Vigram Новости

Dana V Andrews is a man who is still very much in love with music of all types. At 23 years old and far from living a perfect life, his love of music led him to go to Los Angeles, California in 1973 with a talented songwriter in search of fame and fortune.

Dana played a role while working on a song and album that was a big hit for the now deceased Mr. Barry White. In 1975 he met David Futch and together they formed a record and publishing company that recorded R&B and Gospel music.

One of the gospel Groups, the Highland Park Community Choir out of Highland Park, Michigan had a song nominated for a Grammy Award in 1976. That same year, Dana V. Andrews recorded two songs titled “Mr. Justice” because he was distressed by the social injustice he saw and still sees in our world. His humble hope was that “Mr. Justice” could be a rallying call for the majority of good people in the world.To unite and vote for responsible, fair, politicians who had helping the people foremost in their hearts. And “Everything’s Gonna Be Alright” because he had faith that eventually right will win out over wrong. He still does to this day. He still believes today that when the majority of people stand for righteous justice with genuine love leading the way that governmental bipartisanship will defeat hate, prejudice, and injustice.

Dave Brubeck Quartet - Europe, here we come!

With the support of the American State Department, the Dave Brubeck Quartet, including new members Joe Morello and Eugene Wright, began a major tour of Europe early in 1958. Their first concert in the Netherlands was held on 26 February in the legendary Concertgebouw Hall in Amsterdam, usually reserved for performances of classical music. Since 1951 and the collaboration between Dave Brubeck and Paul Desmond, the band had gained a stunning reputation. In 1954, Dave Brubeck was featured on the cover of Time magazine. Rumor has it that Duke Ellington knocked on Brubeck’s hotel door to congratulate him. Brubeck is said to have responded, “It should have been you.” He dedicated one of his most famous pieces, “The Duke”, included on this album, to his fellow pianist.

That winter evening of 1958, the four American musicians, all in their late thirties, took the stage of the Concertgebouw.

Picture the packed auditorium murmuring expectantly, and four musicians overcome with stage fright yet eager to perform. After some timid applause, Desmond kicked off with the melancholy, sophisticated theme of “Two Part Contention”. The piano came in, sounding out a counter-melody that revealed Brubeck’s classical training and knowledge of counterpoint, acquired when he studied under Milhaud and Schoenberg. He had an inventiveness that was not only melodic but also rhythmic, and he knew how to win over an audience. This was followed by a Disney piece, “Someday, My Prince Will Come” introduced by the piano, three years before the great Miles Davis brought out his eponymous album. They continued with a 1930s standard, “These Foolish Things”, by Jack Strachey, a song that had helped make Ella Fitzgerald famous. Paul led the show in his flowing, ethereal style, with sporadic brassy, dissonant contrasts, proving – if proof were needed – his consummate skills in harmonic phrasing. The saxophone then announced the theme of “One Moment Worth Years”. Eugene, who liked to be called “the Senator”, seemed to lead the private dialogue with an unseen hand, dexterous and sensitive. In the same vein, they led on with “For All We Know” – to thunderous applause. It was now Joe’s turn to take the limelight. When he played “Watusi Drums”, the audience discovered an exceptional drummer who had started out as a virtuoso violinist: fifteen years previously, he had been playing Mendelssohn’s Concerto with the Boston Symphony Orchestra. After hearing Jascha Heifetz, he decided he could never reach the maestro’s heights and switched to drums. The band went on to play “The Wright Groove”, a short piece written by Eugene. The concert concluded with “The Duke”, a tribute to Ellington, and then a superb rendition of “Take the A-Train”, a 1940s classic and the hallmark piece of Ellington’s orchestra, played here in a whirlwind of energy and innovative rhythms. With their rhythmic patterns, interspersed with one or two bursts of resounding laughter, the musicians displayed the creative spirit that was to result in the legendary album “Time Out” a year later.

Sadly, the original tape comes to a halt before the end of this piece could be recorded. Nevertheless, we have chosen to retain the surviving part to bear witness to the groundbreaking creativity then bubbling under the surface in this exceptional quartet’s timeless art.

The concert inaugurated a triumphant career in Europe. It announced, loud and clear, the communicative enthusiasm that was the lasting hallmark of these four exceptional musicians.

Dave Brubeck, Piano
Paul Desmond, Saxophone
Eugene Wright, Bass
Joe Morello, Drums

Recorded at the Concertgebouw, Amsterdam, The Netherlands on 26.II.1958

MONO ℗ 1958 VARA

Remastered by ℗ & © 2022 THE LOST RECORDINGS

Made and printed in Germany

Remastered from the original analog tapes

33 rpm Lacquer-cuts: Kevin Gray

Available for the first time on vinyl, the debut album by Deborah Jordan is a classic set of neo-soul and broken beat gems featuring amazing production work from Atjazz, Marc Rapson, Simbad, Jniero Jarel, Rise/Mecca:83 and more.

Originally released on CD in 2009 to critical acclaim, the album was supported by many taste makers and DJs worldwide and is considered a classic UK soul album.

