Even in these most turbulent of times, dub musician and fatigued onlooker Elijah Minnelli remains an inexplicable stalwart on the lower rungs of the Breadminster County Council.
His latest record ‘Clams As A Main Meal’ continues his astute siphoning of council funds, this time with help from the Breadminster Board of Abstinence. As a further mark of respect, the original head of the Board, Dr. K'houldoux, graces the cover art in his infamous ‘Looming Moon of Desire’ guise.*
As fine a backdrop as any for Minneli’s off-brand dub experiments, and ‘Clams...’ is the truest representation of his varied wheelhouse yet...
We find vocal appearances from dub goliath Dennis Bovell and Welsh-language singer Carwyn Ellis. A pair of tracks which build on 2024’s acclaimed ‘Perpetual Musket’, a collection of folk songs reworked alongside reggae vocalists, released by FatCat Records. It garnered glowing reviews, with nods from The Guardian and The Quietus concluding with prominent appearances on their respective yearly round-up lists.
Elsewhere, the album finds Minnelli in a more experimental mode, all wheezing contraptions and cockeyed bass, creaking with the weight of creation, a satisfying tactility laid seam-side up.
As well as ‘Perpetual Musket’, the new album follows years of sold out 7" singles, handmade and self-released. Online, the tracks have amassed global streams numbering in the millions. His tracks have found play across an eclectic range of radio mixes and dance floors, most notably the likes of Andrew Weatherall, Batu, Optimo and Zakia Sewell (BBC6Music).
It is perhaps worth mentioning that this everbuilding interest in his work is at great odds with the growing suspicions amongst his fellow townsfolk, who see his Breadminster County Council Music Initiative as nothing more than an empty cash-grab.
Further Reading on the Breadminster Board of Abstinence
In the late 70s, Breadminster was awash with the last vestiges of the hippy era. Though the flared silhouette of the lower leg remained, the utopian ideals that had once flowed merrily around the youth's shaded ankles had begun to wane. LSD and free love had led to a sharp spike in population and a generation of children raised by air-headed psychonauts unprepared for the bleary-eyed strictures of parenthood.
Aware of the crisis, the County Council entrusted Dr. Paulinque K'houldoux to spearhead a pushback, and it was his pro-abstinence movement - a mixture of education initiatives and radical renutrition campaigns - that came to impact Breadminster's census deep into the new millennium.
Being a pseudo-archipelago Breadminster has fundamentally limited resources, however deep-seated ties to distant coastal villages meant that oysters were a regular part of the local diet. K'houldoux pinpointed this as a factor in the town's overpopulation, and believed that simply replacing these with clams (a “lesser mollusk”) would help lower the erotic urges of the people. It was his “anti-aphrodesia” movement that first championed the idea of “Clams As A Main Meal,” and the slogan “Consider Abstinence” carried the message yet further.
The Breadminster Board of Abstinence soon became involved in all cultural happenings in the area, with K'houldoux MCing at prominent festivals and performances, sometimes dressed as the “Looming Moon of Desire” - an idea of his relating to the tide, seafood, menstrual cycles, and his privately held celestial predilections.
It was in 1981 that it was revealed Dr. K'houldoux had never fully qualified as a doctor and was seeking exile in Breadminster due to a series of botched bracelet heists in which he had previously been involved. K'houldoux was subsequently extradited to Basingstoke, where he served 3 of a 12-year sentence, owing to the lunar-oriented prisoner health campaigns he helped implement.
It has been a strange twist of bureaucratic fate that the Breadminster Board of Abstinence has never stopped receiving public funding, despite its lack of clear utility. And while its roots are tied to a rose-tinted past, the Board continues to sponsor cultural events and projects to this day.
An extract from: Eugeniq Schooner's article in Sydney Parishioner: “Clams, Breadminster and Countercultural Abstinence Trends” (2008)
quête:mc d twist
Risk/Reward’s third installment comes from Brooklyn-based California native Chuwee, a rising star with records in the bags of the scenes most discerning selectors. Teaming up with homies Sasta, Seb Hall and Gaspar Muniz to form the Wizards on Waverly, they deliver a wildly creative and versatile collection of funk-drenched floor fillers.
On the a side: 4TJADEN combines crunchy electro house drums with a twisting, monstrous analog bass lead and 80s synth pop strings, before euphoric chords and a killer acid line send this one in to the cosmos!
Let’s Talk About Sex is a big, bad, booty bouncing slice of West Coast electro funk. An ultra groovy and addictive bass line, naughty vocals, spooky synth lines and rays of acid sunshine straight from California, make for an infectious party cut that gets the floor rocking every time.
On to the b-side: Slippy Jim’s is a laid back, dubwise, chugger, perfect for warming up, day time sessions or late in the afters. Crunchy analog drums patter over a warm, playful bass groove, speckled with dubby stabs, an imposing synth lead and vintage Jamaican spoken word vocals transport you to Kingston after party where the rum and vibes flow in equal measure.
Pioneer of the dub tech house sound Grant Dell delivers a gargantuan remix, with enough weight to break even the sturdiest of scales. Chunky yet detailed drums, a sub-heavy & driving bass line, acid squelchs and dubbed out stabs create an absolute weapon of a track, with a truly epic breakdown featuring a legendary vocal that gets right under your skin and stays there.
