Kay-Dee Records News

SP-1200 BANGERS ACROSS FIVE 7" RECORDS, FROM ONE OF THE MOST PROLIFIC PRODUCER OF THE 90s - PREVIOUSLY WORKED WITH NOTORIOUS B.I.G., TUPAC SHAKUR, BIG DADDY KANE, LL COOL J, BUSTA RHYMES, AND MANY MORE!

EDDIE DANIELS- PLAYIN' HIDE GO SEEK/ WHOA WHOA BABY

Eddie's 'other' Ebb rocker - more Little Richard inspired mayhem

For this release Ellende was a core of three original members plus a guest musician. The album was recorded between May to August 2020 in Cape Town, Johannesburg, Tokyo, and London. The release contains a twelve page booklet with artwork by Richard Hart. The autobiographical text in English and Afrikaans is of a trip taken to Cape Town in the mid 1970’s where two teenage cousins are confronted with the consequences of their shared family history.
The music can be described as ambient; the sounds are multilayered, often a bit dusty and slow moving. Some of the tracks sound like they have been recorded on old tapes giving the whole album a nostalgic atmosphere. Often a piano acts as the leitmotif, there is plenty of droning and throughout the tracks bits of texts from old French movies float in and out. Most of the music is made with vintage analogue synthesisers such as the Arp Solina, Prophet 5, ARP Solus, Juno 6. Most of the piano’s, Rhodes and Wurlizters are from the late 70’s as well. All the tracks have been recorded on tape, often played back on half speed. Mastering again was done by Rafael Irissari, whose own ambient work we greatly admire.

Unintentional Consequences is the second part of a trilogy of which Ellende’s previous release the double 10” album Odyssey, A Sentimental Journey from 2019 was part one.

A selection of exclusive tracks from a dusty shoebox full of cassettes and DAT tapes, recorded by Facehugger and Deviant between 1995 and 1997.

The Parasite EP showcases their first batch of live analogue jams that mash the boundaries of experimental house, deep electro, acid and the hazy bustling sounds of the city – a soundtrack of travelling to raves, staying up late, coming home and making wild mixtapes until early Monday morning.

Despite the untimely passing of his production partner, Deviant, in 2009, Facehugger has remained a dedicated and unique beatmaker, close personal friend and unsung hero of the scene, not to mention “unofficial” manager of the Plates record shop, known for his outspoken, boisterous and loud opinions about any new releases which came in!

Now, nearly 30 years on, nestled in the quiet suburb of Carlton (Nottingham), Facehugger loads up his drum machines and starts to create, with the promise of a new wave of music on the horizon…

DJ support from: Charlie Bones (NTS), Bradley Zero, Coco Bryce, OK Williams, Glenn Astro

When Fleetwood Mac released their first live album in December 1980, it captured the legendary band’s most iconic lineup on stage demonstrating the full scope of their collective, creative powers. Recorded mostly during the world tour for Tusk, Fleetwood Mac Live delivered a double-album’s worth of exhilarating performances that included massive hits like “Dreams” and “Go Your Own Way,” “Rhiannon,” and “Don’t Stop.”

Rhino gives the band’s live debut a much-deserved encore with a new 3-CD/2-LP collection that features a remastered version of the original release on both 180-gram vinyl and CD, plus more than an hour of unreleased live music recorded between 1977 and 1982 on the third CD. The set also includes a bonus 7-inch single featuring previously unreleased demos for “Fireflies” and “One More Night.”

This Super Deluxe Edition is presented in a 12 x 12 rigid slipcase and comes with a booklet filled with rare photos, a full itinerary for the Tusk Tour, plus a history of the live album by writer David Wild.

FLEETWOOD MAC LIVE: SUPER DELUXE EDITION will be available from 9th April 2021.

*Limited edition of 200 copies, heavy weight vinyl, comes with poster* fmvee joins Queeste with who do u love?, an EP of fractious songs recorded over a tumultuous four-month period in Los Angeles. Having debuted in 2018 with a set of club contortions touching on jungle and 2-step, the US artist returns with a work of intense self-reflection. Lived experiences are transmuted into an amorphous bricolage of pummelling kicks, synthetic textures, and diaristic details, what they describe as an act of "remembrance." Working and living in LA, the "grind" alongside "aspirational partying," and the confrontation of depression during an intense relationship, informs the EP on levels both sonic and thematic. The slippery rhythm and melodic stabs of 'the way you see yourself' embodies a state of flux, also recalling the early experiments of the LA beat scene. Distant jazz drumming fills its peaceful coda before 'everythingUneverKnewUwanted' introduces an echo lifted directly from the artist's life: a trickling courtyard fountain. This first phase of the release finds resolution with 'thewayothersseeyou,' a conceptual mirror to its start, and one which carries a notable shift in tone; gleaming percussion has given way to ominous synths. Despite the EP's personal nature, collaboration is crucial. 'Seed Perfuming (LoLo v665)' is an fmvee original transformed into a cascading breakbeat by New York producer and engineer Loric Sih AKA LoLo, an ecstatic yet familiar form nestled amidst otherwise bruising encounters. 'sobbing' follows, a digital-age ballad of original lyrics exploring dependency: emotional, physical, and otherwise. It's a poignant conclusion to an appropriately hallucinogenic collection, an intoxicating chemistry of love and loneliness co

"OVER TIME, DEMONIC ENTITIES MADE THEIR WAY INTO THE TITANS' WORLDS FROM THE TWISTING NETHER AND THE PANTHEON ELECTED ITS GREATEST WARRIOR SARGERAS, TO ACT AS ITS FIRST LINE OF DEFENSE. A NOBLE GIANT OF MOLTEN BRONZE, SARGERAS CARRIED OUT HIS DUTIES FOR COUNTLESS MILLENNIA, SEEKING OUT AND DESTROYING THESE DEMONS WHEREVER HE COULD FIND THEM. OVER THE EONS, SARGERAS ENCOUNTERED TWO POWERFUL DEMONIC RACES, BOTH OF WHICH WERE BENT ON GAINING POWER AND DOMINANCE OVER THE PHYSICAL UNIVERSE.

THE EREDAR, AN INSIDIOUS RACE OF DEVILISH SORCERERS, USED THEIR WARLOCK MAGICS TO INVADE AND ENSLAVE A NUMBER OF WORLDS. THE INDIGENOUS RACES OF THOSE WORLDS WERE MUTATED BY THE EREDAR'S MALEVOLENT POWER AND TURNED INTO DEMONS THEMSELVES.

THOUGH SARGERAS' NEARLY LIMITLESS POWERS WERE MORE THAN ENOUGH TO DEFEAT THE VILE EREDAR, HE WAS GREATLY TROUBLED BY THE CREATURES' CORRUPTION AND ALL-CONSUMING EVIL. INCAPABLE OF FATHOMING SUCH DEPRAVITY, THE GREAT TITAN BEGAN TO SLIP INTO A BROODING DEPRESSION. DESPITE HIS GROWING UNEASE, SARGERAS RID THE UNIVERSE OF THE WARLOCKS BY TRAPPING THEM WITHIN A CORNER OF THE TWISTING NETHER..."

It's the date that Soul Intention Records presents, hot on the heels of the much acclaimed album release, their very first 12" single. And what a scorcher it is.

A brand new mix of "Get Into Your Life" by the legendary Tom Moulton, both full length and radio edits. Together with an extended mix of the album version.

When doing this mix, Tom said "you have no idea how much I LOVE "Get Into Your Life" ....." and regarding the finished mix "A lot of Heart went into it"

I'm sure you'll love it as much as we do and Tom does.

On “Dizzy Strange Summer”, Genevieve Artadi offers a window into her ad-lib creativity and the LA community where it’s been nurtured. This is the vocalist, composer and producer’s second solo album, and it sees her stake out her own ground outside of her other groups KNOWER, Expensive Magnets and Everything’s Under Control.

She brings her own slant to the DIY LA scene that she’s grown up in, melding influences from jazz, psychedelia, bossa nova and avant-garde electronics. “Dizzy Strange Summer” marks not only Artadi’s debut on Flying Lotus’ Brainfeeder imprint, but her first self-produced project released on any record label.

An impulsive spirit underwrites every part of the album, something reflected in the energy Genevieve devotes to create the videos to accompany them. It’s an honest, unmediated reflection of the period in which she created the music, supported by a close circle of like-minded musical friends including - but not limited to - Louis Cole (Brainfeeder), Sam Wilkes (Leaving Records), Henry Halliwell, Daniel Sunshine, Adam Weissman (Pollyn / Real Bad Man), Ruslan Sirota, Ross Garren, David Binney and Jacob Mann — each of whom she tapped up to add their flavour to songs where she felt their styles or talents aligned. Most tracks would begin life on her laptop, be sent to a friend for them to add their spin to it, before coming back to Artadi to be elevated to their final form. Reflecting on what drives her to create, she says: “Sometimes I just really get that burning feeling to make something and get it out there.” Above all, this is an album that speaks to that drive: to create something and share it with people.

The album was written in a time of upheaval, something reflected in both the lyrics and the sound of the record. “I was pretty lost… but enjoying feeling lost,” Artadi says. Drawing inspiration from the tumult around her and she relished the opportunity to express herself uninhibited by the shackles of compromise associated with collaboration. Crucially, this often means a silly, playful side being played off against a serious one; but she doesn’t think the former
undercuts the latter, seeing the two as vital shared ingredients to what she does. “I don’t feel like I would be giving an honest picture if I didn’t do both,” she says.

‘Dizzy Strange Summer” revels in juxtapositions, unleashing high energy assaults at full tilt before giving way to soft-focus melancholia, allowing Genevieve to show off the full spectrum of her vocal prowess. On the first single ‘Living Like I Know I’m Gonna Die’ for example, her delivery is beautifully understated and airy: “Living like the future is a guess, living like I’m smaller than a speck”. “I sing it softly ‘cos it’s an internal proclamation... a message to myself,” she
explains. She displays this vulnerability on ‘All I Want For Now’, ‘Before The Dark’ and ‘Will You Tell Me’ too - the later a stunning duet with harp. Elsewhere, on ’Godzillaaaa’ for example, her delivery is informed by ESG and Talking Heads, stomping past on a stark riddim in a whirlwind of distorted percussion and synths

140g crystal clear vinyl LP in an artworked inner sleeve housed in a 3mm spined outer sleeve. Artwork by Genevieve Artadi. Includes MP3 download code

Galcher Lustwerk's white label series is back with another previously digital-only track on vinyl for the first time. It comes from the Workshop associate and London-based artist Willow who stretches her legs across eight minutes of electro deepness as she reworks the calssic 'I Neva Seen'. Trippy vocals and paranoid whispers flesh out the supple basslines and popping drum programming which previously came on the LUSTWERK II EP on Ghostly International. Flip it over for a freaky 'I Neva Seen' acappella tool for adventurous DJs - layered-up vocal loops, sparse kicks and an unsettling atmosphere make it one for the afterparty.