Still sounding incredibly fresh, The Light has a deep and mature sound with brilliantly arranged tracks moving through various soulful genres from nu-soul, broken beat, deep house and hip-hop with Deborah’s own unique vocal delivery and song writing skills on full display. Over the years, Deborah has worked with many fine producers including 4hero, Bugz In The Attic, Soundspecies, Domu, Ty Macklin and continues to produce incredible work with her contemporaries including the recent collaboration album Human with the excellent K15.

repressed !

1xLP - gatefold glossy lamination- pink coloured vinyl- printed inner cardboard sleeve. French singer-songwriter Sébastien Tellier wrote and co-produced the 10-track LP, set for release on February 16th and spanning sparkling electronica to lightly psychedelic pop.

Repress

DJ X-cess returns to Burning Bush Communications 25 years after his first release on the label with 2 slamming breakbeat hardcore stompers in the '92 style

From limited run of 180 black vinyls - in printed sleeves featuring artwork originally hand sprayed by Dare who did all the original Burning Bush artwork back in '94-'95

Latvian electronic producer Dmitry Distant is expanding further his sound palette with his new 2-track ‘Cold’ single, continuing his musical journey beyond pure ‘electro’ genre. The release clearly marks a new page in Dmitry’s artistic story – in his electronic reinterpretation of The Cure’s iconic song, Dmitry is giving the classic track a darker twist, with pounding reverberated drums and piercing yet soulful vocals by Valeria Simonova, paying tribute to his goth and new wave background. ‘Zenith’ is a majestic John Carpenter-esque synth anthem – the track can easily be imagined to accompany opening titles of a dystopian sci-fi blockbuster, with stark melodic synthesizer lines and minimalistic yet inventive structure.

Double Geography drops heavyweight 7" on IIB. Beautiful synth patterns and melodies drifting over a shuffling drum pattern. Like a long lost Maxi 12 dub mix from the 80s. Just lovely.Flip it over for the boss that is Ruf Dug's rework. Buzzing flies and slight de tuned stabs create a slightly moody eastern super dub chug bomb.Do not miss this

Originally written by João Bosco and Aldir Blanc and released on Bosco's 1976 album Galos De Briga, "O Ronco da Cuica" is a samba/MPB masterpiece. In the song, the cuíca roars: roars in anger, roars from hunger and is told to stop, but it cannot - "it's a man thing" explains Bosco in the lyrics. Personifying the instrument in this way, "O Ronco da Cuica" points to something quite profound about the nature of human suffering and our primitive need for expression. On this brilliant reimagining, renowned bassist Dudu Lima teamed up with Joao Bosco himself, as well as Azymuth drummer Ivan 'Mamão' Conti, pianist Dudu Viana and percussionist Marcos Suzano. Ironically, this version contains no cuíca, instead it takes a more stripped back instrumentation, exploring the deep jazz potential of this roaring samba classic, to stunning effect. On the B-side is a beautiful duet between Dudu Lima and João Bosco: acoustic guitar and vocals, and fretless bass - together they take on "Imcompatibilidade De Gênios", also from Bosco's 1976 Galos De Briga album.

Enrico Sangiuliano proves why he is one of the underground most inquisitive and forward thinking creatives with a new EP on his own transient imprint NINETOZERO, ushering the next generation of Italian talent alongside one of his own fresh new cuts. Scheduled for release on vinyl this December, the EP includes Enrico's solo track 'Glitch In Time' along with compositions from Alex Lentini & STOMP BOXX, Antonio D'Africa & Sall, and Mattia Saviolo.

NINETOZERO is a time-limited record label restricted to 10 chapters that aims to disrupt the notion of perpetual music. Releases show marked evolutions in the Italian's sound and thinking each time. That is the case again here from the Emilia native who is known for his timeless underground tracks, his Gold certified remix of the self-titled classic by Age Of Love alongside partner Charlotte de Witte and his SOLO all night long event series which has taken him everywhere from Rome to Ghent, New York to Amsterdam, and which will soon take him to São Paulo.

Title track, 'Glitch In Time,' metaphorically suggests a disruption in the flow of time, reflecting temporary flaws in a system. Sangiuliano's musical interpretation explores these disruptions, providing an intriguing and unexpected sonic experience.

Enrico Sangiuliano on the EP and collaboration with the Italian producers : “The Sentinels are an Italian collective of skilful producers I collaborated with for this chapter of NINETOZERO. We have regular chats about music and production, during one of which I shared the concept of this release “Glitch In Time”. This got our minds flowing to the idea that each of us could approach this chapter in their own signature style. The outcome, to me is, a strong collection of tracks that distinguish themselves from the mainstream, providing an intriguing translation for this release. Excited to share this new chapter soon with you all!”

MUST HAVE !!!
Played & supported by Anderson Noise, Davide Squillace, Franco
Bianco, Patrick Kunkel and many more.

Repress !

Selva Discos returns to the LP reissue game with a bang – by giving a new life to the stunning and very sought-after Memória das Águas album by Fernando Falcão. Originally recorded in 1979 in Paris but only released independently in Brazil in 1981, the album comes complete with genre-hopping explorations that swirl around ambient soundscapes, lively jazz, experimental-leanings, Afro-rhythms and a unique blend of Latin grooves and French pop with a Brazilian accent, but it also comes with a story as deeply unique as the music.