Heavy support from Enzo Siragusa, Harry McCanna, Bushwacka!, Dyed Soundorom, Anna Wall, CHKLTE and more.
DJ Support: Garnier, Opolopo, Worldwide FM, Marcia Carr, Bill Brewster, Timeout Moscow, Craig Smith, Delfonic, Tony Nwachukwu, Marcel Dettmann, DJ Rocca, Shuya Okino, Borrowed Identity, Titonton Duvante, Alex Attias, Rainer Truby, Sol Power All-Stars, Kyri R2, Robert Luis, Severino Panzetta, Lars Behrenroth, Kassian, Alkalino, Getdown Edits, Moodymanc, Gerd, Lea Lisa, Young Pulse, Mark de Clive-Lowe, Mark Grusane, Alex Barck….
International dance music heavyweight, producer and DJ Alexander Lay-Far returns with a powerful new chapter - Lay-Far Dance Orchestra (LFDO) - a fully-fledged live band project that reconnects him with his jazz-funk and fusion DNA while pushing dance music forward with unmistakable groove, musicianship and emotional weight. Formed in early 2024, LFDO is no nostalgia exercise. With Lay-Far at the helm as bassist, bandleader, composer, arranger and sound engineer, the orchestra has already been turning heads with explosive live performances, reinventing classic Lay-Far cuts, and now unveil their first album “Skybreak” with all new and original material written and produced by Lay-Far together with his bandmates and star guests, including Lipelis, Antoha MC and Seven Davis Jr. This work shows the departure from the predominantly electronic sound of Lay-Far's previous solo albums in favour of live instrumentation recorded to analogue tape and effortlessly bridging the gap between Jazz, Library Music, Disco-Funk, House, Broken Beat and Drum’n’Bass. “Skybreak” is dynamic, passionate, spiritual, cinematic, playful, heartfelt, life-affirming, dreamy and deeply romantic. Ultimately, there’s something profoundly romantic in recording and releasing such music in this day and age!
“Take Flight (Part 1)” is opening the album with style. It takes us on a beautifully orchestrated journey, blending the sensuality of Library Music with high-octane Jazz-Funk and raw b-boy breaks, propelled by breathtaking flute and Rhodes solos of Timur Nekrasov and Maxim Glonti. This aural symbiosis of “beauty and the beats” will become more and more prominent as the album unfolds.
It’s time for “Aquarius Love” created with the inimitable artist and vocalist Seven Davis Jr. (Secret Angels, Ninja Tune). In this composition cinematic soul and heavy jazz meet the restless energy of live drum & bass with deep and heartfelt vocals - timeless sound combined with a timeless message about love and life!
Next is “Head In The Clouds” - a theme for an imaginary rom-com, an ode to all the dreamers - sweet, light, naive and heartwarming. Space-Disco-Funk at its best!
“Where You From” is a fiery Soulful House number with heavy Afro-Latin influences recorded in collaboration with Lipelis. It’s full of Sun, joy and passion. Its irresistible rhythm is emphasised by funky octave bass, wah-wah guitar, catchy piano riffs, guitar solo by Lipelis and seemingly light conscious message delivered by Lay-Far and Maryag. Summer is here!
Now the album takes an unexpected twist in the form of “The Harp of Boom” which at first glance appears to be a classic-sounding Boom-Bap banger. Yes, It’s loud, raw, and gritty, yet it gradually evolves into something delicately-touching and deeply-soulful thanks to a memorable flute melody and lush string arrangement. Definitely recorded with tongue in cheek.
Next is “Feel The Moment” a remarkable collaboration with one of the most recognisable and distinctive Russian artists, singer, trumpeter and cultural icon Antoha MC. It’s a feel-good song, hopeful, life-affirming and bittersweet. A stylish excursion into Brit-Funk and Soviet Jazz-Fusion sound, drawing inspiration from the likes of Atmosfear, Light Of The World or Soviet Jazz bands like Allegro and Arsenal, but reimagining the influences through the modern West London broken beat lens.
The spectacular music journey continuous with “Take Flight (Part 2)” - it’s all about the deep infectious jazz-funk groove, heavy beats, rolling percussion and the glory of the soloing instruments - saxophone and flute by Timur Nekrasov, demonstrating the wide range of emotions from thoughtful and lyrical to restless and borderline vicious. One for freestyle dancing!
As the album draws to an end a vibrant musical triptych “Soul Constant” awaits, mixing together the deep and sensual mood of spiritual jazz with heavy syncopated drum’n’bass rhythms by Michail Fotchenkov, lush orchestration, expressive saxophone solos and the ending which can simply be described as “aural bliss”. It’s breath-taking!
A pleasant bonus is the exclusive version of “Where You From” by Lipelis himself, who is taking it into dub territories, further enhancing the rhythm section and enriching the song with his trademark playful synth flourishes and dreamy guitar solos for maximum effect (and appeal).
The album “Skybreak” by Lay-Far Dance Orchestra is the work of real artistry and craftsmanship with timeless sound that’s not only deeply-rooted but also forward-thinking.