HOUSEWAX welcomes Gloved hands to the RAWAX - Family!

We are very happy to presend you in near future 3 limited releases from this talented californian producer!

First ep is limited to 444 hand numbered copies - no re-press.

Newmont’s first release explores a broad-based sound, ranging from breaks to downtempo. The record puts forward a more hybrid-driven score, which is the Paris-based idea for this project. Get your copy from your local record dealer!

In 1958 the painter Isson Tanaka (22 July 1908 – 11 September 1977) moved to Amami Ōshima, an island in the Ryukyus. There, in self-chosen isolation, he committed himself exclusively to his art until his sudden passing in 1977. In 2018 Seiha Kurosawa, Kanako Azuma and Hideki Umezawa visited Amami Ōshima to create a video installation about Tanaka’s insular life. The work, entitled “Dokkyaku” (tr. The Lone Visitor), shifts between the texture and materiality of Tanaka’s paintings in relation to the natural world of Amami Ōshima and its people. The video invites viewers to understand—poetically—the artist’s sensitivity to nature and the expressivity of his works.

During his stay on Amami Ōshima, Hideki Umezawa recorded a lot of natural sounds to recreate a sort of simulated ecology of Tanaka’s mind – or: of the painter’s mind. On this long playing record these recordings are blended with electronically generated sounds. Next, Andrew Pekler, who has never actually visited Amami Ōshima, upon hearing Umezawa’s field recordings creates - in the spirit of Isson Tanaka - a complementary dreamscape of the island’s phenomena. Of what could be.

This is a work that doubts between site specific and creative imagination. With sounds echoing between the anecdotic and the imaginary. It is a sensitive and highly stylized interpretation of a world that Isson Tanaka had also carefully studied. A painter at work; a way of seeing. So, after Christophe Piette’s ‘Six Tableaux de Quelpaert’, released by Edições CN in 2019, we again moore an island in the nautical footsteps of a painter. While Piette drew a story through – among other things - recording dialogues at his island home, at the restaurant table, et al. Pekler and Umezawa paint their pictures in a more musical fashion. Where natural sounds evaporate into electronic clouds of imagination.

Hideki Umezawa (b.1986, Gunma) is Japanese artist / composer. He won 1st prize at Luc Ferrari’s international competition – Presque Rien Prize 2015 (France), and the Contemporary Computer Music Concert 2015 (Japan). “Dokkyaku” was originally created for "Fukami – Une plongée dans l'esthétique japonaise", an exhibition at Hôtel Salomon de Rothschild in Paris, France as part of ‘Japanismes 2018’.

Andrew Pekler (b. 1973, Samarkand) works with techniques of digital sampling and analog synthesis to re– contextualize found sounds and archival musical materials. In addition to numerous album releases, Pekler has also produced a number of video, installation and web-based works, as well as music for theater, dance, and film.

If you stand long enough at this bus shelter, it will begin to snow. The horizon that ends the road outward often feels like it will crawl closer, but it remains the same distance, the same traffic. When running on a track and the centrifugal force begins to carry you, and you feel as if racing the other user on the track is the winning solution, remember to race the track itself. The track does not move. The meditation of punching a brick wall is still a meditation. The moment you decide to walk, as the horizon is not far off, the moment you race the white chalk lines on the clay field you're running, when the bricks break before you, you find you the outcome. Place your phone in your pocket and sit back in the seat of this bus, place your head between your knees, and brace for impact. The scream of glass is only a second, then the peace of glitter as it becomes particles around you is overwhelming in beauty. You are the outcome. You are what made it this far in a single day, a mayfly's life-cycle, a work shift, several movies streaming in a dark room on a laptop, a cat's fur glowing. Turn the key for your flat and enter. Welcome home. Again.

Two brass-powered monster tracks from Deptford
Northern Soul Club Records.
Irene And The Scotts’ 1967 smash goes for around
£150 a copy these days. A Detroit soul side
arranged by the legendary Dennis Coffey,
produced by Motown man Bob Babbitt, co-written
by Ray Monette (later a member of Motown act
Rare Earth) and featuring the mysterious Irene’s
punchy torch vocal backed by Chicago soul band
The Scott Brothers. Rife with brass stabs and a
glorious sax break - an absolute floor filling gem.
Backed with The Chantels’ ‘Indian Giver’ from
1966, which first appeared on the Verve label (a
copy of which would now fetch around £275 a
throw). A super-rare soul side from the Bronxbased all-girl doo wop pop outfit who found the
funk in the mid ‘60s. Delivered over a hypnotic
backbeat, ‘Indian Giver’ is a horn-laden uptempo
groove with a drummer on double-time. An
absolute handclapping, split-inducing dance
classic.

ntroducing a joint label Buena Gente Recordings (BG-01) and Sheweytrax (shew-33) connection! Side A - BUENA GENTE side featuring new Los Angeles producer, IVAN AM, with two DJ friendly cuts - "Exceed" a straight up tech-funky cut leading to 2nd track "Mourning Rain" perfect for rolling into the mornings. SideB - SHEWEYTRAX side features two by DELICATE INSTRUMENTS - a remastered version of tripped out "High Life" and last cut goes deep with "Turnaway" previously only available digitally. Solid beat focused 12" for the floors! Limited edition vinyl!

JARV IS... truly evolving. From its earliest recordings beginning
in an actual cave, via the enticing hypnotics behind the mantralike tracks ‘Sometimes I Am Pharaoh’ and ‘Must I Evolve’, the
exquisite yet candid storytelling of ‘Swanky Modes’ and timeless
anthem-turned-inadvertent lockdown soundtrack, ‘House Music
All Night Long’, the debut album of the Jarvis Cocker-led band
JARV IS... proved a standout swirl of creativity, invention and
vision on its release last summer.
 Yet ‘Beyond The Pale’ has continued to inspire long after the
sessions for the record stopped. Despite being divided by the
pandemic, audiences came together around the album, Jarvis
and co made a live film based on the album with pioneering
directors Iain Forsyth and Jane Pollard entirely underground in
a cavern, and intriguingly other musicians and producers have
continued to be intrigued by the songs Cocker and his band
created. The latter now has yielded an entirely new way of
hearing ‘Beyond The Pale’ as, for the first time in his career,
Jarv is releasing a remix album based on one of his records.
 Boasting re-imaginings and re-stylings from the likes of David
Holmes, Dennis Bovell and Greg Wilson among others, the
record is a collaborative mix that offers new focus and insight
on the music of one of this generation's greatest songwriters,
while also allowing the remixers’ own unique characters to take
flight within JARV IS... creative cave.
 Paving the way for JARV IS… ‘REMIX ED…’ is Hot Chip's
brand new version of ‘House Music All Night Long’, a brilliant
demonstration of the exchange at the heart of this project -
Jarvis Cocker and the London band have been frequent
collaborators over the years - as Cocker’s emotionally raw
vocals are relocated within a dazzling new disco wonderland
conjured up by Hot Chip. It not only captures the spirit of the
remix record and ‘Beyond The Pale’, but of the concept that
drives Jarvis Cocker’s band too, because thanks to the
creativity at its core JARV IS... anything it wants to be.

Jayda G, die Grammy nominierte Produzentin, DJ, Umwelttoxikologin und -aktivistin, meldet sich mit ihrem neuen Album, „Guy“, zurück. Das Album wurde gemeinsam mit Jack Peñate produziert (der bereits mit Künstler:innen wie Sault, David Byrne und Adele zusammengearbeitet hat), mit Beiträgen von Lisa-Kaindé Diaz (von Ibeyi), Ed Thomas (Stormzy, Nia Archives, Jorja Smith) und anderen.

Das Album erscheint nach ein paar ereignisreichen Jahren, in denen sie für einen Grammy nominiert wurde (für ihre Single mit Fred Again.., „Both Of Us“), eine Reihe hochkarätiger Remixe für Taylor Swift und Dua Lipa veröffentlichte, auf den größten Festivals und Bühnen der Welt spielte, darunter Glastonbury und Coachella, eine Compilation für die renommierte „DJ Kicks“-Reihe und eine hochgelobte Zusammenarbeit mit Aluna veröffentlichte, als Gastjurorin bei der BBC-Show „Glow Up“ auftrat, ihre Jugendliebe in ihrer kanadischen Heimatstadt Grand Forks heiratete und an der immersiven Installation „Undercurrent“ (New York, Juni '21) mitwirkte, die sich neben Künstler:innen wie Khruangbin, Nosaj Thing, Mount Kimbie und Bon Iver mit der Klimakrise befasste.
Das neue Album, „Guy“, stellt Jayda Gs eigene Stimme und ihre Lyrics stärker in den Mittelpunkt als je zuvor. Die 13 Tracks basieren auf ihren House-, Disco-, R&B- und Soul-Wurzeln und betonen gleichzeitig ihr Feingefühl als Pop-Songwriterin, durchsetzt mit Archivaufnahmen ihres verstorbenen Vaters, William Richard Guy. Trotz der manchmal traurigen Natur des Ausgangsmaterials erweist sich das Album letztendlich als eine erhebende und positive Erfahrung, sowohl musikalisch als auch von der Botschaft her, die es vermittelt.

Formate:

- Standard CD in FSC-certifiziertem Gatefold. Um die Produktion der CD zu kompensieren, wird der Erlös aus dem Verkauf des Albums an verschiedene Klimainitiativen gespendet, die Jayda während der Dreharbeiten zu dem Film Blue Carbon besucht hat.
- Farbiges*, limitiertes Standardvinyl in FSC-certifiziertem Gatefold inklusive Downloadcode. Um die Produktion des Vinyl zu kompensieren, wird der Erlös aus dem Verkauf des Albums an verschiedene Klimainitiativen gespendet, die Jayda während der Dreharbeiten zu dem Film Blue Carbon besucht hat. *Haftungsausschluss: die endgültige Farbe kann vom Mockup abweichen

This is a Coke Bottle Green version of the vinyl.