To make a long story short, after participating in the political movements against the military regime in 1968 in Brazil, Fernando Falcão left the country and moved to France, where he lived in exile for 15 years. There, after working in music, acting, and sculpting, he involved himself in Jérôme Savary's legendary Grand Magic Circus, where he met his first wife, Valérie Kling. It was from this relationship that a partnership began between the musician and his father-in-law, the artist François-Xavier Lalanne, who guided Falcão in the process of inventing sound sculptures such as the balauê – a horizontal version of the berimbau string instrument whose sound was influenced by a water stream (since there was a hose soaking parts of the balauê wet during the performances). Much of this exploration and experimentation resulted in the album Memória das Águas.

The album still sounds like little else from the time. As audacious and experimental as it is seamlessly listenable, it takes in immersive textures one moment before breaking out into Fela Kuti-esque brass-soaked grooves the next. It’s ultimately a record that captures the spirit and rhythm of Falcão’s homeland combined with the lush production and art-pop approach associated with his exiled home; It’s a polished, well executed and glistening record. Its fusion of African, Brazilian, jazz, pop, classical and avant-garde collides to create a record that spans as many continents as it does genres.

Remastered from the original master tapes, not only the sound but the artwork of Memória das Águas was completely and faithfully restored. Also, the reissue comes with unprecedented liner notes featuring rare photos of the musician and his sound sculptures plus articles that help to explain who Fernando Falcão was and where Memória das Águas sits among other staples of Brazilian music, including one from DJ and selector John Gómez – who helped to connect Selva Discos' Augusto Olivani with Diana Lion, Fernando Falcão's daughter (since the musician died in 2002), for this project. After Memória das Águas, Selva Discos will also reissue another long lost Fernando Falcão LP album – Barracas Barrocas.

Super rare (pretty much unknown) mid tempo vocal modern soul / Disco Floater with a great sweet soul flip. I have been looking for this one for a long while, Its got that outsider soul lo-fi vibe that i love. Remember and always check the flip, the ballad goes double time near the end and is one for the more sophisticated dance-floors

Few records crossed over into different musical worlds as successfully as the Funk Masters' sublime UK disco/jazz-funk monster classic cut 'Love Money'. A monster underground hit in New York - everywhere from Larry Levan's Paradise Garage and David Mancuso's Loft in New York - through to the new wave/no wave dance crowds at Area, Club 57, Danceteria, Limelight and Mudd Club, and artists such as Keith Haring and Jean-Michel Basquiat who similarly played the track to death. The track then also became a huge Chicago house club track and a favourite and influence'd everyone from Masters at Work's Louie Vega to Francois Kervorkian with its dubbed-out sound.

Originally released in 1981, the track came out on the flipside over a rap cut to the song by Bo Kool, one of the earliest examples of
UK rap, but it was the instrumental 'Love Money', with its dubbed out sound effects, that was more often played filling dancefloors
everywhere. This nod to reggae and dub was not by chance. The track was produced by longtime UK-resident Jamaican reggae DJ and
producer Tony Williams. This was his first attempt at a club track but by using reggae musicians, he created new style blending funk,
disco and reggae, years ahead of its time.

So if ever you want to hear a record that encapsulates the world of disco, funk, proto-house, hip-hop, no wave dance and reggae in
one go then this is it!

This is the first release from Soul Jazz Records' delving into the Tony Williams Tania Music and Funk Masters catalogue, which
contains a wealth of UK jazz-funk killers!

Garagen Uwe’s debut studio album on Beatbude Records. Nine springy instrumentals with features by Ralph Heidel and Sebastian Alexander Gieck!

RAWAX returns 2018 with a new ep by St. David aka Geffen from the lovely city of Bari!
4 raw cuts is good RAWAX tradition - top release!

Free Hand was Gentle Giant's seventh album, originally released in July 1975. This album was the most commercially successful of the band's career, reaching the top 40 albums in Billboard Magazine. It stands as the culmination of the band's maturity, following the successes of 'In A Glass House' & 'The Power & The Glory'.

Having toured Europe & North America non-stop in the years prior to this release with artists like Jethro Tull, Yes, Zappa etc, the band had gone from strength to strength. By the time 'Free Hand' was released Gentle Giant had become a major headliner in their own right. All the members were multi-instrumentalists and the band were never afraid of surprising an audience with a 4 part recorder ensemble followed by a vibraphone solo, all the while rocking the audience and thoroughly enjoying themselves onstage.