Warehouse Find!
Introducing Red D, the Belgian DJ and producer, one half of FCL (alongside San Soda), long standing club promoter (since 1992), owner of We Play House and general all round good guy. With releases on Ferrispark and Delusions Of Grandeur (with MCDE), remixes on Eskimo, regular sets at the likes of Panorama Bar and an RA Mix under his belt you could say things are falling into place nicely. On top of all this his FCL project continues to go from strength to strength with a new
EP dropping soon on Kai 'KZR' Alce's highly regarded NDATL label. When he sent over two originals for Freerange it was love at first listen as the simple, warm beats and emotive chord stabs of title track Chez oozed from the speakers. This sounded to me like house music in it's purest form, from the days when the focus was on a feeling rather than complex sounds or technological
trickery. And the proof is in the pudding with this one as you can feel the dance floor go into some kind of collective bubble of love whenever you play it. The second original follows drawing you into a false sense of security with familiar 707 beats and gentle pads before taking a left turn. Appropriately titled Into Darkness the blissful vibes of the intro begin to fall away as the
track reaches a breakdown and we're treated to the rudest of Chi-Town basslines taking us down a somewhat less wholesome path. Flipping over we're treated to two Jacob Korn remixes, one of each of the originals and if the A side is the good cop, we can trust the Uncanny Valley regular to deliver some pure badness on the flip. His Remix of Chez is clearly inspired by his studio hardware as you can hear the improvised and 'live'
sounding arrangement, the machines taking on a life of their own as things twist and turn in a spontaneous and unpredictable way. A rattling white noise pulse drives the rhythm whilst bubbling synths add some lightness to the pummeling
kick. Into Darkness gets the Korn treatment next and here he puts it right through the sonic mangler, tape saturation distorting the mix to within an inch of it's life. Jacob puts the focus on the bassline of the original, keeping things simple at
first before winding in layers of Juno chords and the bleepiest of synth lines resulting in the finest of raw, bassment house jams.
Mysticisms’ Dubplate series reaches number 10 with the first in a series of specials, taking the genre blurring music of Persian and presenting updated remixes and versions by up-and-coming producers, as well as friends and family of the label.
Started as a sporadic offshoot of Mysticisms’ main releases, with the idea to highlight the wonderful sounds of dub influenced dance music, Dubplate has now become an integral part of the mission.
To start, South London’s Picasso joins the label, showcasing his declared abstract grooves and an EP of Dub and Tech House movers. While his productions aim for the dance floor, they are often characterized by complex rhythms and unconventional structures, prioritizing atmosphere and texture over traditional melodies.
Drawing inspiration from ambient, jazz, experimental influences and the heavy hand of dub, Sam “Andrews” McKay has crafted an EP of immersive “soundscapes”. Joining the legendary Persian (Peter Reilly) as co-selector, his retakes are all warped grooves, wide bass and dubby atmospherics.
Opening with Space Within Art, the street soul meets reggae rhythms are jettisoned, and a Dub House swing drives the track. The love, homage and vibration for Sound System culture remains, enchanting trippy reggae sampledelic vocals weaving in the brain.
Dunya 2 sees a shift, minds expanding. A jazz influenced breakbeat, harp, strings, building to a psychedelic swirl, driven by a dub bass in a clash, morph and glow.
The deep Digi Dub of D Dub Twist grows, warping the ‘JA riddim meets English hedonism’ in true Soundclash style. Touches of drone underlay, highlighting Sam’s experimental leaning, utilising Persian’s love of Eastern mystical samples to marry perfectly for a deep dub excursion.
The self-prescribed “odd-fellow” completes his versions, exploring his love of depth and abstract sound in closer, Jacob’s Dub. The warm roots vibrations in original form develop into a scatter gun House bumper. Dubwise, Lovers, Stepper, all merge around shuffling, trippy beats and skippy hats, Picasso’s groove is laid bare, driving the EP to finale.
Abstract the Mystery.
DJ Support: Gilles Peterson, Osunlade, Lakuti, Sean McCabe, Craig Smith, Marcia Carr + more
JuJu Muzik presents “Counting Clouds,” the newest work from Chicago house pioneer Harry Dennis, whose poetic influence spans over three decades and legendary projects like Jungle Wonz, The IT, and Fingers Inc. Featuring an exceptional lineup of remixers & producers - Rob Redford & Damian Charles with a contemporary soulful rework that nods to classic Chicago, Rude Boy Rupert delivering a broken-beat-infused UK underground twist, Mark Hand with his warm jazz-rooted depth and Julian Garnett offering a signature JuJu Muzik interpretation—the release bridges Chicago’s foundational spirit with today’s global house movement, celebrating the genre’s past, present, and future.