Dip your soul into this new album by Jeb Loy Nichols, full of gritty grooves, mellow melodies and life-fuelled lyrics. Timmion Records reintroduces to the world a seasoned wordsmith and singer through 10 shining examples of rootsy modern r&b that fuse together southern soul, folk music and world class balladry. Led by Jeb's intimate acoustic guitar and raspy incantations, while supported by Cold Diamond & Mink's tight rhythm section, you are in for a helluva ride.

The album, simply named "Jeb Loy" is a testament to the artist's decades long career, spanning soul, country and r&b. Signed to Capitol Records in the late 90's and making it as far as MTV with his video for "As The Rain", Jeb was fairly soon dropped by the major label. Since then, the American-born artist has churned out a steady output of material from his country-side home in Wales. The songs on "Jeb Loy" are clearly drawn out from experiences in life lived, relationships and moments on the road. In tunes like "Living It Up" the listener is pulled inside a mesmerizing groove and Jeb's understated social commentary, evoking a mood that should sit well with fans of Menahan Street Band. On "Not There Yet" Jeb builds on the motif of crows, which become familiar to the listener through many of the album's tracks, looking at the birds in the sky as a reflection of his personal state of being.

Timmion is putting out several songs from "Jeb Loy" on singles, but the album is something to be experienced in itself. It's in that rare vein of classic independent folk soul albums, like Larry T & The Family or Willie Wright's "Telling The Truth", which work like magic on rainy lazy sunday afternoons. It's the perfect companion for those transcendental occasions, when things in this chaotic world seems to make sense, just for a moment.

There’s something about rebuilding connective tissue through music that will never get old, it’s a story that will never exhaust its purpose. Jerome return with ‘LP2’ their first proper slab of wax and deliver a dystopic manifesto of controlled ferocity and dark electronics that explores pain, rebirth and acceptance.

Formed in London in 2019, the Italian/Swedish/Greek duo of Annalisa Iembo and Stella Mathioudakis has been slowly perfecting their raw soul freeing music in opposition to their classically trained backgrounds. The improvisational escape of their acclaimed debut ‘Moods’ has morphed into a pulsating industrial beast, a sub heavy cascade of noir jelly. ‘LP2’ was recorded over a period of 5 days locked in a small room in the Italian flatlands and then further developed and refined between Italy-Sweden during the pandemic. It’s like if the techno remnants of early Downwards Records and Regis/Surgeon collaborations have been gracefully destroyed into a fluid rhythmical rural dreamland, where joy and rays of light are allowed to timidly peak in. No better song could encapsulate Jerome’s spirit than album opener ‘2050’, a steady deep ecstatic low thud dictating the premises over metallic reeds gently strummed by the wind and Stella’s commanding haikus generating human empathy. ‘Push Me Harder’ is and EBM induced anthem featuring

As part of the 50th anniversary of Blue celebrations, Rhino announces the release of Joni Mitchell’s Live at Carnegie Hall 1969, which will be released on 29th October 2021 as a 3LP set. The album is a vinyl breakout from the Joni Mitchell Archives Vol. 2 collection exploring the period leading up to the release of Blue in 1971.

The 3LP set features Mitchell’s complete Carnegie Hall debut, recorded on 1st February 1969, a few months before the release of her second album, Clouds, which would win Mitchell her first of nine Grammy Awards.

Justice reissues his pioneering debut album ‘Viewpoints’ on Hydrogen Dukebox, 23 years after it was first released.

Since it first dropped in 1998, Viewpoints, the debut album by UK producer Justice, aka Tony Bowes, (not to be confused with the French duo who came much later) has been celebrated as one of the most influential albums by DJs and producers across the spectrum of electronic music. The 11-track album was the product of a fevered burst of creativity and experimentation that explored Justice’s many influences, resulting in the creation of unheard-before sonic hybrids. Now, Viewpoints, originally released on cult imprint Recordings Of Substance, is being reissued by Hydrogen Dukebox Records, complete with striking new artwork and on vinyl for the very first time with all 11 tracks.

After the success of his early hardcore and ambient jungle records which were made with frequent collaborator Blame, Justice was keen to strike out on his own. Eager to escape being pigeonholed as a Drum & Bass artist, in 1997 he set to work on Viewpoints, incorporating a variety of genres and moods and free from categorisation. The low-slung drums and dreamy bleeps of ‘Breaker One Nine’ (featured on Sky Sports links in summer 1998) hint at his love of hip-hop production. ‘Gemini Reprise’ mixes moody soundtrack samples with beats doused in dub FX, and the tumbling jungle breaks of ‘Westside Centre’ are surrounded by sparkling synths, like the gleams from some futuristic chrome vehicle.

Especially prevalent on the album is the influence of Detroit Techno. The album’s centrepiece, ‘Aquisse’ mixes crisp Drum & Bass-styled drums with a warm funk bassline and shimmering pad textures to create what sounds like a dream collaboration between the Motor City and London. Recently played by Doc Scott on his Rinse FM show, listeners who asked for a track ID were astonished to be told the tune was over 20 years old, affirming Viewpoints as an album that truly was ahead of its time.

SUN YELLOW VINYL EDITION IN INSIDE-OUT SLEEVE WITH OBI & PRINTED INNER SLEEVE.

We Jazz Records is delighted to share the first edition of our new series of reworks with you . Our aim is to invite some of our favourite artists to take a fresh look at our album releases with the interval of 10 full length album releases. In other words, the invited artist has complete freedom to choose (or not to choose) any sample material from their allocated range of ten We Jazz Records albums, and there are no artistic boundaries of what they should do with the material. Each artist will then create a new musical piece based on the sample material and whatever instrumentation they wish to add to it.

As our first guest, we have the great Finnish producer Timo Kaukolampi who goes by his last name only when creating deep and mobile soundscapes, that never fail to evoke emotions and thoughts in the listener. We have long been fans of his work, released under Kaukolampi, Kaukolampi & Puranen (a duo with Tuomo Puranen), and on the vast discography of kraut-informed space rockers K-X-P.

As this is the first of our new series, Kaukolampi's task at hand is to dive deep into the first 10 We Jazz LPs, ranging from WJLP01 Bowman Trio released in 2016 to the 2018 release WJLP10 Alder Ego "II".

With the initial edition of any series comes the freedom and necessity of defining a new direction. We trusted Kaukolampi would be the right person to show us what the idea will be, and we were right. He premiered this piece at the We Jazz Festival back in 2018 and developed his ideas further during several studio sessions later on. The finished product opens things up with a bang and shows the value in going deep. Kaukolampi manages to distill new music from the source material, twisted and strecthed into dimensions beyond what is usually there. "Ambient Dub"? Perhaps at times. "Drone"? Maybe also. And then some.

To complete the idea, we invited the visionary graphic designer (and K-X-P drummer) Tomi Leppänen to "rework" the graphics of the source albums to construct the base of the design, which you see envelop the LP sleeve.

We wished for a new adventure, and we got one. Happy!

Modulor and Octave Lab are delighted to announce the first official reissue of Kellee Patterson’s ‘Kellee’ LP. Recorded in 1976, ‘Kellee’ is the second album for the amazing lady soul singer after her debut album ‘Maiden Voyage’ released on Black Jazz Records. Produced by Gene Russell, who also produced ‘Maiden Voyage’, this album includes some great soul & jazz cover songs. Barry White’s masterpiece “I’m Gonna Love You Just A Little More, Baby”, The O’Jays “I Love Music”, The Stylistics “Stop, Look & Listen To Your Heart”, Grover Washington Jr “Mister Magic” and Kenny Logins “Time To Space”... ‘Kellee’ is a must-have record for every jazzy / soul music fan.

Composer/saxophonist Kenny Garrett emerged as a distinctive voice on the national scene in 1978 with an undisputed aptitude for emotive melodic phrasing that led him to collaborations with Woody Shaw,
Freddie Hubbard, Art Blakey and Miles Davis.
With Sounds from the Ancestors, Garrett remembers the spirit of the sounds of African ancestors from church services, recited prayers, songs from the work fields, Yoruban chants and African drums, alongside tributes to Roy Hargrove and two drum pioneers - Art Blakey and Tony Allen - who all looked into the past
to influence the future sound and evolution of jazz.

Having released his debut album Around The Corner in 2018, as well as a critically acclaimed LP in collaboration with Los Angeles-based musician Tristan de Liège two years later, Keno aka David Hanke's latest opus, Out Past The Current, brings together not only some of his finest remixes from the past four years but also a handful of new and exclusive works.

Once again Hanke's love for more downtempo styles is on show - a passion that has immersed the producer into the electronic music scene since the early 2000s. Developing his own style over the last few years with lush instrumentations, more complex songwriting and distinctive drum programming, his songs and remixes ease the mind with echoes from the past.

Horacio Vaggione (born 21 January 1943) is an Argentinian composer of electro-acoustic and instrumental music whose music is regularly played worldwide in major centers and festivals of contemporary music. "La Maquina de Cantar" (1978) is his first solo recorded work; originally released on the Italian Cramps Records label as the 18th volume of the Nova Musicha series dedicated to contemporary avant-garde composers, "La Maquina de Cantar" is now made available again on Dialogo in a faithful reproduction of the original gatefold cover artwork, including also an inner sleeve with the English translation of the liner notes

In celebration of the 10th anniversary of Lady Gaga’s iconic album Born This Way, Born This Way The Tenth Anniversary includes Lady Gaga's original Born This Way album, along with six new versions of songs reimagined by artists representing and advocating for the LGBTQIA+ community, including Kylie Minogue, Big Freedia, The Highwomen, Orville Peck, and more. The 3LP version includes 3 additional tracks.

Dublin based musician Lerosa has built an impressive discography throughout the years. With his first efforts dating back to 2005 the producer who has a broad palette of sounds has already been around for over 10 years with releases for a vary of respected labels.

For the first release on SAFTX , Lerosa hands out a taster of the labels new series ambitions. Vivrant house music is most definitely the back bone of Playa De La Guancha as a whole. The opening is packed with a strapping rhythm section and a vocal cut that is reminiscent of the Trax Records classic House Nation . Julius Steinhoff (of Smallpeople fame) gives Soul Tracing a modern sounding treatment that completely shifts the feel of the original and turns it into an adventurous piece of contemporary electronics.

Lerosa opens up the B side with Bruised which is a work out of alternating basslines and brutal machine claps that give the piece a club oriented feel. Acidic sounds cut through the mix with determination and wobbly synth sounds serve as a pleasant sauce for this intergalactic sounding work. Marauder is a hefty bit at a slower tempo than it s predecessors. A loose rhythm section is causing for the listener the focus on the immense LFO threated sounds that float on to and the low down bassline that supports the overall atmosphere in a grounded manner. Playa De La Guancha will be available through all specialized retailers starting early April.

