Von Lowtzow] (04:00)
[n] Tape [feat. The Notwist] (06:45)
[o] Your Own [feat. Tom Liwa] (03:38)

Nächstes Jahr feiern Ipecac ihr 25-jähriges Bestehen. Um die Feierlichkeiten einzuläuten, veröffentlicht das Künstlerfreundliche Label das 2005er Album General Patton vs. The X-Ecutioners zum ersten Mal auf Vinyl..., in einer limitierten Silver Streak-Ausgabe.

Die Veröffentlichung bringt Mike Patton, den legendären Frontmann von Faith No More, Mr. Bungle, Tomahawk und vielen anderen, mit einer der angesehensten DJ-Crews des Hip-Hop, The X-Ecutioners, zusammen. Die Zusammenarbeit kam zustande, nachdem die beiden Gruppen einige improvisierte Live-Shows zusammen gespielt hatten. Der süße Duft der Chemie wehte schon bald durch die Luft, und so beschloss man, einen Schritt weiter zu gehen und gemeinsam an einem kompletten Album zu arbeiten. Das Ergebnis sind 23 Tracks, die einen direkten Zusammenprall zwischen Hip-Hop und der wilden und verrückten Welt von Ipecac darstellen.

- Ltd. Col. LP: (Silver Streak Vinyl; zum ersten Mal auf Vinyl erhältlich; mit einem 24x36 ausklappbaren Poster und einigen metallischen PMS Farben)

1975 was a banner year for superstar Alice Cooper with the release of the groundbreaking concept album Welcome To My Nightmare. This album showcases Cooper's theatricality, storytelling prowess, and ability to create an immersive world of horror and fantasy.

From the opening notes of the title track, "Welcome to My Nightmare," listeners are transported into a dark and twisted dreamscape. Cooper's signature blend of rock, glam, and theatricality shines throughout the album. His gritty yet melodic vocals, combined with a richly layered musical backdrop, create an atmosphere of eerie enchantment. The album's production incorporates haunting orchestral arrangements, catchy hooks, and powerful guitar riffs, crafting a sonically diverse and captivating listening experience.

Teaming up again with his longtime producer Bob Ezrin, the duo assembled some of the greatest music to go along with the David Winter-produced TV special, and in doing so, created some of his best known songs like the huge hit single "Only Women Bleed." This Top 5 single carried Welcome To My Nightmare into multiple platinum territory and forever etched the word superstar to the name of Alice Cooper.

All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings and RTI, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Includes 4 new tracks and the 8 remastered songs from their four singles previously released on limited edition 7" vinyl. Each single sold out in less than 2 weeks. Adesha and Vincent Kwok are proud to present their album "Feeling You." Containing some exclusive album tracks as well as special edits and new mixes of some previously released tracks, the album takes you through the various musical styles that the pair have worked on together. With a broad range of styles from Champagne Boogie to Disco to Mellow 808-based RnB, this album showcases the eclectic talents of Adesha's lyrical and Vincent's musical range

Impossible to find in the wild, KPM's Image is exactly that; this record paints extraordinary, hyper-vivid scenes with music, in the way only the library greats can. Originally released in 1974, Image is an absolutely stunning listen from start to finish, and arguably the most wanted KPM grail that's still not been reissued - until now! Just too good…

Worth the price of admission alone, and likely the reason you're all already drooling about this release, the mellow, dramatic beat of "Image", Brian Bennett's opener and title track, is a Jaylib-sampled firecracker. A reflective, scenic underscore which grows to full orchestra and ends as it begins - it's just beautiful. Next up, swoon to "The Little Orphan" by Neil Richardson featuring strings and harp. It's a deeply emotive, sweeping orchestral piece. Just straight gorgeous. It's followed by "Paradise Island", a lush, horizontal Balearic gem courtesy of Gordon Rees and David Gold; it'll send you into a blissful reverie with its elegant strings and gentle drums. From the same pair, "Forbidden Fruit" is, again, string-drenched but the strings are more insistent, stabbing even, and, with drums and Blaxploitation guitars high up in the mix, it's definitely a funkier proposition. "The Enchantress", again a Rees-Gold special, is a slower, groovy, synthy wonder. Closing out the A-Side, "Phenomena" is a mysterious gem, a Gold solo effort set at a breezier tempo with propulsive percussion and head nod, fast-paced breaks with ace keys.