- A1: Rocking Chair
- A2: Le Train
- A3: Golden Sun
- A4: Miroir
- A5: Voyage Mental
- A6: Surprises
- B1: Je Comprends Pas
- B2: Respire
- B3: Sentimental Lies
- B4: Force Invisible
- B5: C’est Quoi Ces Gens
- B6: My Two Hours Of Sleep
- B7: Astrale Maison
Every so often in music, we come across voices that achieve a certain timelessness, so naturally do they encapsulate both past and present. Laure Briard is one of these voices, retro in form but contemporary at heart, spanning a career rich in aesthetic twists and turns, never without her signature magic, a special kind of eternal filter. Her first album, Révélation (2015), reveals her yé-yé influences, a testament to her love for ‘60s French pop music. Her second studio album, Sur la piste de danse (2016), follows in this vein and finds Laure accompanied as always by her long-time bandmates who share an affinity for warm, catchy arrangements that never lose their appeal. Her tour of Brazil marks a turning point in her career, introducing her to the local indie scene and thus launching her collaboration with the band Boogarins, as well as inspiring the release of multiple EPs composed and performed in Portuguese. Today, her music is embellished by touches of bossa nova and a folk sensibility, boasting increasingly intricate arrangements, as exemplified by her 2019 release, Un peu plus d'amour s'il vous plaît. Several years later, the Californian desert captures the musician’s imagination with Ne pas trop rester bleue, a poignant musical journey inspired by the rich history of Western legends and the role they play in shaping our collective consciousness.
In Voyage Mental, Laure Briard draws upon an inner energy unearthed during a new stage in her life, where the thrill of spontaneous adventure is not accessible in quite the same way. The result is a collection of sophisticated, introspective songs, narrating a young mother’s quest for balance in the face of routine. The album, nostalgic but always tethered to the present moment, is also the fruit of her collaboration with Gaëtan Nonchalant, a talented musician known for coaxing poetry out of the mundane. The two of them co-wrote and recorded five tracks at Studio Nocturne, accompanied by her long-time sidekick Pieuvre, aka Vincent Guyot, Léo Blomov, Pierre-Louis Vizioz, and Hedi Bensalem. The gentle pop opener “Rocking Chair” sways steadily to the rhythm of dynamic drums, followed by “Train,” a ballad that extends an invitation to set sail and daydream alone. The folk escapade continues with “Golden Sun,” a duet featuring the 1960s cult American musician F.J. McMahon, who Laure contacted via the internet on a whim. “Golden Sun” is an unlikely encounter between two generations and two cultures, giving new life to an old forgotten demo on the other side of the Atlantic. And while Laure sings of wide open spaces, cowboys, and sunsets sinking into the sea, we feel the city surrounding her in “Miroir,” a song composed by Hedi Bensalem that laments the suffocation of living in a crowded metropolis where the sky is a distant gray smudge. This pressing need for air, this search for rest and total disconnection, is one of the album's central themes. It may also explain the ever-present sense of nostalgia that pervades the songs, a welcome respite in our current era of doomscrolling and darkness. Along the way, Laure soothes us with melancholy guitar, delivers poetry set to scattered piano notes, and takes us by the hand during lively, uptempo passages. We climb onto her wings, never straying too far from the ground, soaring joyfully above her moods.
Melbourne / Naarm stronghold Butter Sessionsclock 15 years in the game with a trilogy of 12"s, sustaining their uncompromising streak of peak-form electronics. The family-style V/A binds friends, collaborators, former studio neighbours and DJ booth allies, capturing a label that exists as community as much as catalogue.
Disc Two lifts off with recurring contributor Rory McPike's first label outing as Rings Around Saturn, a blissed-out cosmic floater skimming the periphery. Booked in the early days of the label's formative Mania residency, Japanese don Gonno twists freestyle, techno and breaks into pure ecstasy, before the unerringly bold Jennifer Loveless spikes the punch with a hallucinatory mix of drums, disembodied voice and jazz club keys.
On the flip, Boorloo's Guy Contact rolls out Dance In The Grey, a shadowy prog churn pitched between new-romantic vocal sheen and EBM muscle, with Kate Miller completely rewiring the script on Sub Series E - a masterfully minimal, double-time meditation. suki presents his Sniper1 alias to close with a demonic body-jacking groove loaded for the system.
Whether taken alone or folded into the three-disc triptych, each instalment stands as a bag-ready constant, charged with Butter Sessions' curatorial finesse.
Isa Gordon and Tony Morris were first brought together through their individual releases on Optimo Music, which established mutual respect within the label’s community. While they had not previously performed live together, they were invited to take part in a fundraiser hosted by Queen’s Park Arena in support of Glasgow NW Foodbank and later for JD Twitch’s end-of-life care. Tony asked Isa to contribute guitar and backing vocals to his set, including a track then called Last Night I Had a Dream. That performance became the seed for their collaboration.
The first phase of fleshing it out, recalls Tony: “Somebody said Isa sang like Shania Twain. That got me thinking about country music and call and response, prompting me to come up with alternative lyrics.” Isa remembers: “I cycled over to Tony’s house with my guitar, and we spoke about what the tune meant. It was about him being wrapped up in dreamland, luxuriating in his subconscious, while my character — impatient and trapped in her own routines — barely had time to remember her own dreams.” Tony continues: “Brilliantly I realised that I could never collaborate with anyone in situ and so I sat in the garden for two hours watching my wife tend to plants. Every now and again I would creep up the stairs and put my ear to the door. I could hear Isa warbling away and so would resume my garden watch. After two hours I went back upstairs to see how she was getting on, only to find that she had written one of the greatest songs I’d ever heard. I still think that.” Tony adds: “My overwhelming sentiment about Wake Up Baby is pride. I can honestly say that I’m more proud of it than anything else I have done. It ticks a whole load of boxes. Isa’s singing in various Scottish modes is unique. The way her electric guitar adorns the dance beat makes it a rock song as well as a dance and a C&W song — truly multi-genre.”