Gentle Giant albums featured many songs with both literary subjects as well as social and personal commentary on life as rock musicians. 'Free Hand' has more than most. The title of the album and first track were so named as the band had just changed record labels and management and felt unshackled by prior contractual obligations.
Putting these issues behind them upon its first release, Gentle Giant embarked on an extensive tour of North America and Europe, plus a short tour of the UK, to promote the album. The incredible range of Gentle Giant's music is evident throughout this album. From the intricate vocal fretwork of 'On Reflection' and the delicate medieval
flavour of 'Talybont,' the Celtic-tinged rock of 'Time To Kill' and the jagged rhythms of 'Just The Same,' all those diverse elements which made the band so strikingly original are skillfully blended and perfectly executed.
Award winning producer and musician Steven Wilson has added his delicate touch in remixing 'Free Hand' . His tonal range and painstaking attention to sound quality make 'Free Hand' sound as fresh today as it did on first release. A fitting tribute to the compositional skills and expertise of five dedicated musicians.
This special gatefold 2LP edition is pressed on White Vinyl and limited to 500 pieces worlwide

George Riley ist der am wenigsten kategorisierbare neue Star der Londoner Musikszene. Mit ihrer rauchigen Jazz-beeinflussten Stimme webt sie sich durch Produktionen mit Anleihen aus Jungle, R&B und Ambient. Auf ihrer 8-Track-EP 'Running In Waves', einer neuen Zusammenarbeit mit dem Produzenten Vegyn, schreibt sie mit großer emotionaler Ehrlichkeit über Beziehungs- und Versagensängste und ihre Liebe zu Camper-Schuhen. George arbeitete bereits mit ANZ, Joe Armon-Jones, Lex Amor und Oliver Palfreyman zusammen. Ltd. Auflage.

Ltd Orange Vinyl

Glass Beams haben heute ihre mit Spannung erwartete neue EP, „Mahal“, angekündigt, die bei ihrem neuen Label erscheint - Ninja Tune.

Das im australischen Melbourne ansässige Trio um Gründungsmitglied Rajan Silva entstand durch das Wiederaufleben von Kindheitserinnerungen an seinen Vater, der in den späten 1970er Jahren aus Indien nach Melbourne ausgewandert war. Silva erinnerte sich daran, dass er mit seinem Vater immer wieder eine DVD anschaute: „Concert For George“, die mit Stars besetzte Hommage an das verstorbene Beatles-Mitglied, George Harrison, die 2002 in der Londoner Royal Albert Hall aufgeführt wurde und bei der der legendäre indische Sitarspieler, Ravi Shankar, mit seiner Tochter Anoushka neben westlichen Ikonen wie Eric Clapton, seinem früheren Bandkollegen Paul McCartney und Jeff Lynne von Electric Light Orchestra auftrat, mit dem Harrison bis kurz vor seinem Ableben in der „Supergroup“ schlechthin, den Traveling Wilburys, spielte. Diese Überschneidung der Musikstile spiegelte sich auch in der Plattensammlung von Silvas Vater wider, in der die Klänge der legendären Bollywood-Sängerin Asha Bhosle und der Mangeshkar-Linie neben der Musik von Blues-Legenden wie B.B. King und Muddy Waters zu finden waren. Besonders angetan war Silva von der Verschmelzung westlicher Musikstile mit traditioneller indischer Musik; ein Konzept, das von indischen Künstlern wie R.D. Burman, Ananda Shankar und dem Duo Kalyanji-Anandji vorangetrieben wurde. Diese gegenseitige Befruchtung von Ost und West, von alt und neu, ist ein Gefühl, das die Band in ihren selbst produzierten Werken versucht hat, einzufangen. In ihrem Output präsentieren Glass Beams eine zeitlose Verschmelzung von Kulturen und Klängen, die durch ein Prisma aus Live-Instrumentierung und DIY-Electronica strahlen, verpackt in einer hypnotischen und mystischen visuellen Welt, die sie selbst geschaffen haben.

The Swedish quartet Goran Kajfes Tropiques present Tell Us, an album consisting of three long pieces composed by the group, is "slow music" to the bone, a deep body of work utilising the language of jazz as its core mode of communication but echoing way beyond. The quartet is expanded with strings, adding wings to the music and helping it lift off the ground in a personal, highly engaging manner.

The next release is a really special one made by a well known european producer with a specific sound. We are very happy to introduce Gordon Bass with a single holding two original tracks made for Visions . A delicious mix of house , dub and futuristic jazz .
In his own words , Gordon Bass said:
If you ever wondered about the sound of a boring machine cruising underground alpine rocks, look no further : celebrating perpetual peace, and old school friendship, Gordon Bass * has a visionary Ep for you. Auto cruising and modulating cheese sont « les mamelles » of this precious EP. Recorded with love during the Covid 19 madness on a broken hacked laptop.

When the world"s chatter is hushed to a whisper and emptiness replaces clutter, time falls away completely, exposing a vast, open canvas for the imagination filled with reflection, contemplation and abstraction. On their first collaborative album, released via Caterina Barbieri"s light-years label, Grand River and Abul Mogard gaze longingly into the abyss, capturing atemporality, splendour and tranquility with confident, impressionistic sonic strokes.

'Chaos For The Fly', das Solo-Debütalbum des Fontaines D.C. Sängers, erscheint am 30. Juni via Partisan Records.