Flip over for "Infinite Expanse", John Scott's dramatic panorama adorned with proud, triumphant horns. Scott's "Static Objects" paints patient, pastoral scenes; there's a serenity and stillness to the proceedings. Next up, Be With favourite John Fiddy delivers shifting shapes and patterns with his wonderful "Metamorphosis", all wah wah, harps, dramatic percussion and strings. It's by turns billowy and blasting. "Cubist Pictures" follows, Neil Richardson's brilliant nebulous, fragmentary piece. Better yet, Richardson's gorgeous, beatless "Analysis" follows, and it's an orchestral beauty featuring cello, harps and woodwind. It's no exaggeration to describe this as transcendental. His "Crystal Ball" presents more static scenes with cello, twinkling percussion and strings, before Steve Gray's fantastically-titled softly-ace "Gliding Through Clouds" closes out this remarkable set.

As with all of our KPM re-issues, the audio for Image comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.

Special remarks: 180g, Red Vinyl, Limited to 100 copies.

After the success of 2021’s Ursgal, Mongolian jazz singer Enji returns with her third album Ulaan. The line-up has grown in size with drummer Mariá Portugal and clarinettist Joana Queiroz from Brazil joining the band to create an invigorating blend of grounded Folk and brooding Jazz.

The iconic electronic music masterpiece, "The House Of House" by Cherrymoon Trax, is set to make an electrifying return to the scene. Originally introduced in 1994, this timeless classic, helmed by the talented trio Axel Stephenson, Yves Deruyter, and Franky Kloeck, has been revitalized in a new remastered wax format. The eagerly awaited release is a special double 12", featuring mixes that have never graced vinyl before, alongside the cherished original and other mixes that have left an indelible mark over the years. As an added treat, collectors will find the inclusion of the original tracks "Let There Be House" and "Conflictation." Presented in a captivating 2 color vinyl format (black & white) that harmonizes seamlessly with the sleeve, this reissue is undoubtedly a must-have for electronic music aficionados and vinyl collectors alike. Brace yourselves for the resurgence of a true masterpiece that continues to shape the landscape of electronic music. It’s also the introduction to a new upcoming single with the return of Axel Stephenson.

Label : Croque Macadam / Requiem Pour Un Twister
Playing : Maxence Tomasso / Etienne Chuc / Samuel Ramon / Ilhan Palayret / Stanislas de la Fuzz
Recording : Alexis Fugain & Vincent Hivert
Mixing : Vincent Hivert & Samuel Ramon
Mastering : Luc Gyrou
Photos : François Grivelet
Illustration : Audrey Matt-Aubert
Artwork : Etienne Gimenez

This record captures the amazing live energy of Santrofi, a young 7 piece from Ghana with a mission to bring Highlife back. For this record they are backed by Berlins finest 14 piece brass band: the Omniversal Earkestra. Over 25 great musicians on stage all playing their hearts out, all captured on this live LP.

The album documents the grande finale of the ‚Deep into Highlife‘ project taking place 2021/22 in Ghana and Germany. The project started off in Accra with Highlife shooting stars Santrofi inviting numerous artists on stage for a series of concerts and jamsessions. The guests included Highlife legends A.B. Crentsil (RIP) and A.K. Yeboah, but also newcomers like Camidoh, Black Sherif or drill rapper Yaw Tog from Kumasi.

In May/June 2022 Santrofi brought the ‚Deep into Highlife‘ experience to Germany. The lineup featured two special guests: The guitar band legend A.K. Yeboah, a pioneer of Ghanas Highlifescene and father of famous guitar ace Kwame Yeboah. And Ghana drill pioneer Yaw Tog from Kumasi known as ‚young bull‘ by his fans back home.

The final concert of the tour took place at Kulturbrauerei in Berlin on June 2nd 2022. For this very special event Santrofi was backed by Berlin’s finest brass unit the Omniversal Earkestra. The band is a 14 piece brass collective making waves recently with their ‚Le Mali 70‘ album which took them on a recording trip to Mali.