The B-side of the 12” release, Syringe Moustache, is a surreal, darkly playful counterpart to Wake Up Baby. The track was inspired by a dream Tony had: “I was in a shopping mall, in a two-level shoe shop, and my attention was taken by a little girl with a syringe taped beneath her nose like a moustache. She went about her business trying on shoes, confident and wise beyond her years. In the dream, I imagined her as the daughter of cultured, intelligent parents determined to raise her independently. I was struck by my own feelings of inadequacy — I knew I could never have coped with such a contraption myself.” Isa’s take on the meaning of this song somewhat differs: “Tony sent me the tune over Instagram months before I met him, and I was spooked — as far as I knew, he didn’t know anything about me, but the story felt like it was written about me as a little girl, growing up around heroin addiction. The syringe beneath the girl’s nose became a symbol of the inescapable constraints of that environment, literally written on her face, yet something you just have to carry on through. On a buzz from the serendipity, I added a full instrumental backing to this most bizarre of works.”
The result is absurd, unsettling, and strangely empowering, staking out its own surreal, cinematic space. The 12” dance single is a format Tony had long wanted to explore — a tangible artefact to leave for family, a medium that celebrates the physicality of sound and the ritual of listening. It allowed the artists to maximise the format’s potential: a strong, multi-genre A-side, a surreal B-side, and remixes that expanded the record’s sonic world. Glasgow music staples Auntie Flo and 100% Positive Feedback were invited to reinterpret the tracks, bringing their distinctive touch — Auntie Flo transforming the A-side into a luscious, dancefloor-ready meditation, and 100% Positive Feedback twisting Syringe Moustache into absurd, playful shapes with false-start drops and over-the-top vocal editing.
The cover photograph, taken at the University Café by Harrison Reid, captures Isa and Tony embodying the characters they brought to life in the songs — a visual reflection of the record’s narrative and emotional stakes. The Café also holds personal significance: it’s where all of Isa’s meetings with Keith McIvor took place, where she first remembers visiting Glasgow as a child, and a place Tony fondly likes to go to drip egg yolk down his tie and watch the world go by. Together, the 12” format, the remixes, and the artwork create a cohesive, tactile experience, amplifying the duality, theatricality, and emotional breadth of the collaboration.
- A1: I Missed The Target Again (Radio Edit) 3.40
- A2: It's Gonna Rain 4.06
- A3: Hang On In There 3.59
- A4: Shine A Light 4.26
- A5: The Lord Will Make A Way 4.56
- B1: There Will Be Peace In The Valley 3.26
- B2: 1963 5.20
- B3: Reach Down And Touch Heaven For Me 2.48
- B4: Love Breakthrough 3.46
- B5: In God's Hands We Rest Untroubled 4.58
- A1: My God Has A Telephone 3.25
- B1: God's Gonna Use Me Anyway 4.02
Soul Music legend Candi Staton returns to her down-home Alabama roots on her 32nd album, Back to My Roots. The twelve-track Americana set features an array of Staton-penned originals and some well-chosen covers.
"These songs represent my roots," Staton adds as she reflects on her many trials and triumphs. "Even the new songs on some level represent something I've experienced and that's what real soul music is about." Back to My Roots was produced by Staton with her second eldest son, Marcus Williams, a professional drummer who has toured with the likes of Peabo Bryson, Isaac Hayes, and Tyler Perry. They brought in Mark Nevers of Lambchop fame, who produced three of Staton’s prior Americana albums for Honest Jon’s and Thirty Tigers, to sweeten certain tracks. “Some of the first songs I ever heard were songs like `Peace in the Valley’ and `It’s Gonna Rain,’” says Staton. “The new songs or cover songs are tracks that remind me of that era when I was growing up as a child and evolving as a young woman. That’s why I named the album Back to My Roots because I’m going back to the roots that made me who I am.”
Staton received the Americana Music Association UK’s highest honour, the International Lifetime Achievement Award, at the UK Americana Music Awards ceremony at Hackney Church in London last year for her southern soul work that stretches from her 1969 Muscle Shoals hits to her more recent collaborations with the likes of Americana kings Jason Isbell and John Paul White.
The album opens with a mid-tempo Bonnie Raitt-styled contemporary blues “I Missed the Target Again” that finds Harry Connick Jr.’s longtime guitarist Jonathan DuBose Jr. (aka the Prophesying Guitarist) showing off his skills that set the tone for the song and the album.