„Meraki“ ist LESKYs erstes Album. In weniger als drei Jahren hat sich LESKY als einer der vielversprechendsten und ambitioniertesten Produzenten der deutschen Beatszene etabliert. Für einen aufstrebenden Künstler zeichnet sich seine Diskographie als wahnsinnig tiefgehend und vielseitig aus. Egal ob er sich in Sample-gestützte Lofi-Beats oder Trap und Phonk stürzt, es gibt immer eine starke melodische Seite in seiner Musik. LESKYs Sound kurz zusammengefasst: „All meat - no fat: harte und busy Drums, Neo-Soul Akkorde auf dem Fender Rhodes und eine gefilterte Moog-Basslinie“, wie er sagt. Mit einer Gästeliste, die alte Freunde wie Phlocalyst und Sátyr neben MPM Künstlern FloFilz, MC Turt von den Summers Sons, Sakura Murakami und neue Talente wie das Kölner (Beat- )Wunder Midan oder New Jersey Sängerin Tally Schwenk umfasst, bringt „Meraki“ das Beste aus vielen Welten unter LESKYs Groove zusammen. Weitere Künstler, die auf dem Album erscheinen sind DDob, Meadow, Cuebe, Flynn und Mensing. „Meraki“ ist griechisch und eines dieser Worte, die sich nicht ins Deutsche übersetzen lassen. Man könnte es so formulieren: „Wenn du ein Stück deines Selbst, deine Essenz und Kreativität, in das legst, was du tust.“ Für LESKY steht es außerdem für den Wandel vom Hobby zum Beruf. Geboren und aufgewachsen in Leipzig, ist LESKY mit 21 nach Köln gezogen, zunächst für ein Praktikum, später für einen Job bei MPM. Vorgespult in‘s Jahr 2021: LESKY hat ein weiteres Mal seine Taschen gepackt und sich nach Tiflis begeben, der Hauptstadt Georgiens. Es scheint ganz so, als hätte die Reise des jungen Produzenten gerade erst angefangen.

Blue Vinyl

Mastered by Rashad Becker for this vinyl edition, ‘5 S-Bahn’ finds Lucy Railton rendering a sublime, haunting impression of Berlin made in early Spring 2020 for our Documenting Sound series of sonic postcards from around the globe. It’s essentially a recording of a world-renowned cellist duetting with the S-Bahn outside her apartment in Prenzlauer Berg, playing with, thru, and against the atmosphere of Berlin in spring during lockdown, capturing a scene that feels timelessly nostalgic, pregnant with an unresolved and restless quietude.
For a compelling 45 minutes Railton describes the slow daily arc of life under lockdown in a usually bustling Berlin slowed to stasis. Quite brilliantly, her voice and her musical gestures become fleeting ephemeral presences as much as the passing trains, planes overhead, birdsong, and the gorgeous church bells of P’Berg, which all unfold and recede in languorous turns. It reminds us of the exquisite, seemingly effortless location recordings used in Hitchcock’s ‘Rear Window’ - ambient sound in the truest sense of the word; suggestive of life just outside our field of view; close - and out of reach. Railton’s ear for ghostly haptics serves to search out an underlying poetry in the ubiquitous and everyday, highlighting the serene yet dread-filled uncanniness of a usually bustling Berlin awakening from winter into the torpor of lockdown. Railton sets the scene: “On the other side of our backyard wall is Berlin’s main railway line, the Ringbahn. A train passes the apartment block about twenty times an hour, drowning out our conversations and waking us up at night.
It is a communal annoyance you learn to love. It structures the shape of this place and enforces a rhythm.
I’ve always been glad of these interludes, they provide rich listening material that heightens an otherwise peaceful sonic space. ‘5 S-Bahn’ is my attempt to inscribe part of my sonic location and my own position within it.
Over the wall, I learn the look of the garage, the church, the rows of Maple trees, the tracks, a playground and the graffiti. Up here, the traffic on Schoenhauser Allee is more pronounced and the deep hum of the city funnels in along the tracks. The machines and people who had been in our ears all this time are now visible.
Pressing record I start the process of learning this space and its articulations, hearing it washed out over and over again by the train’s intense interruptions. I wash out with it too, listening from inside my apartment with my headphones on, playing along, singing along, in duet with the tones and frequencies of this space and the organic shapes of its drama. There is so much music already here, maybe this is a collaboration or a dedication of some sort. I find myself admiring its virtuosity and its personality: relentless, seductive, beautiful in all its variation. By taking part in collaboration, I learn and absorb the character of the other, and through the sitting process, I find new shapes and tonalities and temperaments.”

Pellicola represents five fundamental episodes of the artist’s childhood, expressed through introspective elegant melodies. The compositions lead us to visualize the abstract emotional landscape with nocturnal blue tones through the timbres of the Moog Sub37.

This synth being the main instrument that characterizes the timbre of this mini album with a purely electronic sound where bpm moves between 60 and 150.

The execution free of quantization allows us to fully absorb the emotion and humanity of these songs that develop over the musician's memories, making those immortal and no longer vulnerable like a burning film.

Neue EP des britischen Techno-Veteranen Martyn Hare, der Aphex Twin, Laurent Garnier und den verstorbenen John Peel zu seinen Fans zählt, und unbeirrbar an seinem Stil festhielt, als im UK populärere Hardcore-Mutationen die Hauptrolle spielten. Er releaste auf Labels wie Tronic, Recycled Loops und Potential und gründete die eigenen Imprints Emetic und Tremors. Nach wie vor ist Vielseitigkeit ein zentraler Punkt in Hares Sound, der neben Industrial und Techno als Mittelpunkt auch Hardcore, Breakbeats und den strukturierten Sound moderner elektronischer Musik mit einbezieht. Nach Jahren ohne Hype und ohne Kompromisse befindet sich Martyn Hare weiterhin in hervorragender Gesellschaft, inmitten einer Reihe neuerer Namen, deren Erfahrung und Engagement in Sachen Techno für sich selbst sprechen.

Mary J. Blige, the legendary singer-songwriter, actress, philanthropist and honorary Queen of Hip-Hop Soul, will re-release her acclaimed 1994 sophomore album, My Life, on Nov 20 via UMC. The album, which celebrated its 25th anniversary November 29, 2019 will be released in two physical forms: a 2cd and a standard weight black double vinyl. From her No. 57 hit “You Bring Me Joy” to her No. 22 version of Rose Royce’s 1976 soul classic “I’m Going Down,” My Life was one of Blige’s most creatively vital works to date.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

Nostalgia is a hell of a drug. No one in particular is renowned for that cliched statement, but when something is so universal, who cares who said it? And is there anything more nostalgia inciting than a blurry film, bursting with colours but aged just perfectly so that you know, it's from a past which will never return. Het Jaarronde, a 1977 short film by Dutch amateur filmmaker Jan van Keulen is a picture perfect study of Dutch rural life. Filmed at an observer's distance it, as the title states, follows the Netherland's throughout the year. It's not bombastic and grand like 1967's John Fernhout film, Sky Over Holland. Instead it's modest, even shy, as if afraid to document too much because to document means to acknowledge change and loss.

For the second time, Nous'klaer and The Netherlands Institute for Sound and Vision's RE:VIVE initiative have teamed up for a split 12" featuring two new film scores of Nous'klaer staple, Mattheis and newcomer Ranie Ribeiro. Each artist was given half the film to compose for, resulting in two sonically disparate pieces that are emotionally twinned. Mattheis offers a lush, heart melting wave of pianos and synths and field recordings to appease his own inner-nostalgia, as the images struck an immediate chord with his childhood and youth in Goeree Overflakkee, South-Holland.

Ranie Ribeiro, known under his solo moniker for his slamming chopped beats and earlier club oriented releases as D-Ribeiro unveils his talents as a harpist for the first time. His work, is an encapsulation of a calm autumn day. A work in the present rather than a reflection on the past. But as the day fades into night, one can't wish for it to stay, just a little bit longer, because who knows what tomorrow is going to bring?

Kalita are excited to announce the first ever official re-release of Michael Paul's 1984 reggae boogie single 'Reggae Music'! Originally appearing on New York-based Revolver Records, run by famed jazz bassist Bob Cranshaw, 'Reggae Music' was seemingly the 'hit-that-never-was' upon its initial release. However, since then a combination of both scarcity and quality has transformed the single into one of the most sought-after records in the genre. Accompanied by a phenomenal dub version, this record easily deserves its space on record shelves across the world. With prices becoming ever exceedingly eye-watering and copies ever harder to find, Kalita come to the rescue, offering a loud and remastered 12" single for all.

Next up from Mind Fair is a crafty cover of cosmic classic, That Thing, by That Thing. Originally released as a currently scarce 12 on AVI in 1977, That Thing was a one-off synth-pop project produced by Dutch musician Geertjan Lacunes – who worried the outer limits of various European hit-parades during the ‘70s and ‘80s under the alias Jerry Rix. German label Jupiter picked up the quirky curio and repressed it as 7 for wider distribution, no doubt envisioning that they’d licensed a novelty monster the scale of Chicory Tip’s Son Of My Father - which alas was not the case.

The track was however a firm favourite of pioneering Italian DJ, Daniele Baldelli, since its wonky bass riff can be heard spinning in and out of a multitude of his legendary mixtapes - where it`s twisted, almost inverted, by the maestro’s use of EQ.

Back in 2020, Mind Fair have fashioned a faithful but you-betcha beefed-up reworking. The crazy lyric - care of Chicken Lips cohort, Johnny Spencer - and cowbells accompanied by un-MIDI-ed Moog and modular synth twitches, italo arpeggios and fuzzed guitar tones.

Fabrizio Mammerella delivers a remix that's like a meeting of NYC’s Emergency Records, and Belgium’s Antler and Subway. Chris Barbosa and Morton, Sherman and Belluci. ‘80s New York and ‘90s New Beat. Dropping the chorus into devastating delay, chopping Johnny up into percussive Pop Muzik snippets. Sealing the psychedelic deal with a deft dose of analogue acid.

In comparison, Eric Duncan’s re-imagining, initially comes across as kinda muted, but that’s just to catch you off guard. While pitched down, and the drums for sure more sedate, it’s definitely the trippier of the two revisions - with all sorts of strangeness throwing abstract shapes deep in its detail. That 303 now sounding severely stoned.