The album features live versions of some of Santrofis most popular songs backed by the Omniversal Earkestra who wrote horn arrangements for this special session. It also features ‚Suru nipa‘ an original composition by A.K. Yeboah in which the singer gives invaluable advice to his audience: „Don’t be afraid of ghosts, be afraid of humans“. And a version of Yaw Tog’s single ‚Sei mu‘.

We invite you to witness the incredible live energy of Santrofi and their lovely collaborators: Let us share this beautiful night with you.

After releasing her acclaimed debut album "EROSÃO" (Fun in the church 2021), Mariá Portugal launches the original soundtrack she composed for the chilean movie "1976". Directed by Manuela Martelli, the movie premiered at the Quinzaine des Réalisateurs in Cannes in 2022 and has been collecting awards, among them Tokyo, BFI London, Athens and Jerusalem International Film Festival.

Portugal combines analog synthesizers (especially ARP - 2600 and Moogs) with brass and wind instruments to create a pungent score which evolves together with the character in the movie, in a process of continuous humanization in which artificial becomes human.

The score have the participation of the Rotterdam - based french hornist Romain Bly (Bonsai Panda), the Brazilians Maria Beraldo and Joana Queiroz (Quartabê) on clarinets and bass clarinets, and the german tubist Carl Ludwig Hübsch. The improvisations by both Beraldo on clarinets and Hübsch on Tuba have a very special importance within the written score.

Skarra Mucci is a Jamaican Reggae and Dancehall artist born in Kingston. Known as the "Dancehall President", his career counts 7 solo albums, including the essential "Return of the Raggamuffin" (2012) and countless classics and cult collaborations, such as the hit "My Sound" from the album "Greater Than Great" (2014) which exceeds 15 million cumulative Spotify and YouTube streams and the critically acclaimed album "Dancehall President" (2016) with its tour of more than 100 dates around the world, from Mexico to China.

5 years after the release of "Skarra Mucci & The One Love Family" (2018), this essential figure of Jamaican music, with his versatile flow and recognizable voice, announces a new studio album with multiple influences "Perfect Timing", which is scheduled for release on September 29, 2023.

The album opens with a hybrid roots-tinged hip hop riddim. Brass and percussion resonate throughout the track as Skarra Mucci gives way to a mesmerizing voice sample that gives the track “Here I Come” all its depth.

An introduction that sets the tone for an album tinged with a mix of genres by Skarra Mucci and his team of top producers brought together by Undisputed Records. "Perfect Timing" is indeed an ode to Reggae of all eras, full of nods to the Sound System culture, from its beginnings to the present day. From the choice of the featurings to that of the producers, nothing is left to chance to offer us a journey through the highlights of this rich culture which has never ceased to evolve, without any period being left behind.

For his 1st single, it is with a major player in the current Reggae scene that Skarra Mucci has chosen to announce the release of his 8th solo album by inviting the Martiniquais Yaniss Odua on the title "Roots Rock Reggae".

Accustomed to albums teeming with successful collaborations, "Perfect Timing" is obviously no exception to the rule. We find in particular on the title "Street Dance" the essential French producers of L'Entourloop, with whom he released the very successful EP "Golden Nuggets" (2019, 6 titles, 17M cumulative streams Spotify and YouTube) to drop once again a banger between Hip-Hop and Dancehall in line with their huge 2013 hit “Dreader Than Dread” (38M combined Spotify and YouTube streams).

Jamaican legend Johnny Osbourne also takes part in the celebration for a version of his classic of the digital era "What A La La", with Skarra Mucci on the Stalag riddim replayed for the occasion by the beatmaker specialist in the matter: Manudigital.

Skarra Mucci continues his exploration of various styles and influences with the very groovy "Dancehall", produced by the musicians of Dub Akom, in which he lets us perceive all his class and his swing. We also find the massive “Who Fool Them”, a UK stepper track produced by Evidence Music, but also the future Dancehall classic “Rappa Pam Pam”, or the huge “Misty Babylon” in a much more Roots register.

The album "Perfect Timing" ends with the eponymous title, on a riddim and Lovers Rock melodies carried by a joyful piano and a groovy bass. A finale in the form of a declaration of love for Reggae, this music which gave him so much and to which he gave everything.