Staton’s older sister, Maggie Staton Peebles (who alongside Staton was a member of the Jewel Gospel Trio in the 1950s), joins her for two duets. The first, “It’s Gonna Rain,” features just a drum, steel guitar and vocals. “My mother used to sing that song to us all the time when I was a child,” Staton recalls. “It’s a really soulful kind of song I wanted to revisit.” They then take turns leading Thomas Dorsey 1939 gem “There Will Be Peace in the Valley” that Elvis Presley popularized in the 1950s.
“Hang on in There” is a new, mid-tempo song that has an old school gospel flavour and features vocals from veteran bluesman, Larry McCray.
While in Europe in 2023 for her farewell concert tour that took her to the Glastonbury Festival and Love Supreme, Staton and her British band, PUSH, went into a London studio to record a new version of The Rolling Stones’ 1972 gem, “Shine A Light.” “I love the way that came out,” Staton says. “We put a big choir on it and put our own twist on it.”
From there, Staton revives another Thomas Dorsey classic, “The Lord Will Make a Way Somehow,” with a bluesy vibe. When Al Green started recording gospel in the early 1980s, he re-introduced this song into the culture.
“God’s Gonna Use Me Anyway” is a new mid-tempo blues with subtle Caribbean influences.
The mood takes a turn on “1963.” It’s a poignant, spoken-word reflection on September 15, 1963, when four black girls were killed in the Birmingham Church bombing. “I was in the city that day and I remember the chaos and horror after the bombing,” Staton recalls. “Just thinking of how racism and hatred caused those men to kill those girls was so emotional for me that I could only do it in one take.”
It's a perfect segue into "Reach Down and Touch Heaven," a haunting, plea for divine intervention into the affairs of mankind. "That's straight Baptist," she says. "I used to be a church pianist back in the 1960s. I've never played piano on one of my records before so that's a unique song for me because I’m finally playing on one of my records. The message of that song is about the homeless. It came to me when a homeless person on the street asked me for $5. When God touches your heart to help somebody else that’s heaven to God’s hears. So, when we reach into our purse or wallet to help someone, we’re touching heaven."
Staton offers love as an antidote to hate on the bouncy, Motown-styled, “Love Breakthrough.”
Her publicist brought Aaron Frazer & the Flying Stars of Brooklyn NY’s 2017 cut “My God Has a Telephone” to Staton’s attention. She shifts the track from a retro 1960s groove to more of a 1980s Malaco Records arrangement, a subtle but distinct variation. Staton brought in her longtime friend and STAX Records legend, William Bell (“I Forgot to Be Your Lover” and “Trying to Love Two”), to add raspy seasoning to the track.
The album closes with the wistful, “In God’s Hands We Rest Untroubled,” that was originally written and recorded by the late country star, Lari White, who died in 2017 at the age of 52. “Lari sent me that song to consider at least ten years ago and I always loved it,” Staton says. “The record label didn’t want it on the album or something, so I just held it.”
Staton says, “I grew up hearing a lot of these old songs when they were new songs. I toured with the Jewel Gospel Trio in the 1950s and we got to know people like Mahalia Jackson, Sam Cooke and others who sang these types of songs. So, I’m sort of paying tribute to them and the influence they had on me by refreshing these songs and making new songs in the old style.”’
'Acid Reaction' is the first in a series of new releases from Danilo Plessow (MCDE).
This marks his return to electronic music - having spent a lot of studio time in recent years recording on own, disco oriented, Space Grapes label.
'Rude Futures' serves as a meta commentary on the realities of the modern digital age, the dawn of AI and its impact on art and society. Musically, it's a darker, more twisted turn to Danilo’s studio experiments - with a nod to early house and techno.
Shhh. The command to be quiet is not just part of the title of one of the two sprawling compositions on this pioneering album. It's also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis' first full-on fusion effort and part of his "electric" era, the 1969 landmark claims a Who's Who line-up that sends the music into an ethereal stratosphere.
Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the bevelled compositions melt away all preconceived notions of "jazz," ˜rock," and "ambience," following a loose theory Davis dubbed "New Directions."
Few albums are so delicately textured. And on Mobile Fidelity's meticulous reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams' inventive percussive touch – he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight – is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis' nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Holland's extrapolative bass, and the mosaic of keys.
If the record's only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons – not the least of which is the seemingly telepathic communicative methods employed by the group's members. The line-up is great on paper, but, if it's even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.
Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis' decorative spirals. And as colour is the primary unit of currency on Davis' Sketches of Spain, laid-back episodes, geometric spaces, and quiet sensuality reign here, with the set's maverick reputation attained via musings on solitude rather than explosions of noise.
Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producer's could attempt – and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.
Jamie McCue is the man behind the Canadian label Silent Season and his newest concern, Moon Garden is fast becoming just as vital. This fantastic fourth outing comes from Transient Vessels, who McCue describes as "a local artist and good friend of mine." Opener 'Another Day' is a slow-motion motion dubbed-out melon twister that echoes the early Leftfield sound and is detailed with both textured synth leads and more introspective chords. 'Denihilism' is just as slow motion but deeply absorbing with plenty of wide open space for the pads to linger and the drums to churn and hypnotise.