It’s like that cat at the afters, the one who commandeers the drinks table in the kitchen and then bends any and every unsuspecting ear - spontaneously connecting the disparate dots in the universe, seemingly without stopping to draw breath - while endlessly shaking folks’ cocktails. The kind of nut that everyone knows, but can never work out how they make it home.

Tongue-in-cheek weirdness worthy of Eric’s Rub N Tug partner, Thomas Bullock, and his mate, DJ Harvey, too slow to disco, too high to stop dancing, it’s quality psyche gear for the experienced, discerning, dimensional traveler. There’s a dub for those that can’t quite handle the vocal (lightweights!).

Originally out on CD, this mix was for a free compilation for a clothes trademark, this is finally out on vinyl:) Boots Groove:)

Don't even try to find the meaning of 'Temperplane' in the Webster. The word is the fruit of Jean Waterlot's imagination, an attempt to capture the momentum that lead to the release of the 3rd album of his band Montevideo: a fantasized plane that would allow you to fly through various degrees of emotion, from where you could observe our planet Earth from above, far above.

Nonetheless it's a more conventional plane that Montevideo took to record those 8 songs, heading to New York to work with Joakim who established his Crowdspacer studio in Brooklyn a few years ago. The band decided to extend the fruitful collaboration with the French producer started on their 2nd LP 'Personal Space' in 2012. So fruitful that they also signed the record to Joakim's label, Tigersushi.

After exploring more synth heavy, discoid vibes on 'Personal Space', Montevideo are coming back to their indie roots here, a rawer energy, without abandoning their ambition to keep your feet dancing. Here, their 'psychedelic dance' vision takes on the challenge of dressing up the Beach Boys with the baggy jeans of the Happy Mondays, bringing the Pacific ocean breeze to Manchester, spreading complex vocal harmonies all over the dancefloor.

Between the band and Joakim, the communication is fluid and effortless. Like Andrew Weatherall or Erol Alkan, the studio sorcerer seamlessly mixed Dance and Rock acting as a producer from the recording to the mixing, beefing up the beats, adding the right samples where they were needed. 'With his extensive knowledge of Electronic Music, Joakim filtered our ideas through the processing of his machines' says Jean.

A special attention was brought to the vocals arrangement and they space in the mix, emphasizing lyrics that gained in depth, especially after the 4 belgians heard about the devastating terrorist attacks that happened in Brussels airport as they landed in NYC. Jean recalls: 'It was really strange to experience those terrible times in our homeland from such a distance, through American media. We somehow unconsciously fled this apocalyptic world we describe in the song Temperplane'.

Because of their Pop influences and the melting pot of cultures present in Brussels, English remains their language of choice when it comes to singing, like when they describe this 'Fun House', a nightly place to lose yourself, even scarier that The Stooges' one. The song starts like Fad Gadget and ends like The Charlatans, like a tribute to the the historical bond between Belgium and British pop music that dates back to the 80s (Factory Benelux, Les Disques Du Crepuscule...). Montevideo's dance-pop crossover sometimes evokes the psychedelic fumes of the Beta Band or Django Django (New Dandy, Empy Space), before taking a romantic New Wave stroll in Brooklyn (Sutton Street) or heading straight to the club (Calypso).

The very graphic artwork was done by the legendary studio H5, famous for iconic French Touch artworks like Super Discount. Maybe the Temperplane is actually a time traveling aircraft, bringing together Primal Scream, New Order and Metronomy and proving that there's another life after their post-punk debut and that 2018 electronic music can still enhance ambitious pop melodies to take you high, very high.

The vinyl version was pressed in two vinyl options - transparent white (100 copies) and black. Both on 180g.

Moo Latte:

"Snax", my 5th longplay album, is a collection of 16 compositions, contrasting flavours and textures. Each of them is served as a small appetizer. Some are easily digestible, even dietary, some are greasy and full of calories. Each individual song is rather brief and can be a perfect little snack in the middle of a day. However! They will taste the best if you take your time, have a bite of one after another and enjoy the feast. From starters to desserts.

Warning! This album may contain peanut products!

Cooking those instrumental tracks, I yet again explored my jazz background and combined instrumental improvisations with hip-hop, ethno and soul inspirations. Whole album is kept in a non-binding lo-fi vibe but maintaining the hi-fi level of attention to details. With "Snax" I decided to go for a much wider palette of sounds unlike my previous, more conceptual albums. The last track "Worth it" features a charizmatic Philadelphia based artist - Ler Stevens which has shed a new light on my instrumental joint "Coins". The artwork has been created in a collaboration with a talented Polish illustrator - GBUR.

Debut full length vinyl from the UK/Italian duo of Ecka Mordecai and Valerio Tricoli, working together as Mordecoli. Individually these two travellers have carved out a path of ghostly musique concrete (Tricoli) and textural cello wandering (Mordecai). Alter is proud to present the album Château Mordécoly a result of two musicians (and friends) coming together to explore the middle ground of their individual investigations.

The results of a red wine induced residency at London’s Cafe Oto, Château Mordécoly is a panoramic audio field exploring both the physicality of sound, informed by the voice, cello and pictish harp of Mordecai, and the artificial manipulations of Tricoli’s revox tape machine. The delicate tension between the physical ‘real’ and the distortive ‘new’ leverages this release far beyond a tipsy residency and shifts it into a top tier electroacoustic take on the zeitgeist. Solo cello and voice appear rooted in the timbre of time. The magnetic tape is both a friend and covert manipulator.

The physical elements open themselves to disfigurement as a means of propagating the fantastical audio that unfolds from the initial enquiry. There’s no witchery or wizardry on part of either player but rather a symbiotic passing of the baton as the line between the real and the non-real flow in and out of themselves. The results are at once sedate, shocking and subversive.

Château Mordécoly is a disembodied sonic landscape; a phantasmagorical world of fantasy unfolds as the delicate beauty of Mordecai’s playing and singing is transformed into a playful and unusual landscape. Epoch’s are evoked as the visual stimuli resulting from these alchemical transformations conjure everything from a haunted house to the Middle Ages.

Angolan producer 'Nazar' coined the term “Rough Kuduro” as an interpretation of the Kuduro musical style, translating the upbeat sound to expose the uglier side of what he saw in Angola, heard first on 2019’s astonishing six track ‘Enclave’ EP.

‘Guerrilla’, Nazar’s debut album, examines his family’s collective memory and country's past, threading together oral histories, political realities, and artful re-imaginings of direct horrors, to document his personal story of the 25 year Angolan civil war and it's aftermath in a detailed and episodic manner, particularly how his father's rank as a Rebel General led to a prolonged and continuing separation of his family across continents.

Nazar tells his story both impressionistically, and at times with stark directness. Rumbling bass overlaid with piercing synths mixes with field-recorded Ovimbundu folk song and a distant waterfall. The sound of a cocking gun leads into tumbling Kuduro beats and driving low-end bass. Elsewhere, slow, menacing dub suggests violent civil unrest, while reversed vocal shouts and protesting Portuguese rhymes evoke a pervasive atmosphere of chaos.

... Further in, we hear Nazar’s mother recalling the day she left home aged 16 to join the rebel movement, his sisters harmonising in the background over field recordings made in the ruins of his grandparent's home. After the housey ‘FIM-92 Stinger’, the album snaps back to the ferocity of conflict with the guttural ‘Immortal’, its deep bass shrouded in haunting shrieks driven by clicks and distortion, reflecting a time in the very early years of the rebel movement when witchcraft was used to procure immortality.

‘End Of Guerrilla’ is the final reprieve, reflecting the euphoria and melancholy that came with eventual ceasefire … “It’s about the end, but also dignity and remaining standing despite being mutilated. Making your voice heard despite not having anything to say.”

Tape

Next up on VEYL is a new face on the label but no stranger to the music world. NEVER is the project of Stefano Santi, a multi-instrumentalist and electronic music producer who has been active since the early 2000’s. After several years of working as an audio engineer and touring the globe with bands, he has
always had a parallel life as a producer with a club affinity. NEVER began in his own SPVN studio during the pandemic amidst the isolation of lockdown. His inspiration reborn after abandoning all boundaries and giving little care to traditional songwriting structures.
The result is 'JXDY', the new album which showcases the project’s diverse voice and technical prowess. Not confined to a particular genre, the release masterfully touches on everything from post-punk and shoe gaze to hints of death rock and electronica. From the opening strings of 'RXBT', we’re taken to a
relentless world of shadows and bleeding emotion, which conjures nostalgia of days long gone while maintaining an ominous sense of future. From the euphoric, pulse pounding action of 'HVRXLD' to the utter heartbreak of 'CXLE', NEVER weaves in and out of agitation, rage and regret, fueling a fire that that
continues to burn from beginning to end.
Navigating to the crushing 'HXRNE' through the menacing tones of 'BLVCKBXRN'until finishing things up with the heartbreaking, cinematic feel of the title track, 'JXDY' is nine offerings of uncompromising passion and pain, leaving a lasting imprint on both the mind and body.

By now Nicola Loporchio aka Nico Lahs has a discography that has become respected and sought after among DJs and music lovers in dance music across the globe.

Whether it be deep, atmospheric, jackin' or jazz-flecked deep house, it's all firmly rooted in house music tradition, something that Nico Lahs masters with ease.
With releases on labels like Moods & Grooves, Delusions Of Grandeur, Ovum, HotMix, Adeem plus many more, he shows no sign in slowing down either.

Ancestors Call is a musical story told in two parts. Filled with melodic and spiritual deep house, sitting somewhere between classic deep house and the spiritual end of house royalty Ron Trent's output.

Just like his previous releases Nico is a producer that has both the confidence to blend late night deep house vibes with soulful dance floor magic. It's house music that is very honest.

Ancestors Call is something you listen to from start to finish, each song building a musically expansive story.

Neroli starts a new series of one offs releases within its own catalogue, with a seven inch double a-sider from Nicola Kramer. The urge to finally put on wax these beautiful songs produced by Domu in 2008 was the sparkle that brought Volcov to create this Neroli From The Archive series references to his old label Archive and the From the Archive radio shows and compilations are pretty clear. Nicola Kramer was the phenomenal voice behind many Domu, Rima, Bakura songs with appareances also on Jazzanova and Chateu Flight releases. But especially on her only solo album The Other Side, from which these two songs are taken, she shines immensely with her unique ghostly soulful tones.