See you on September 29, 2023 to discover "Perfect Timing", Skarra Mucci's new album.

Trombone Shorty is back with his first album in 5 years and the eagerly awaited follow-up to his 2017 Blue Note debut Parking Lot Symphony, which the esteemed New Orleans music magazine OffBeat said continued his tradition of “stunningly good musicianship, crowd-pleasing good material, and just plain good fun.” The new album captures the explosive energy of his legendary live shows, and combines classic New Orleans sounds (funk, gospel, street rhythms, Mardi Gras Indian chants, and second lines) with modern lyrics, melody, and beats to create something fresh and unique. The album features special guests including vocalist Lauren Daigle & guitarist Gary Clark Jr.

»Outside of the world«, the second album by Japanese trio Usurabi, is a rare pleasure – a guitar pop album that’s deep with spirit, bristling with energy, melodically rich and precious: full of life. It’s even more thrilling than its predecessor, 2021’s Remains of the Light, also released by An’archives, its eight songs falling together just perfectly. If you’ve ever swooned to the sound of rattling, humming organs on countless ‘60s garage rock sides, the wistful beauty of David Roback and Kendra Smith’s music as Opal, the brittle immediacy of those 80s EPs from New Zealand acts like The Clean and The Chills, you’ll find plenty to love here.

The line-up’s still the same: the songs are written by Toshimitsu Akiko, previously a member of Doodles and Aminome; playing behind her is drummer Morohashi Shigeki and bass player Kawaguchi Masami, who’d previously played together in Kawaguchi’s legendary Broomdusters, where Kawaguchi really started to establish himself as one of Japan’s greatest rock guitarists. But Usurabi is very much Toshimitsu’s vehicle, a space for her to gift her gorgeous songs to the world, with Kawaguchi and Morohashi helping guide the songs into the light. Indeed, one thing that’s particularly noticeable about »Outside of the world« is the way all three musicians act in service to what the songs demand.

So »Meet again, outside of the worl«” opens the album with a beautiful 60s garage sway, all buzzing organs and Toshimitsu’s beautifully clear voice. »Even if it’s a lie« bristles with energy and tension, its driving rhythms recalling groups like The Feelies, but with Toshimitsu’s surf rock guitar riding the waves. »Pura« is pensive and melancholy, its graceful slow motion dissolving into a free-form section where Kawaguchi and Morohashi drill down into the earth, a fiercely responsive rhythm duo, while waves of coruscating noise guitar soar out into the ether; »Waves« is a stately closer, crushing guitars cossetting a slow, martial rhythm.

Recorded over 2021 and 2022, »Outside of the world« is a more than worthy follow-up to both »Remains of the Light «and the limited cassette, »Further closer«, released in 2022 on Kawaguchi’s Purifivia imprint. It has Usurabi stretching out, letting their songs breathe when they need, and tightening the screws on other songs so they become perfect pop statements. There’s plenty of joy and pleasure here, and a gentle but determined melancholy; inviting and beautifully sculpted, Outside of the world is a quiet masterpiece.

Edition of 400, comes in a 2 colors (gold & black) silkscreened on heavy jacket with obi (black or patterned light pink), with inserts and a postcard. Special A3 (fold out) full color & duotone insert by Andrew Chalk. Printed by Alan Sherry. Liner notes by Jon Dale.

2 LP Set, coloured Vinyl

CHIWAX CLASSIC EDITION presents Ron Allen aka Zig Zag.
This great gem was originally released on Stickmen Records in 1994.

Was Fettes Brot zwischen 2007 und 2011 mit ihrer Band called 'Das Nervenkostüm' in die Welt jaulten, kann nur in Emoji-Lingo beschrieben werden: fire fire fire. Zu 11t spielten sie sich den Rücken krumm. Festivals, Hallen, Clubs - alles brannten sie ab. Jeden Abend: Monster! Mutationen! Atomkraft, ja bitte! Seinerzeit brachten sie die Beweisbänder direkt auf zwei Live-Alben gleichzeitig heraus. 'Fettes' und 'Brot'. Ein blaues und ein oranges. Wer das hier liest, hält (bald) die auf ein einzelnes Album heruntergekochte Essenz des F/B Twin-Albums in Händen. Alle Hits bis 2010 sind drauf. Neben 'Nordisch by Nature', 'Schwule Mädchen' und 'Bettina' hagelt es Coverversionen von Rio Reiser, The Clash, Steve Miller und Superpunk (der Bonustrack!). Es ist ein Monolith unter allen FB Platten. Eine perfekte Pizza nach Art des Hauses. Abzulegen zwischen Beastie Boys, Dexys, The Specials. Alles Favoriten aus ihrer ewigen, allnächtlichen Tourbus-Disco. Nicht schlecht für ein Live-Album. Dem besten aus der Erde.