Sticking a dirty thumb in the eye of fate, our third collaboration sees this marrow deep family malarky turn official as Pace Yourself teams up with YS’s own imprint ERF REC for a split release. As if our status as minor celebrities and footnotes of the underground could level off no further: the unification no one asked for is here. Sticking it to the man, handing your arse to ya on plate; cauterising infected suburban minds world over.
Burn is the second YS album and written as a direct follow-up album to Brutal Flowers. If their first album was an exercise in the incremental, a construction of poise and patience, Burn, should be taken way the fuck at it’s word: it quite literally finds catharsis in twisted reverse. Birthed out the malignant kick found in deconstruction and chaos. Evil twin, psychotic younger sibling, call it what the hell you like. It might take you a moment to get the lay of the land in this darkly mutated world. Like a bug eye’d native first confronted with a zippo, the hit is radical and instant: a new way for the world to go up in smoke.
Splice the Seattle slacker scene with the spliffhead soundsystem culture of the 90s Bristol trip-hop scene, then cross-breed that with the DIY optimism and glee in creation found in the cut-and-paste worlds of skate, graffiti and hiphop, now run that through the skitzo basement mind of John.T. Gast and you’re close to the kind of scorched earth and spiked suburbia that birthed Burn.
Dunno quite what YS have been ingesting of late but this massively twisted LP touches on a host of gloriously fucked totemic underground sources while not sounding much like any of them. It has the ballsy swagger and hard flipping of the script as Massive Attack’s seminal Blue Lines. Indeed, the eponymous album tracks sound similar - the opener ‘Burn’ is like a hard nosed jammed out redux of ‘Blue Lines’. Getting into a kind of slow-spinning overdubbed maximal euphoria ending with mumbled downer vocals, struggling to conceal their tongues in their cheeks there’s an air of paranoia and proto-conspiracy theory. It’ll leave you scratching your head, feeling like you’ve stepped into a New World Order governed by a cacophony of drop outs, dope fiends and apocalyptic stoners. A cracked out world somewhere between Richard Linklater’s movie Slacker (1990) and Marc Singer’s Dark Days (2001).
The rest of the album parts like a tongue on a wine glass: Smith and Mighty, Bandulu, ambient Luke Slater records, Wah Wah Wino, Nurse with Wound, Land of the Loops, Placid Angels, Adrian Sherwood, Urban Tribe and DJ Shadow can all be heard in momentary splatters - but Burn like other works by YS, is its own ritual beast. ‘Moth’, a track which has been knocking about the underground deejai circuit for many moons, is a real raw chopped and screwed slice of stoner erotica that reeks of obsession and unrequited desire. Elsewhere, on tracks like ‘Switch’, ‘Trying’ and ‘Drift’ the throughline from Brutal Flowers can be heard. Underneath the driving heavy gravity the trademark emotional intimacies of YS linger: eternal recurrence, ghosts of static and shortwave, worn memories of the playful and painful sort. The brief moments where flashes of orchestral ambience get out from underneath the swagger are so pure, personal and unguarded that for a moment they leave you completely lonesome. In the album’s closer ‘End’, you can hear the fleeting promise and DIY possibilities of an analogue world and embers of ash that flutter in its wake: where it seemed, for a brief moment, that collective of DJs, engineers, rappers, graffiti artists and skate crews were emerging from the streets, giving the middle fingers to the system, before just as quickly disappearing back to the doldrums of obscurity. ‘End’ is a bittersweet ode to early soundsystem culture, MCs and pirate radio - an out of step time where for a moment the underdogs and weirdos seemed to be kicking on the door of something bigger.
A veritable teenage doof suite dosed with desire, claustrophobia and deviance. Burn is a good old howl at the moon: lonely, raw, and out for blood; basement style exegesis at its best. A thump to the gut, a stud through your blood. A dubbed-to-death classic straight out of the annals of nowhere. A perfect post card from oblivion. A bleak, bold and personally ferocious vision of tomorrow and tomorrow and tomorrow.
This is everything that record collectors skip dates for. Fuck the scene and keep that shit underground. That’s what it is all about. Know what I mean, if you do? You’re in…
Zopelar has built a distinguished place in the Brazilian electronic music industry. He is known as a complete and versatile DJ and music producer, and is a key figure in São Paulo’s underground music scene.
With his signature “retro-futuristic-funky-groovy” style, Zopelar has made some celebrated albums and EPs released by labels like Apron Records, Clone Records, Tartelet Records, Soul Clap Records and others.
A prolific producer and sound designer, Zopelar’s work extends beyond music production into the realm of contemporary art and film scoring. His sound pieces have been showcased in prestigious
exhibitions and galleries, including New Museum (NYC) and the Venice Biennale.
Zopelar is now back for his third solo release on Apron Records - LP titled "Call it Love” The first single "We Can Make It" feels nostalgic but with a modern to the future twist which compliments the Apron DNA! It features Brazilian artist Ashira, she lays her beautiful voice over Zopelar classic R&B production..
The second single Je t'aime features French born Brazilian based L’Homme Statue plus Amsterdam’s Retromigration” giving a tropical and very hot Brazilian house for the dance floors and the last single
features US Virgina Beach very own MC “Hernbean5150” With a soulful downtempo smooth production with a perfect complimentary vocal, Some say he reminds them of MF Doom”.