Das gesamte Album, jeden einzelnen Teil, von den Chord Progressions bis hin zu den String Arrangements, so Chatten, konnte er mit einem Mal hören. Bei einem windgepeitschten Nachtspaziergang entlang des Stoney Beach, dreißig Meilen nördlich von Dublin. Er arbeitete die Songs mit der Gitarre aus und nahm erste Demos auf, ganz alleine. 'Chaos For The Fly' handelt von Isolation und Verletzlichkeit. Vom Verlust des Glaubens an die Menschheit. Und an sich selbst. Die Songs haben meist einen dunklen Unterton und strahlen doch eine berauschende Stärke aus. Chatten verarbeitet auf dem Album schmerzliche Emotionen, Geschichten aus seinem Leben und verpackt sie auf eindrucksvolle Art und Weise in seine bisher wohl poetischsten Texte.

Koproduziert hat wie auch schon die Alben seiner Band der langjährige Fontaines D.C. Produzent Dan Carey.

Anonymous producer, limited copies..

Welcome to one of the most prolific producers of the late 2000’s, the Croatian veteran Ilija Rudman. This compilation offers a mix of well known, forgotten, and unreleased tracks from this era.

BBC 6 MusicAlbum of the Yearas chosen by

DJ Craig Charles

★★★★Mojo

★★★★★Blues & Soul

★★★★★UK Vibe

9/10 DJ Mag (Single I Miss You)

"One of the very best soul voices I've heard for a very long time"

Craig Charles (BBC 6Music)

"Delivered with a vocal dripping with yearning and desperation"

4/5 Mojo

"A high octane soul masterpiece"

Blues & Soul,5/5Album of the Month

"Undoubtedly the album of the year"

5/5 UK Vibe

Burundian soul singer JP Bimeni is set to release his first music since his BBC 6 Music award winning album Free, from 2018. Give Me Hope is a slice of horn heavy, Afro tinged, Stax inspired soul and is the first taster of a new album set for release in early 2022

Give me Hope is the title track from his new album, featuring his band The Black Belts, set to drop on February 4thon Lovemonk Records.

A supremely funky number it boasts bassline and powerful horn arrangements, and gives a taster to a new work that dots between classic '60s Motown, psychedelia and Afro-funk.

After Jose Manuel’s highly acclaimed album Janara on Optimo Music and the curation of the V.A. compilation Milagros Del Ritmo, he returns with his new EP Alchemy, the second vinyl release on Archaic Future Sounds.

It’s a queer psychedelic trip through electronic reinterpretations of tropical ritual chimes from South East and Southern Asia with a touch of Tribal and Acid House. Chugging beats seasoned with percussive flutes are enveloped by warm synthesizer sounds, heavy basslines and exotic melodies.

The antithesis is the trippy remix produced by Front De Cadeaux, who released on Antinote, a dub influenced future classic of deconstructed club music and as a wrong-speeder you can always choose your own tempo! Influenced by 90s Afro Cosmic Music, magic mushrooms and LSD it’s perfect for all passionate DJs, clubs and dancers!

Clear Vinyl

This 7-inch record contains two audio adaptations by Josie Perry of her performances 'Retainers' and 'Toy Shop'. Josie is based in Glasgow and works mainly between drawing, sculpture, performance and publishing. The performances connected to this vinyl were part of a series made between 2019-20 involving absurd narration, audio loops and suggestive props. 'Beautifully Formed' is a short extract from the longer piece 'Retainers', while 'Toy Shop' uses the full transcript. Both works relate to her interests in materialities of spoken language and alienated voicing, and her background in vocal performance.

Anthony Nicholson & Marc Cotterell Remixes

NDATL continues with the return of Kayenne, Rain Fall Down originally produced by Chris Brann is the first single from Kayenne's forthcoming full length, produced by various Atlanta based producers, Kai Alce, Stefan Ringer, DJ Kemit, Salah Ananse & Chris Brann. This first offering bring forth Kayenne's sweet melody over atmospheric rhythms & pads over driving drums brought together on Anthony Nicholson's rewerk. Next an unexpected late night groover from Plastik Recordings, Marc Cotterell where his deep chords transport you deep into the dancefloor.

This last mix comes from Groove Victim aka Jay Brown (whom we unfortunately lost late 2021) simple but elegantly effective very reminiscent of the early 90' MAW dubs! Once again NDATL blazes forward!

OUT JUNE 2022!

Keita Sano is a prolific Japanese producer who has released on revered labels such as Mister Saturday Night, Lets Play House, Morris Audio and 1080P. His fusion of dark, distorted, acidic textures and crunchy disco beats gives his produc tions a unique sound which works perfectly for Delusions Of Grandeur and the label is proud to welcome him for his debut DOG EP entitled Love Is Emotion.

The title track comes on like a proverbial runaway train with heavy, pounding beats and bassline forging things ahead while the most twisted, tripped out FX rise and fall creating an absolute juggernaut of a track which takes no prisoners. A decept ively simple DJ tool which is loaded with drama for maximum impact on the more left of centre dance floors.

Up next we have Violet which takes a low-slung deep house approach but with the grit and dirt that Keita always brings to the party. The first half of the track teases with tension-building chords and syncopated bassline which bounces around a massive four on the floor kick drum. Things fall away in the middle of the track to reveal a beautiful, heartwarming piano part, setting the scene before things get truly epic with orchestral strings bringing a touch of the film noir to proceedings.