Shuko´s new LP is something different. He and the producer Basti (Kanye West, Joey Badass, Timbaland) spent the last 3 years creating samples, learning vintage recordings and putting their knowledge of vintage soul jazz, 60´s and 70´s composer and r&b music into crafting this 31 track album. What makes this release so special is that you now are able to use those samples for your own music and recreating something new without the hustle and pain of clearing samples. Just visit tracklib, pay a little licence fee and register your new work with them. And even if you are not into creating music, this LP is a perfect soundtrack for a calm start into the day or something you will love to relax to.

Cozy up for winter with our newest Chillhop Essentials seasonal compilation 2022. The calming and laid-back lofi instrumentals welcome winter leaves and comfy hoodies. It's time for some coffee or tea and an evening to relax. All the song project features an impressive list of producers.

ALEXANDER SKANCKE´s exciting debut ep for SLICES OF LIFE, including a collaboration track with FOEHN & JEROME.

Alexander Skancke is a Berlin-based DJ, producer and rising talent within Europe´s underground house scene. The young Norwegian has made a sizeable impact on the electronic music scene, dating from way back to his early releases on Neostrictly, to the internationally respected releases on his own label Quirk. Entrenched in his love for vinyl and analog productions, Skancke is imbued with a passion for the very roots of house music, but has also kept his ears open far beyond the boundaries of electronic music.

Skancke’s excitement for analogue is reflected in all aspects of his life: from his work at Bikini Waxx (a record shop in Berlin specializing in second-hand vinyl), to his fascination with vintage studio gear, all culminating in his music having a wonderfully raw and organic feeling.

The 3 tracks that make up his “Public Trouble” ep showcase Alexander Skancke´s knowledge of the history of dance music without copying the originals, but instead creating his own unique signature:

The A side - “This Go This Way” sends you on a crazy acid dream, driven by a hypnotic unstoppable beat with Alexander Skancke´s voice appearing out of the ether, before vanishing away.

For the B1 track “Wind Sync” Alex teamed up with his label mates and renowned DJ- and Producer-Duo Foehn & Jerome at their studio in Berlin. Together they've masterfully crafted a light footed minimal house track with a slightly melancholic touch.

The EP´s title track “Public Trouble” truly shows off Alexander Skancke´s love for deep minimal funk: An ultra groovy piece of music based around tight beats and warm basslines, topped off with a funky stripped back synth line.

As the momentum continues to build for old-school blues rock trio GA-20, the band takes their expanding fanbase by storm with the release its first full-length live LP, Live In Loveland!. Featuring 11 rowdy, blistering performances (including five songs from 2022's Crackdown, three from their 2019 debut Lonely Soul and three previously unrecorded tracks), Live In Loveland! captures GA-20 feeding off the energy of the wall-to-wall crowd and delivering each song with raw emotion and body-shaking force. Live In Loveland! mixes band originals and vintage covers, from early electric blues and honky-tonk country to proto rock 'n' roll, all performed live with deep feeling and punk energy. The album was recorded direct-to-tape on a vintage Tascam 388 at Plaid Room Records in Loveland, Ohio, home of the famous Colemine record label. Produced by Stubbs and engineered by Colemine owner Terry Cole, the band blasts out of the gate playing Harold Burrages' I Cry For You, before tearing into Little Walter's obscure gem My Baby's Sweeter. The previously unrecorded original Hold It One More Time proves to be an instant classic, sitting seamlessly next to the vintage covers on the album. According to guitarist Matthew Stubbs (whose resume includes playing with blues legends Charlie Musselwhite and James Cotton, among others), "There is a special type of energy that is exchanged when we play in front of a live audience, and we definitely feed off of that and wanted to capture that. I love the power and energy of the best live blues albums. Historically, some of the most iconic blues and jazz records have been live ones. B.B. King's Live At The Regal changed my life. So did Hound Dog Taylor's Beware Of The Dog!, and Albert King's Live Wire/Blues Power. We really wanted to continue that tradition and do one of our own."