Nils Petter Molvær is one of the most prominent performers within an electroacoustic jazz hybrid that has, since the 1990s, become a genre all of its own. In this domain, sometimes referred to as ‘future jazz’ or ‘nu jazz’, the Norwegian composer is both a pioneer and a veteran having been one of the first jazz musicians to embrace the new digital and electronica tendencies at the turn of the century. With his signature sound that brings together poignant trumpet and dynamic electronic soundscapes, Molvær has achieved heavyweight status for showing a path forward for the genre in a new age, a path which, faithful to jazz’ past, remains cool all the way. His newest release, Stitches, is no different. Unafraid to explore new sounds and emotions, Molvær once again shows us that not only jazz has a future, but one that is both bright and exciting.

Beyond trumpeter and composer, Molvær is also a seasoned bandleader with an aptitude for choosing the finest musicians to make up his many musical teams, and providing them with just the right mix of framework and flexibility that enhances each of their individual skills as well as the project’s overall vision. For Stitches the trumpeter collaborates with drummer Erland Dahlen, bassist Jo Berger Myhre and guitarist Johan Lindstrøm, first in-person at Ocean Sound Recordings on the island of Giske, in his native Norway, and later, when the pandemic broke out, the conversations and musical exchanges had to be transposed online. Despite the sudden shift in their mode of interaction, the material on Stitches suffered no harm with spontaneity and fluidity continuing to be at the heart of the compositions – such is the four musician’s musical intimacy and synergy. Stitches was later sewn together and mixed by Jon Marius Aareskjold and Molvær himself at Kysten Studio in Tromsø.

Dahlen, Myhre and Lindstrøm were given full artistic freedom by Molvær when it came to adding their particular and special imprint on the tracks. The result is a breathtaking journey that spans different moods and inspires reflection, meditation and deep insights. From the poetic and tender Median via the dramatic A Sudden Rash to the three extremely powerful pieces taken from Frameworks – Molvær's commissioned work for the 2021 Kongsberg Jazz Festival – the album showcases the trumpeter's distinct musical language that constantly innovates while keeping the fragility of the trumpet at the heart of every movement. It’s exactly this fine balance between pure tenderness and avant-garde sensibilities that has made Molvær’s sound known and appreciated by listeners worldwide. Despite the album’s darker moments, with track title’s that reference disorder and disease, Stitches comes across as a cathartic experience, a necessary journey that provides both listener and composer with a sense of cleansing and renewal. Stitches’ closing track, a heartwarming version of Radiohead's True Love Waits, feels both hopeful and prophetic – after turbulent times, the wounds will heal.

Tape

Two unruly, surreal and feverish electronic tracks, edited and mixed from the original recordings of a live show in Brussels. Limited and numbered edition of 120 copies, inlay printed in silver and pink.

All physical releases have two covers. The design is created in such a way, that when the cassette is flipped over, the other side can serve as a cover also. One cover bears the title Flight Acid, the other Salicylic Stimulator.

The re-release is primarily aimed at fans of true analog techno. Thanks to the remastering by Thee J Johanz and some restauration of the tracks, Peter's first songs sound better than ever before.
All tracks from the original two U-TRAX releases were recorded in the early 90s on cassette, using only analog gear. Being the typical chaotic person that Peter is, these cassette recordings were the only versions available, no settings or stems had been saved. In some cases the recordings were heavily overloaded, which caused very audible distortion in the recordings. We managed to remove most of the noise for this re-release.
The cassette release of the album is the only version that has 10 tracks: all 9 original tracks, including 'Ducking' from 1993 that was omitted from all other versions, plus the 10 minute 'Long Metal'. Total playing time is over 80 minutes.
This album received some great reviews, wide media coverage and strong DJ support.

P.A. Presents aka Peter Aarsman ironically is the only artist on U-TRAX that actually is born and bred in the city of Utrecht. Even more irony lies in the fact that he hasn't lived in the city for 25 years and has only recently returned 'home'.
Peter knew he wanted to be a DJ since he was ten years old, in a time when this was still a very unusual career to dream about. Long before house music had landed in Europe, Peter was fiddling around with disco and italo 12"-es and he was an active player in the early hiphop and electric boogie scene in the Utrecht quarter Lunetten in the 80s. All those years of training is what made him the superior DJ that he still is today. In terms of skills, flair, energy and feel for the dance floor, Peter can rival with any of today's DJs.
While the era of house and techno of the late 80s and the 90s brought him countless DJ gigs, his reputation didn't cross the city borders much, until he bought his first gear and started producing techno music himself. Again, his DJ background proved helpful with producing his tracks, as most of his tracks are dancefloor orientated and usually have an impeccable timing.
Peter debuted with the mini-album Salicylic Acid on U-TRAX in 1993, followed by the Flight Stimulator EP a year later. Both are classics today, but neither brought him as much fame as his 12" Entangled did on Deviate, a record label that was started by a couple of our friends from Utrecht a year prior to U-TRAX. Entangled made it to many charts and compilation albums, including Carl Craig's mix CD that was just the second release in !K7's DJ-Kicks series.
In 2019 Peter returned as a producer with new vinyl and digital releases on U-TRAX: Swirling Gas EP and Sax Madness EP. Another release is planned on the fellow Utrecht label SoHaSo. In May 2021, P.A. performed at the critically acclaimed Intergalactic FM Streaming Festival, as part of a U-TRAX package.

In 2001, P.O.D. released its fourth studio album Satellite, a triple-platinum smash that remains the hard rock band’s best-selling album. To celebrate the record’s 20th anniversary, the San Diego-based group is hitting the road for its Satellite Tour and releasing a newly remastered version of Satellite, which has been expanded with rare and unreleased music.

This new album 'Make a Film' by Palmbomen II can be viewed as a (faux) crash course in filmmaking plus the soundtrack to score your first movie. A beautiful double vinyl album with a step-by-step course on writing, directing and shooting your first film. To make it easy, Palmbomen included 24 tracks that set the right mood for different scenes. From Medium Melancholy to Slightly Dark.

Founded by the pianist Robin Notte (from the former electro-jazz band WISE) Panam Panic is one of the best Jazz-Groove french band. Influenced by Musician like Yussef Dayes, Robert Glasper, Roy Hargrove or Christian Scott, Panam Panic mix up Jazz with groove, Hip hop and electronic textures. The Black Monk is their first vinyl album.
Robin Notte's gamble is to create a Jazz which is sufficiently sophisticated to delight the most demanding experts, yet also accessible enough to initiate neophytes.
As such, Panam Panic defends a resolutely actual Jazz, open with no borders or blinders, combining powerful organic grooves with tidy melodies, delicate harmonies and frenzied solos.

Spot varnish front and back covers, designed by Will Bankhead.

London born and raised artist Parris releases his much anticipated debut album, Soaked in Indigo Moonlight. The full length release is released via Can You Feel The Sun, the label he co-founded with Berlin based producer and DJ, Call Super. Regarded in the scene as a slow-burning unique talent, Parris’ discography includes releases via The Trilogy Tapes, Wisdom Teeth, Idle Hands and Hemlock all of which helped him carve out his own distinctive place within the contemporary electronic music landscape. The album is a sharp piece of storytelling that weaves together stripped-down, club rooted pop, expansive experiments in rhythm and a sense of air and space that allows collaborations to flourish. In a eulogy to friendship and skateboarding, Eden Samara turns Skater's World into a carefree anthem. James K's vocals breathe a frayed hopefulness to closer falling in the waves. Alongside these two rising talents, Carmen Villian and Call Super contribute with symbiotic visions that underpin the ideas and spontaneity at the heart of the record. It is an album that is difficult to imagine ever coming from anywhere but London steeped, as it is, in the wilful desire for idiosyncrasy that lies at the heart of the best of UK culture. As the fog from over a year of lockdowns lifts, this talented producer is stepping out with his most impressive body of work to date and a whole new sense of direction and purpose.

We Are Vinyl release - fourth studio album by US rock/grunge legends, originally released on August 27th 1996 through Epic Records. Following a troubled tour working their previous album (Vitalogy 1994) the band went into the studio to record this follow up. The music on the record was more diverse than what the band had done on previous releases, incorporating elements of garage rock and worldbeat. Pressed on standard black vinyl (no download code). Super deluxe gatefold sleeve packaging which includes 9 insert cards. Marketing activity. Stock is limited/allocated.

For 1971’s Black Unity, Pharaoh Sanders added groove to foundation of spiritual and free jazz he had explored on his previous Impulse! albums. The result is a piercing and emotive 37-minute rhythm-driven title track exploration of African, Latin, aborigine and Native American sounds.

This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

OUTSIDER ist die Idee von Philippe Cohen Solal, dem millionenfach verkauften Künstler, Produzenten und Komponisten hinter Gotan Project, der exklusiven, beispiellosen Zugang zu Henry Dargers Leben und Werk erhalten hat. Er hat den mit dem Mercury-Preis ausgezeichneten Produzenten Mike Lindsay von der Acid-Folk-Gruppe Tunng zusammengebracht, um das im Februar 2021 veröffentlichte Album mitzuschreiben und zu produzieren. Sie haben die gefeierte Solokünstlerin und Komponistin Hannah Peel für das Blechbläser-Team mitgebracht. Streicher und Backing-Vocals, die Dargers Kindercharaktere, die Vivian-Mädchen und Adam Glover für den üppigen, krächzenden Lead-Gesang darstellen, der die innere Stimme von Darger selbst durch die Originaltexte widerspiegelt. Die reichhaltigen Instrumente und Vocals, die zuweilen theatralisch, nostalgisch, magisch und unschuldig sind, verbinden sich mit Dargers Texten und Geschichten, um den Hörer in panoramische, aquarellierte Klangblicke zu versetzen. Solal und Lindsay haben ihre überragenden musikalischen Talente zusammengebracht, um rollende emotionale Streicher, hymnische Hörner und hochfliegende Symphonien zu schaffen, die Melodien über Vintage-Gitarren, verzogene Tape-Loops, Synthesizer und Kinderinstrumente hinzufügen. Solal und Lindsay tauchen in Dargers innere Welt ein und haben eine neue musikalische Dimension geschaffen, die uns auf eine Reise in Dargers Fantasie entführt

A full length collaboration from DUANE PITRE and ELEH. PITRELEH use high resolution analog and digital tools to create music utilizing natural vibrations and harmonics as rhythm and melody. Inspiration is drawn directly from vibrational waves (sound, gravity, water). The electronics, of which both pieces are constructed, are tuned using pure intonation which utilizes the prime numbers: 1-3-5-7. The debut live performance of Pitreleh was recently presented at the Issue Project Room in Brooklyn as well as the Museum Of Contemporary Art in Cleveland.