I’m A Man picks up the pace again for an intense acid work out which pushes the sonic boundaries to the limits with seriously warped FX creating mayhem around a simple, percussive disco groove. As secret weapon DJ tools go, this is right up there.

Closing out this mind-bending release Keita remains in experimental mode on Love Is Emotion offsetting melodic arpeggios and sweet chords with off-kilter sonic madness ensuring things remain dark, dirty and deep.

The label says: "Kéléjé” shows Kiko Navarro returning to Canopy to herald in the 10th vinyl single on the label. Enlisting the vocals of Kaleta, Kiko transports the atmosphere to somewhere off-planet, in orbit among a nebular of synth lines, hypnotic vocals and electro-afro-beat rhythms. Underpinned by weighty sub frequency oscillations, Kéléjé delivers a deep and powerful late night afro inspired dance floor workout."

Neroli is back with a new album project by long time hero and music mastermind Kirk Degiorgio. This project links the Planetary Folklore aesthetics and Kirk’s praised contribution to The First Circle, the beautiful ‘Leave Everything Behind’, in a very spiritual and ethereal way.

Born after witnessing Pharaoh Sanders performance at We Out Here festival in 2022, ‘Robe Of Dreams’ represents Degiorgio’s tribute to the artists that shaped his musical world.

Kode9 'C0C' is a mixtape curated by the Hyperdub label boss Steve Goodman for the immersive audiovisual digital experience of C0C in March 2021 — ‘The Festival As A Performance’ in Milan. This follows the March ‘21 release of Turin-based experimental artist XIII's 'Invrs Solaria' EP on the C2C label imprint. The Kode9 'C0C' mix includes only tracks from Italian artists Babau — Artetetra, Bienoise, Caterina Barbieri, Lorenzo Senni, Mana, Ninos Du Brasil, Silvia Kastel and spime.im.

The release is created in collaboration with Gang Of Ducks.
Graphic Design: Studio Grand Hotel
Photo M4 Milano: Edoardo Comba

discos elgozo is proud to present our second single with two songs by Las Raras Del Folclor, a queer feminist musical project from the Colombian Caribbean, which harnesses the decolonising power of cumbia and drums to heal the community and transgress patriarchal orders. This musical project is part of the LBT Raras no tan Raras Corporation, which was born in 2019 in preparation for LGBT Pride Day in Barranquilla, Colombia.

Las Raras Del Folclor are feminist, maricas, drummers and caribbean. Their musical proposal is a disruptive political bet, where the lyrics carry a message of respect for the lives and re-existences of sexual and gender diversities, while the drumming and collective chants unite us in the joy of the movement of our diverse bodies. If in the first track, La Denuncia, we find the strength of our ancestral women to confront patriarchal violence, in the second track, La Pajarera, we find the community that welcomes and cares for us.

Credits:
Mayré Rivero: Voz principal (B), maracas, coros, palmas y animaciones.

Madeleyne Camargo: Voz principal (A), coros, animaciones y palmas.
Dani Brache: Llamador, coros y animaciones.
Maria Camila Navarro: Tambora, coros y animaciones.
Alejandra Peñaloza: Tambor alegre, coros, palmas y animaciones (B).
Naikel Villarruel: Tambor alegre, coros y animaciones.
Grace Lascano (Orito Cantora): Coros, palmas y producción musical.
Jenn del Tambo: Tambores, jamblock, platillos, palmas y producción
musical.

Composición y Autoría: Mayré Rivero, Madeleyne Camargo, María Camila
Navarro, Alejandra Peñaloza, Isabela Luján, Alana Delgado, Dani
Brache, Naikel Villarruel, Eliana Villa, María Serje y Grace Lascano
(Orito Cantora).

Christopher 'Lav' Landin is a master of ambient sounds but it's been a while since we heard from him after 2017's collab with Purl on A Strangely Isolated Place. A New Landscape is a fresh album on Past Inside The Present that comes on limited and transparent orange vinyl. Contained within are a beguiling bunch of tunes with soul stirring pads, gently propulsive rhythms and gorgeous sound designs that call to mind various different references from deepest space to a warm spring day. It is an accomplished album design for mental escape.

2024 Repress


Straight out of the depths of East London, Hoxton Square to be precise. A location before gentrification, the area around Old Street in 1995 was full of young artists, musicians and record labels. Law & Auder were one of those bands, with a studio in the next road to the legendary Blue Note club. This is where these two tracks were created, two cuts that encapsulate the raw sound of the London jungle scene at this time.

This particular 12” is a bit of a cult release, with prices on Discogs for an original copy at a VG+ rating going for a £150 a copy, that’s if you can ever find one.
This is the second release from the group that we have repressed ON Vinyl Fanatiks, with Martin from the group also being a part of Utomica, another group that we repressed a few years ago.

Straight from the East London vaults.

The 1978 self-titled album by the free soul band Lemuria remains much talked about around rare groove circles. Formed by Kirk Thompson of the iconic Kalapana, it's a proud statement of Hawaiian AOR, and highlights the magic touch of Thompson as both a keyboardist, and behind the mixers, his work as the album's serving producer. For this new reissue edition, P-VINE is including three bonus tracks and two alternate takes for the first time on vinyl, resulting in this deluxe fourteen track double gatefold package.