Jeugdbrand is the voice (Dennis Tyfus) and the beat (Jeroen Stevens) of Antwerp. They perform a sparkling drama, a theatrical tragedy, marinated in our classic Antwerp anarchic sense of humor. Recorded at Joris Caluwaerts’ Finster Studios - a landmark in Belgian music.

Inside the multiverse that is Dennis Tyfus’ oeuvre there exists this body of detailed pencil drawings of various sizes. In these drawings the artist puts himself in many tragic situations. Like vomiting on his way home after a long night at the bar. Boiling right wing idiots. Telling sweet little lies on your Tinder profile. Or, you know, taking out the garbage on a Sunday evening. The horror. These seemingly hermetic pencil drawings show a deceivingly simple world. But you’re often stuck with a bitter aftertaste when you understand a bit more what is actually happening behind the colorful masque.

When it comes to his music - and in contrast to aforementioned drawings - Dennis pencils a more piecemeal picture. His recordings and performances often feel like spliced excerpts. Strange sentences and funny remarks waiver by and interconnect. Musical symbols are casually thrown on the table. Instead of a clear picture, we now have the feeling of looking at a bunch of different doodles. Like… sometimes I have the feeling compared to how focussed Dennis works on his drawings, how unfocussed and sketchy he treats his music. We are simply thrown from emotion to emotion. From laughter to tears. It’s a bumpy ride.

I’d like to imagine that Dennis constantly notates all the shards of conversation he picks up during his regular walks in the centre of Antwerp - a wormhole congested with characters, the one more tragic than the other. In a kind of R. Murray Schafer way, Dennis takes in every sentence very un-arbitrary… and that’s the soundscape. Dramatic, normal, boasted, silly, urgent…

Enter Jeroen Stevens. Antwerp’s number one percussionist. If I would have to list all the bands he performs in this text, well, we would be truly wasting data and printers. Jeroen is the grand gift of the wellschooled session musician. But thank the heavens of white improv, he is also sweet and creative. Jeugdbrand is his second entry in the Edições CN catalogue, after taking care of some of the percussive fragments on the “KAGIROI" LP with Sugai Ken (2021). Recently Jeroen has been performing very lengthy - thus correct - performances of Satie’s Vexations for midi instrumentation; Christmas music; and his famed De Stoeltjes project, where he covers Stooges songs on a camping chair. Apparently much to the confusion of Iggy himself. This might all feel like a big joke to you, but when you dare to listen, you will have to admit that Steven’s adventurous music is very rewarding. Special stuff.

The music of Jeugdbrand reminds me a bit of the music of the late Ghédalia Tazartès - especially when it comes to reinterpreting and combining musical idioms - but trying to put a direct reference on this album does it a bit short. Most important, this is music how it could be: incomprehensible, hilarious, serious, ludicrous, well crafted, sloppy, non-genre. With a strong sense of personality. You know, a fragmented beam for your own overstimulated temple. To shake things up a little … “They told us, they told her. I told everybody.”The albums comes with a drawing by German artist Albert Oehlen and with a text by Angela Sawyer of Weirdo Records, Boston.

Faitiche presents the album Exq I by Berlin underground techno legends Muellie Messiah & Punk not Punk, mainly known under their 100Records moniker. Weighing in at 36 minutes, the track was recorded in 2010, effortlessly intermingling dub, drone and collage, a blend achieved thanks to the duo’s jazz-inspired approach to improvisation.

_

100records is one of the last undiscovered treasures of the Berlin underground of the 1990s and 2000s. Like Elektro Music Department, 100records is unthinkable without techno and the club scene, but with a few exceptions the duo’s tracks are not aimed at the dancefloor. With a claim to universality and a broader frame of reference, 100records developed a more extensive understanding of sound that rests on three pillars: the understated analogue drums of the Roland TR-808, a blurred, dubby sound, and improvisation.