On today’s episode of LA’s Most-Blunted, the POOLS boys are back with a brand new sample-laden selection of beats and blends!

Picking up where their previous RNT outing ‘Innertubes’ left off, the 12 tracks of 'Sunned’ layer found and filtered sounds over rough’n’ready MPC beats, dripping with delay and vibey ambience. Each track boasts its own unique soundscape and structure, but taken together as a collective listen the record has a zoned-out and sun-drenched quality that is…well, unmistakably POOLS.

Tune in, light up and vibe out!

Label boss Jorge Savoretti from Argentina joins forces with Romanian master Priku. For this collaboration EP we have 2 long dancefloor tracks plus an ambient gem. Even though their styles might seem different at first glance, this record perfectly reflects the balance of both their sounds, creating a holistic result.

Prince Fatty's new independent record label Lovedub Limited kicks off with a super 7" from the man himself. It is in fact something of an homage to the 1970s jazz-funk of Lonnie Liston Smith but with some hefty dub and reggae treatment. Shniece Mcmenamin stars on vocals and brings plenty of summer soul to the groove which is also lit up with free-flying flute lines over steady reggae rhythms that will sink you in deep to Winston "Horseman" Williams and Carlton "Bubblers" Ogilvie's drums, organ and piano. On the flip is the dub with the iconic Liston-Smith melody leading you through a lazy afternoon in style.

In 2020, Dance Music don, Ashley Beedle was approached to edit the unreleased track which had a UK 12” vinyl release in 2021 on the charity A's and Bees label. Having heard the track in all its glory, Ramrock Boss Lady, Jo Wallace immediately thought that a 7” edit would sound like a Blackpool Mecca classic that never existed!

And so, the editing process began again and, this time, the North Street Collective came up with ‘Superfine Feeling’ 7” Edits and, in the true tradition of soul tracks, named them Pt1 & Pt2. An exuberant, uplifting, Mecca Soul unreleased monster finally receiving the talcumed dancefloor love it deserves 44 years later!

We are delighted to welcome Rawdio to our artist roster. He’s one of Belgium’s underground artist to look out for with releases on Hustler Traxx, No Fuss Records, Gents & Dandy Records, Melodymathics and his own House Cookin’ Records.

We love his sound and we have the pleasure to release “Voyages”, including 2 remixes from Max Telaer (Brussels) and Abilaan (Berlin).

Regno Maggiore is the debut album of Davide Meucci, Turin based artist, who released his first record Astroveliero on Gang of Ducks in 2019.

Esasummà is an intimate tale of the artist's life, who used the creation of this record as a tool to implement the shamanic Recapitulation technique. This technique was developed to remove the effects of the accumulation of memories related to our personal life and heritage into our physical and spiritual body, in order to allow a rebirth of life.

It has been produced with an instinctive matrix, recording with diy instruments, sounds and voices and without a fixed creative planning.

The album ended up with 13 tracks that smoothly run through one another, moulding a surreal world that's hard to place within a definite time or space, but which surely leaves you wanting to understand more.

In the words of the artist, "Esasummà is an earth rooted record taking inspiration from the cosmo, which dances with our planet and makes the stars' eyes shine".

All tracks written, produced and mixed by Davide Meucci

Mastered by Nick Foglia at Polo Studio

GODREC0030 – All rights reserved

Daniel Martin-McCormick, formerly Ital, now Relaxer, returns to Planet Mu with his new album ’Concealer'. The album drifts towards hyper digital sounds and marks Daniel’s return to using a computer with hardware. Combining the ultra-artifice of the digital and its glossy, pure surface qualities, Daniel comments that it “gives the sounds this sickly, shiny dimensionality which is un-human. This decoupling from the human-ness of sound means the sounds can speak in their own special way. Of course, all sounds can speak in their way, but a vivid, digital, melty synth speaks in a way that feels more autonomous, or less tied to historical/encultured musical gestures. It hovers in the air and melts and glides. It's a little gross.”

His return to Planet Mu has been long overdue. the new record is an expansion and development of the ultra-artificial, hybrid digital contortions of his previous material. Welcome back.

Rob St John's Surface Tension LP was made over the course of a year spent walking, recording and photographing the Lea Valley in East London. An electric-pastoral shimmer of field recordings, analogue synths, fingerpicked guitars, tape loops, tube organs and submerged rhythms, the record was originally released as two limited book/CD editions (which both sold out swiftly), and is now reissued on vinyl for the first time.
We'll be releasing Surface Tension on Friday 14th May 2021. Limited to 300 copies, each uniquely pressed on 12" eco-mix vinyl.

Rob is a musician, artist and writer based in rural Lancashire. In 2014 he was commissioned by Benjamin Fenton from the Thames21 Love the Lea charity to create a project documenting pollution, life and biodiversity through the Lea Valley's changing environment.

Rob – who plays in kosmiche folk-rock band Modern Studies, has a string of critically-acclaimed solo releases, has installed artworks at Tate Modern, The Barbican and The Victoria and Albert Museum and had his work profiled on BBC Radio 3, 4 and 6 Music – used a variety of innovative sound and visual art techniques drawing from the local environment to create Surface Tension.

Radio play from Lauren Laverne (BBC 6 Music), Gideon Coe (BBC 6 Music) and Stuart Maconie (BBC 6 Music)

Roberto Capuano has delivered Drumcode an immense 3 track EP that will blow out the cobwebs and see Roberto step back onto Drumcode with a bang. Lacing each track with pads and tantalising hook lines, Capuano's tracks fire on all cylinders with good use of vocals and drum rhythms.His tracks have a certain swagger that only Roberto can conjure.

2022 repress

Roma Zuckerman returns to with his debut EP, which emerges after 2 stand-out appearances on the label compilations in 2015 and 2016. 'That Present Terminal' blends murky textures and sinister vocals across 4 delusional tracks.Glitchy percussion and scuzzy frequencies march with intent whilst uncanny voices mumble to the beat of their own insanity. Unnerving tones test our limits whilst underlying grooves offer mild relief. 'That Present Terminal' condenses a broad sonic palette into 4 truly bizarre cuts that, once tested, are hard to put down.

"Sun Khosi" is a tribute to Tender's father who spent many years in Nepal working as a Gurkha Officer. The name is taken from one of the most famous rivers in Nepal, which runs through the Himalayas. It translates to "River of Gold" and is an appropriate title for this uplifting, feel-good summertime tune. It's also Tender's first composition and recording to feature him playing the alto flute, which has a deeper, more mellow tone compared to the usual concert flute that he plays.

The B-side "Chrysalis" composed by keys and synth bass maestro Aidan Shepherd, is inspired by the playing of pianist and British jazz legend John Taylor, who had something of an obsession with music in 3/4 time. 'Chrysalis' breaks into two distinct parts; kicking off with with Ruby Ruston's signature tight, snappy melodies and driving
groove, then reversing back into the bands carefree 'Two for Joy' sound of 2015, when the bass is given a rare chance to come to the forefront by joining the flute and trumpet melody. Herbie Hancock's classic track "Butterfly" has become a staple in the bands set, so the snappy melodies and driving groove of "Chrysalis" represent the
restless energy of the butterfly about to emerge from its chrysalis.

These two new tracks are taken from the bands forthcoming album, their fifth in 5 years, due for release in November on 22a.

1977’s Jenakuru was self-produced and reveals a slightly darker, somewhat introspective and perhaps more vulnerable side to Saitana. A great admirer of Jimi Hendrix, Satiana often performed
solo during this period. “It was really unheard of at the time to perform without a band. He could
entertain people like that and a lot of people loved him because he was such a character.” There
was also an increasingly Dionysian aspect to Saitana’s routine as a performer - a gradual advance
into drunken showmanship akin to Jim Morrison. Taken from the original reels.

Saitana’s debut Baby Don’t Go in 1976 saw him return to the producer of the Beaters first album, Ray Nkwe,
whose JAS Pride label was undergoing a mid-70s boom. In contrast with the mod sensibilities of the early
Beaters, Saitana came out of the gate with a completely new look to suit the times, sporting an impressive
Afro, an embroidered dashiki and an amicable grin on the album’s cover. A mix of Soul, Folk, Blues and Rock
the debut from Saitana is not to be missed. Recently mentioned by Trevor Noah as one of the albums that
influenced him as a youth. Taken from the original reels.

Late Music and Disciples präsentieren in Kooperation die ersten beiden Volumes einer neuen Archivreihe ausgewählter elektronischer und akustischer Werke der kanadischen Komponistin und Performerin Sarah Davachi, alle bisher unveröffentlicht auf Vinyl. Mit (weit) zurückliegendem Katalogmaterial diverser CDs, Kassetten und EPs, Singles und Original-Soundtracks, sowie noch selteneren Live- und Studioaufnahmen. Die ersten beiden Ausgaben tragen den Untertitel 'Experiments In Psychoacoustics, Timbre & Minimalism: 2011-2021'.

Davachis jüngstes Studioalbum, 'Two Sisters' aus 2022, wurde kürzlich bei den jährlichen A2IM Awards in New York City zur selbstveröffentlichten Platte des Jahres ausgezeichnet. Dieses Jahr hat Davachi auch ihren zweiten Score für den Spielfilm 'Sky Peals' (2023) fertiggestellt, der im September bei den Filmfestspielen in Venedig seine Weltpremiere feiert.

Funkamental is a label of new releases and first-time-on-wax reissues curated by Funkamente, also behind the Edits Estrela and Lisbon's East Side Radio.

When a record collection starts to grow, some blind spots become very noticeable: records too hard to find, upcoming artists with music so good it deserves a nice record or old releases that have never been
pressed to vinyl. Yet.

That's how Funkamental was born: out of the desire – should we say "the need"? – to have a specific release on vinyl. How specific? Anything that'd fit in our bag.