From the opening announcement of the MC, the first live album of jazz drummer Les Demerle's glowing career jumps right into the thick of it. Live At The Concerts By The Sea was originally released in 1978, and showcases the live performance of Demerle's band at Howard Rumsey's iconic jazz club Concerts By The Sea; a club which produced a series of concerts from 1971 to 1985 in Redondo Beach, California.

repress !

Loredana Berte' is an artist that needs no introduction. Her musical career started in the mid seventies and year by year she proved to be one of the most iconic italian singer and performer. Groovin Recordings is now proudly repressing two songs from Loredana's 1980 album on a 7 inch, "E La Luna Busso'" and "In Alto Mare". Two great reggae and funky tunes, 40 years after their original release, still sounding full of their original groove. Officially licensed and remastered.

Limited to 100 copies!

For the second release on Subject To Restrictions Discs’ White Series, Los Pashminas from Fribourg deliver a four-track sound experience for dance floors.

The complexity of the human experience has led to many theories, which tried to explain the emotional activity of our everyday experiences. In the ’60s Paul MacLean formulated the ‘Triune Brain’ model. This theory proposes a very simplistic organisation of our brain, which would be too easy to accept since the very notion of ‘change’ is difficult to give credence to. The wiring between our primary and emotional behaviour is much more complex and subject to plasticity and transformations. What if the very essence of music could follow the same path? Maybe music could take conscience of its own environment and develop its own wave, independently from the human will.

This EP is an essay in which symbolic samples are organising themselves into the genesis of a new form of conscience, a result of a survival-mode experience that pushes the music itself to create its new form. This sound journey was created during the 2020 Pandemic.

Broc Recordz presents their new release, L'Obsession by the Italian composer Louis Fontaine. The album is a fictional soundtrack, between Library music and Italian OST from the 70's in a Jazz style.

After its acclaimed first release, the mysterious entity Low Khey is back on Comic Sans Records with a killer 10 tracks album evolving around deviant industrial dancehall, experimental trap and balearic flavours. Including featuring with Catnapp, Enae and Stencil d'A.

Lutalo's highly visceral folk goes electric on The Academy, the Vermont multi-instrumentalist, songwriter and producer's debut LP. Recorded in January 2024 at the storied Sonic Ranch and self-produced along with Jake Aron (Snail Mail, Protomartyr, L'Rain), The Academy feels like watching the best underground film you've seen in years; establishing Lutalo as a singular voice of this generation of indie rock. Lutalo describes The Academy as their "first chapter" - a time capsule of the lessons they've learned in their 20-something years of life. "This record is exactly that: a `record' of my early life," they say of their debut album, out via Winspear. "The experiences, thoughts and feelings I was holding at those times and am currently processing. To me, this is the first big stamp of my existence I'm sharing." While Lutalo's 2022 EP Once Now, Then Again introduced them as a lo-fi acoustic guitar wunderkind, The Academy is bigger and bolder without compromising Lutalo's inviting sense of emotional intimacy, inspired by alt-rock veterans like Thom Yorke and Rob Crow as well as electronic greats like Aphex Twin and Bowery Electric. The Academy's grander arrangements are heard in the biting adrenaline rush of "Ocean Swallows Him Whole," or the anti-war jangle of album closer "The Bed." Their lyrics are often deeply intuitive, flowing as a stream of consciousness, albeit with weighty meanings. With their unique baritone and finesse for lyrical world building, Lutalo cuts to the bone-while only just beginning to reveal the depth of their artistry and vision.

The third EP from cult producer M.O.O.N finally gets a vinyl release rounding off a triple-release month alongside the represses of the eponymous debut EP and Particles EP.

A more brooding offering finds M.O.O.N exploring a deep house avenue with three tracks themed around ideas of driving through the city at twilight.

All tracks have been remastered by Brendan Zacharias aka Assembler Code giving the EP a new level of punch in the club and on home hi-fi.

The third EP from cult producer M.O.O.N finally gets a vinyl release rounding off a triple-release month alongside the represses of the eponymous debut EP and Particles EP.

A more brooding offering finds M.O.O.N exploring a deep house avenue with three tracks themed around ideas of driving through the city at twilight.

All tracks have been remastered by Brendan Zacharias aka Assembler Code giving the EP a new level of punch in the club and on home hi-fi.

Chicago icon and Disctechno label head Mark Grusane teams up again with Detroit-based Eric Schwab for a second volume of the Midwest Rhythms series with four versatile house tracks.

The A1 ‘Easy Strider’ uses low-slung skittering drum patterns, a classic FM bass walk and a touch of 303. ‘Acid Hole’ layers a tension-building acidic pulse over a jacking 707 beat and spacey effects and fills. On the B-side, “You’re In Danger” combines dissonant pads, plucky synth and bass lines, and warbled verbal warnings. The record concludes with Eric’s reconstructed version of the title track from Mark’s 2023 album, “A House of My Own,” using assorted gear to bring new colors to a modern Chicago house classic.”

Japanese vibraphonist and marimba player Masayoshi Fujita returns with Migratory, his masterful new solo album, where his sonic explorations into the unknown continue.