On first hearing, Exq I has little in common with the groovy, detailed, variation-rich sound usually associated with 100records. Recorded at the end of a highly productive decade, it is an echo speaking of exhaustion in which dub, drone and collage converge to form something whose jazz sensibility makes it readily identifiable as the work of 100records.

100records was founded in 1994 by Muellie Messiah (Dirk Budde) and Ekki 808 (Ekkehard Rau), who were joined in 1999 by Punk not Punk (Martin Osti). Around 2002, Ekki departed, leaving Budde and Osti to continue as a duo. Since then, their relationship has shaped 100records: Budde is the driven lone genius doggedly pursuing sounds, Osti the pragmatist who turns ideas into music.

As well as making music, Budde is also a musicologist. In 1997 he published his PhD thesis entitled Take Three Chords... Punk Rock and the Development to American Hardcore. As well as being his specialization, punk is also part of his identity: in the 1980s he sang and played keyboards in various punk bands in Kassel, the best known being Haunted Henschel.

After the fall of the Wall, attracted by the freedom of the newly reunited Berlin, Budde packed his bags and drove to the formerly divided city, having already become acquainted with techno at Kassel’s influential Stammheim club.

Behold! Yes, Blue Butterfly, one of the absolute stunners on the revered Selected Sound, is finally available for all the beat-heads. Heavyweight library funk with a psychedelic touch, the super in-demand Blue Butterfly from *deep breath* Hardy's Jet Band, Orchestra Klaus Wuesthoff, Jan Troysen Band and Orchestra Gary Pacific - was originally released in 1971. Incredibly ahead of its time, it's been rare and sought-after for decades.

For many aficionados, this is the best Selected Sound release. Loaded with fuzzy wah-wah guitar, deep flute-lines atop soulful psych-rock breakbeats and huge organ action, its uncompromising funk will blow you away. Sampled for many hip hop beats and dropped by well known rare groove DJs around the world, one jewel in particular from this glorious German vault needs little introduction. The intro to Orchestra Gary Pacific's mesmeric "Soft Wind" rides the illest, crispest drum break you've perhaps never heard - like, the drum break to end them all - alongside a smooth, deep bass line from the heavens. It featured notoriously on the beloved Dusty Fingers comps of the 90s and was brilliantly sampled by Pacewon for his eternal "Sunroof Top". Just listen and be dazzled.

Beyond this mini-masterpiece, the other killer tracks offer brilliance in abundance. Hardy's Jet Band take control of the full A side, and it's full of dynamic psych-funk bombs. Hard, "big city" industrial groovers. In particular, the initial one-two of "Sorry, Doc!" and "Wind It Up" provide thrilling funky-blues rock instrumentals showcasing relentless guitars, flutes, sax and organ, the latter containing gorgeous, hypnotic breakdowns; these tracks just slay. The title track, "Blue Butterfly" is a real deep strut of a track with fantastic soloing from guitar and flute over crisp drums whilst the highway banger "What You Call To Be Free" certainly sounds a lot like unbridled, rhythmical liberty.

On the flip, the ghost-riding "Lady In Space" is a string-drenched acid-western foxtrot. Yep. “Pop Happening” by Jan Troysen Band is a heavy, druggy psych-fuzz organ groover whilst their slow beat-organ-flute gem "A Blue Message" is a gorgeous psych floater conjuring deeply strange frontier lands. Preceding their monster "Soft Wind", the soulful, uptempo groover “Ghetto Gap” by Orchestra Gary Pacific contains solo piano and flute whilst closing out the set is the free-and-easy samba beat of "So Far".

Founded in the late 60s by German composer and musician Klaus Netzle (who recorded under the alias Claude Larson for Sonoton) Selected Sound began as a production music company specialising in jazz, orchestral and electronic recordings. You can’t miss those early LPs in their iconic glossy metallic copper sleeves with minimal German typography. Serious, classy stuff.

The audio for Blue Butterfly has been remastered for vinyl by Be With regular Simon Francis whilst Richard Robinson has handled reproducing the glossy metallic (iconic) original Selected Sound sleeve. Essential.