The first Funkamental release is Sonic Fiction, the only album by Spaceboys, initially released on CD back in 2003 described as an interplanetary never-ending jam session between Sun Ra and Fela Kuti, materialized by the hands of Francisco Rebelo, João Gomes and Tiago Santos who first assembled as Cool Hipnoise in 1995 a prolific band recording a string of albums, singles and EPs revolving around Funk, Acid Jazz, Jazz Funk and Dub for the best part of ten years

Spirale were an Italian quintet from Rome, consisting of Gaetano Delfini (wind instruments, vocals, percussion), Giancarlo Maurino (saxophone, flute, percussion), Corrado Nofri (piano, marimba, mbira, siren, Jew’s harp), Giuseppe Caporello (contrabass, guitar, percussion) and Giampaolo Ascolese (drums) who released a single eponymous album in 1974. This is a release known mostly by Italian progressive rock lovers, since its sound can be easily associated
to the jazz-rock delivered by the way more popular Napoli Centrale and Perigeo - but also to the ‘fundamentals’ Dedalus, Arti & Mestieri, Uno, or even the lesser known Bauhaus for instance. But playing this
kind of music and trying to release an album in the first half of the ’70s in Italy was also incredibly hard and courageous: Spirale, in fact, was one of the many bands that lived a very short life, before splitting up and disappear forever. Spirale was originally released on the International King record label, thanks to Mario Schiano, a free-jazz
saxophonist who discovered the band, and producer Toni Cosenza, who included the album in the ‘King JazzLine’ series. Consisting of just four tracks, most of which taken by the 13-minute long “Cabral, Anno 1” and the marvellous 17-minute “Peperoncino (Cose vecchie, cose nuove)”, Spirale is an incredibly balanced and flowing record that sounds still fresh and inspired even today, and it’s a shame that it has remained hidden and overlooked for such a long time. Moreover, it is characterized by that undescribable and particular Mediterranean flavour that only Italian musicians were able to obtain. This beautiful album is of course immensely rare in its original edition, and is now finally reissued on Dialogo record label in a faithful restored version that will finally satisfy any collectors who have waited for
years for this beauty to see the light again!

We're always glad to hear new material from undisputed dub techno don Steve O'Sullivan. This new one on his own Mosiac label finds him facing off with Paul Simmons on a pair of deliciously deep cuts. 'Inner Glow' is given the whole of the A-side to make its mark and it does - with a slightly more soulful sound than you might expect. Rather than pure heads down underwater deepness, it's got a heart warming vocals hook and brighter chord vamps over the signature drum smoothness. 'Stilll Burnin''is a quicker cut with more radiant chords and a soulful spirit, then a Bluespirit dub of the a-side zones things out nicely.

Collaboration project of Hamburg based techno and electronic composer Martin Stimming and Berlin based pianist and composer Lambert - the first new music from the duo since 2018’s minialbum 'Exodus'. The 11 track collection will be released by XXIM Records, the new imprint for post genre instrumental music by Sony Masterworks. On this record the duo leave their 'safe and cosy' piano sound behind, embracing lo-fi analogue synths, new rhythmic techniques and a versatile understanding of synthesised sound to explore uncharted electro acoustic territory. This record is more ambitious, complex, extravagant and sophisticated than anything the pair have released before. Specialist promo/marketing activity.

Steve Lacy (July 23, 1934 – June 4, 2004) was an American jazz saxophonist and composer recognized as one of the important players of soprano saxophone. Lacy worked extensively in experimental jazz and to a lesser extent in free improvisation, but his music was typically melodic and tightly-structured. Lacy also became a highly distinctive composer, with compositions often built out of little more than a single questioning phrase, repeated several times. In 1977 he released a one-off record titled "Straws" for the Italian Cramps Records label, as the 6th volume of the DIVerso series (which included, among others, Demetrio Stratos' solo albums) dedicated to contemporary avant-garde composers. "Straws" is now made available again on Dialogo in a faithful reproduction of the original gatefold cover artwork and inner sleeve.

Soul Jazz Records are releasing this latest Studio One compilation which features non-step 100% stone-cold classic Studio One killers! Spanning 40 years of the legendary label, this album is a fitting tribute to Clement "Sir Coxsone" Dodd and is a who's who of Jamaicaan Reggae.

Studio One Records is excited to announce the release of their new boxset, the Studio One U.K Red series! Featuring 16 classic tracks from artists such as Ken Boothe, The Heptones, and Ernest Ranglin, this collection is a must-have for any music lover. Get your copy now and experience the sounds of Studio One Records!

Following the release of the duo's debut album/compilation 'Dancefloor Heritage Volume 1' earlier this year, Suburban Architecture return with their 4th EP 'Exploration'. Kicking off a new series of EP releases, Exploration follows in the footsteps of the previous 3 EP trilogy, drawing heavily on influences from the jazzier, atmospheric strains of mid to late 90s Drum & Bass, while stepping beyond the confines of the genre. Placing a contemporary spin on sounds rooted in this golden era of dance music, the Exploration EP applies Suburban Architecture's sonic template to 4 tracks at a variety of tempos.

Title track 'Exploration Part 1' introduces cosmic themes, with spacey pads and deep jazz textures underpinning intricate, chopped, rolling drums and vocal samples which muse on the concept of space exploration. The second track, 'Weightless', drops the tempo somewhat, utilising lush pads, atmospheric female vocal and a fusion of breakbeats to create a memorable slo-mo roller. Spacey pads return to the mix on 'Distant Response', joined by an energetic falsetto male vocal, jazz fusion woodwind and the duo's trademark blend of rolling breaks. 'Exploration Part 2' rounds off the release, bookending the 4 tracks with a return to the themes of the opening track, this time bringing mid-tempo rolling breaks to the mix.

Rua Sound is very pleased to welcome Sun People to the roster, with a four-track EP taking in 160 kicks through to dubbed-out space exploration. Building on last year's Serenity EP for UK footwork label Modern Ruin, These Days is the Austrian producers most accomplished work to date: footwork influenced 160 bass music par excellence, glowing with dancefloor energy. These days EP is out on 12" vinyl and digital formats on 22 November 2019.

Deviation Records is pleased to present you their latest and exiting collaboration with the Mieruba Label Team.
The Super Biton has existed since the 60s, like Ségou, its orchestra, the Super Biton has always remained behind what was done in Bamako and in the big cities of Africa. The Ségou orchestra developed and incorporated amplified instruments that mingle with brass, in particular electric guitars, symbols of modernity at the time. It opens up to Cuban music, and congas and bongos complement the sound of the orchestra. The group drew a unique sound from it, a perfect balance between tradition and the modern. There are about fifteen artits on stage, singers, guitarists drummer and percussionists. The Super Biton has for years been the best known and most sought-after orchestra of Mali outsid the country's borders, the Super Biton transcends the only Bambara heritage with its repertoire. Ségou is crossroads between Bambara, Fulani, Mandingo and Somono cultures and Biton has drawn on all these traditions to creat a repertoire extremely rich in rhythms and words. Some musicians completed their training in Cuba. They play "bambara jazz", incorporating a lot of
brass instruments such as saxophone, trumpet, clarinet. The compositions are modern and sophisticated.
Mieruba Art Center is a place dedicated to the transmission and safeguarding of Malian musical heritage through musical exchange between the older and newer generation - Artist residences, music lessons, rehearsals, Workshops, Masterclasses - and so on. Just as happy former musicians of Mali, the members of Super Biton give lessons on site. It is also the office of the Mieruba-ML label in the same place where Deviation Records is collaboration for the second time on the album - After the « Lost Maestros Collection » - with the
support of La Manufacture de Vinyles. Phil of Deviation Records tells: "I am very enthusiastic at the idea of offering you these two volumes of the History of the Super Biton of Ségou, Clique of Super Heroes of sound,
a source of inspiration for generations of musicians, DJs and also griots and storytellers of great renown! This double LP compiles the first Chapter of the rich Afro-Jazz-Folk Collection whose tapes have been remastered by Monsieur Jonin and cut at the MB Mastering Studio in Aubervilliers .The gatefold artwork is conceived by
Ewwanuelle Collage and formatted by Bertrand Tondeur, Graphic designer of Les Mouches. All that’sleft to say is that i hope that you enjoy listening to the final result !"

Humility has the eyes of love, because only love is truly humble. There are those who love the truth for on top of all things and of themselves and those who love the world and themselves. I appeal for the light of truth and good, sometimes dwelling in the shadows'. ― Ignacio Verdú Berganza

Humility
Produced & Mixed by Tekra
Track(s): Connection, Humility, Kerid, Ybbob, Geysir, Exception, Skogafoss, Amiga

Taken from the album ‘Alice In Ultraland ‘ (initially released on the Harvest EMI label in 2005) these 3 epic cuts show the Amorphous Androgynous at the top of their cosmic space orbit - expansive psychedelic rocktronica and soundscape fusing in full effect . Samplerdelia guitars strings keys and dynamic aplenty matched with tripped out otherworldly lyrics on THE WORLD IS FULL OF PLANKTON on the A side is backed by immersive emotional instrumental ALL IS HARVEST and triumphant piano riff groove and sliding bass rock replete with Floyd wailing diva of ‘ THE EMPTINESS OF NOTHINGNESS ‘ on the B side . File under - COSMIC SPACE MUSIC. 1000 copies only, all individually numbered and in full picture sleeve

Rigid slipcase to house:
LP1: Let It Be (new stereo mix of original album)
LP2: Get Back – Apple Sessions
LP3: Get Back – Rehearsals and Apple Jams
LP4: Get Back LP – 1969 Glyn Johns Mix
12” EP: Let It Be EP
105-page hardbound book in slipcase
Limited Edition

January 1969 – The Beatles planned to return to live performance, setting up in Twickenham Film Studios, London, for 21 days of rehearsals. They then decamped to their new studio in their Apple office building in Saville Row and on January 30th performed their last ever live group performance on the rooftop. All of this was filmed for a proposed documentary (eventually released in 1970). During the rehearsal process, they asked Glyn Johns, who had been hired to help with the live sound, to attempt a mix to create an album. This was never released, becoming known as one of the great ‘lost’ albums in rock history and is now included in this Super Deluxe Set. The album was delayed further and in fact became their 12th and final official album release on 8th May 1970 following additional production by American producer Phil Spector.

• 1971 Invictus records release, The Glass House features the distinguished voices of Pearl Jones, Ty Hunter, Larry
Mitchell and Scherrie Payne. Each selected with great care to form HDH’s only mixed- gendered vocal group
• Scherrie Payne, sister of Invictus start Freda, who co-wrote many of the groups songs before joining The Supremes
in the mid 1970s
• ‘Crumbs Off The Table’ #7 in the R&B and Pop charts. Other stand out tracks include ‘Look What You’ve Done To
Love’, ‘If It Ain’t Love (It Doesn’t Matter) – a Payne/Hunter duet.
• Demon Music are proud to reissue the groups debut album on 180g heavyweight vinyl with printed inner sleeve

Slightly trackier, more boring efforts from The Maghreban here. There is no press release.

EBM,EBM,EBM,....EBM