Overall this LP slams in every way and its very well put together, whether at home, driving, in nature or in the clubs, it takes you on a journey for your listening pleasure!
We’re thrilled to finally unveil our highly anticipated second vinyl VA release, Mindblender. This record brings together four unique minds: Anoesis, Volen, Joel Brittain and 4:32 AM, each blending their own distinct flavour into one deep, cohesive journey.
Expect hypnotic grooves, twisted rhythms and heavy basslines guiding you through introspective soundscapes.
This is more than a VA — it’s a collision of perspectives, a true blend of minds.
DJ Support: Tedd Patterson, Michael Gray, David Penn, Mousse T, Brian Tappert, Hector Romero, Derrick Mckenzie.
Definite Grooves 'Disco Light' EP is a vibrant, disco-infused collection that merges classic grooves with modern production. The title track, 'Disco Light', is a fun disco gem, capturing a Disco 70s mood with a fresh House twist. 'Getting Stronger' takes the funk further, building up to a filtered disco crescendo that's perfect for late-night floors, oozing with energy and sleek edits. On the flip side, 'Sundown' offers a happier vibe, giving the EP a well-rounded feel with its rich bassline and Vocal Hook. Finally, 'Let It show' is catchy and playful, bringing a polished sound that keeps the rhythm flowing. Altogether, 'Disco Light' is a solid pick for those craving both nostalgic and modern dancefloor moments.
- A1: Don Toliver - Lose My Mind (Feat. Doja Cat)
- A2: Dom Dolla - No Room For A Saint (Feat. Nathan Nicholson)
- A3: Ed Sheeran - Drive
- A4: Tate Mcrae - Just Keep Watching
- A5: Rosé - Messy
- A6: Burna Boy - Don't Let Me Drown
- A7: Roddy Ricch - Underdog
- A8: Raye - Grandma Calls The Boys Bad News
- B1: Chris Stapleton - Bad As I Used To Be
- B2: Myke Towers - Baja California
- B3: Tiësto & Sexyy Red - Omg!
- B4: Madison Beer - All At Once
- B5: Peggy Gou - D.a.n.c.e
- B6: Pawsa - Double C
- B7: Mr Eazi - Attention
- B8: Darkoo - Give Me Love
- B9: Obongjayar - Gasoline
Atlantic Records is thrilled to announce F1 The Album - the supercharged companion album to Apple Original Films and Warner Bros. Pictures’ high-octane, action-packed film F1, starring Brad Pitt. From the label that brought you the award-winning, blockbuster soundtracks Barbie The Album, Twisters: The Album, The Greatest Showman, Suicide Squad and more, F1 The Album is driven by brand new tracks from an exhilirating lineup of superstar artists.
black & grey splattered Vinyl[15,76 €]
grey, white & black marbled Vinyl[15,92 €]
EBY is an acid house artist who has more than made his mark over the years. 40 years, to be exact, and to mark that rather notable occasion he is back with a special release on Foxbam Inc called ACID Thing and it comes in various different formats. This is a grey vinyl version that celebrates the classic acid sound while infusing it with a modern twist and plenty of big basslines, squelchy synths, and potent rhythms. The standout 'Acidanus' includes MC Soph who made her debut on Acid Indigestion Pt4 at just eight years old and now returns at 25. The EP also features a remix of 'Eggtrip' by renowned Belgian producer Outlander who you will likely remember from his iconic cut 'Vamp.'
Repress!
Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics, overlooked gems and never heard before material, mined from the last 30+ years of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond. Mint Condition have got their digging hats on to bring you exclusive heat and those rarer than rare jams that have been in your wants list for years. Dig in....
Tobias Menguser, AKA Leon De Winter, was a very influential figure in the 90's Frankfurt techno scene, releasing around 100 records under various aliases, including collaborations with Ricardo Villalobos, but it was his Leon De Winter alias that really caught the ears of legendary London label Eukahouse, who originally releases this 12" all the way back in 1997. A one-off, it is not only unique in its sound design but also genre defying, spanning deep house, tech-house, techno, electro and breaks.
A-Side 'Apollo Jazz' is truly that, sounding like it was composed from a freeform jam on a trip to the Moon. Opening with emotive chords, the track lifts off and builds, melodies effortlessly twist and turn, superbly pulling together a variety of well crafted synths, bass and percussion whilst keeping the energy to the fore. Over to the B-Side, 'Metamat', is bold and more playful in its execution, more sonic trickery abounds as the opening riffs and breakbeat percussion give way to a solid 4/4. The bass is as memorable as it is quirky, but again it's the strength in the way all the elements build and combine that creates some real tripped-out musical moments without ever losing its dance floor appeal.
This is one of Tobias's most sought after releases and it's no wonder his collaborative work with Ricardo Villalobos is legendary. The tracks themselves have remained exciting and relevant, achieving cult status amongst the most discerning DJs, record collectors and music heads alike. Legitimately re-released with the full involvement of Tobias Menguser, lovingly remastered by London's Curve Pusher from the original DATs especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition!




