In 2019, after 13 years of living in Berlin, Fujita returned to his native Japan with his wife and their three children, fulfilling his life-long dream of living and composing music in the midst of nature. The family found their new home in the mountain hills along the coast of Kami-cho, Hyōgo, three hours west of Kyoto.


Once settled in, Fujita spent his time turning an old kindergarten into his own music studio, Kebi Bird Studio, which became the birthplace of Migratory. On his new album, the composer and producer masterfully reimagines and mesmerises with his trademark sounds of vibraphone, and resumes his experimentation with the marimba and synthesisers that he first incorporated on his 2021 album, Bird Ambience, which followed the release of his acclaimed vibraphone triptych: Stories (2012), Apologues (2015) and Book of Life (2018).


On Fujita’s ever-evolving list of collaborators, Migratory introduces vocals from Moor Mother on ‘Our Mother’s Lights’ and Hatis Noit on ‘Higurashi’, as well as shō and saxophone to its soundscapes. Whilst at a music residency in Stockholm in 2021, Fujita met Swedish shō player Mattias Hållsten. Although it was a brief encounter, the two musicians stayed in touch. During a visit to Japan, Hållsten stopped by the studio and played on three of the tracks, including the alluring album closer ‘Yodaka’, exceeding Fujita’s own expectations.

We are happy to have Mathieu Rossignelly with his trio joining the Poly Dance Theatre team company.
Nothing to say, Coltrane flavour, McCoy Tyner style.
On the flip side we can hear Androo’s Gene-va rhythm (7" disco), a romantic dancehall riddim, an ode to dub versions and discrete B sides.
La cadence magique (Live)
Gene-va rhythm (7" disco version)

In 2017, with the release of her first album Polaar, Maud Geffray – half of duet Scratch Massive – took a sidestep and imposed a fascinating, floating, melancholic and elegiac solo output.

Written, started, and finished within the last two years, and co-produced alongside young prodigy Krampf, Ad Astra is the logical continuation of Polaar, but much more pop, light, luminous, open to the world.

From ‘Break’, the first single, with its whipping beat, its undertaken Eurodance chorus and distorted vocals, to ‘I Fall at Five’, a sad electropop banger featuring Rebeka Warrior – from ‘All Around Me’, the opening track with its repetitive synth, edgy vocals and chilling melancholy, to ‘Fallin’, an extremely minimal song with harrowing piano and liturgic vocals – from ‘Don’t Need’, a sunny dance hit à la Pet Shop Boys, to ‘Royal Bellies’, a futuristic rnb featuring Koudlam – Maud Geffray is emerging from her cocoon with a new milestone in her singular and bewitching musical world.

Ad Astra is an electronic album without any complexes. Its beats are more asserted and dancey, its pads are erected like cathedrals, its vocals, while pitched and processed, are spotlighted, and references to 90s dance abound. Ad Astra switches from experimental to commercial with the same ease, the poppier bias shines throughout the danceable, exhilarating songs, as well as the more nostalgic and contemplative numbers, all the while bursting with energy and melancholy, youth and innocence, as if hanging suspended on the dancefloor.

Purple Vinyl

One side Breakcore ragga speed Old school melodies and ambiances… While B Sides offer a Hardcore killer for half of the tune… opened by a Speed breakcore Blaster. The B side defenitly hydes a Bomb for true hardcore ravers !

Spider-Man is an established worldwide cultural phenomenon and this movie is already breaking records and exceeding all expectations - Spider-Man: No Way Home is set to be the film of 2021. The thrilling soundtrack by Oscar® and GRAMMY® winning composer, Michael Giacchino, contains the infamous Spider-Man theme, beloved of fans, alongside other popular melodies from the wide-ranging MCU/Spider-Man universe.

*GATEFOLD 2LP**

Music From Memory are excited to present the first compilation of works by British electronic pioneers MLO aka Peter Smith and Jon Tye. Titled ‘Oumuamua’ and second up in the Virtual Dreams series, the compilation is an in-depth artist focused release containing twelve thoughtfully selected tracks that touch on highlights from the duo’s discography as well as newly (re)discovered music drawn from a vast archive of unreleased pieces, sketches and extended jams recorded between 1993-1995.

MLO’s ambient explorations began when Pete and Jon, having first met in rival punk bands during the late ‘70s, found themselves with unlimited access to an incredibly well-equipped studio, having been hired to produce an Icelandic pop star’s record in the early ‘90s. Particularly charmed by the Korg PS 3300 and an Emulator 2, Smith and Tye were also deeply fascinated by outer space and set about developing a musical landscape informed by both this new state of the art musical equipment and what lay beyond the Earth’s limits. Painting with a palette informed by classical minimalism, new age and the works of Cluster & Eno; the duos primary colours were drones, sustained tones, washes, calming tides, gentle temple bells and soft angelic voices with flickering glimpses of percussion and drums that hinted at the possibilities of a dance floor.

‘Oumuamua’ is a collection of music to get lost-in, a wander down the mazed, mirrored corridors of the subconscious. Peaceful, flowing, fresh-water patterns, drawing the listener toward a mediative, inner space. Not strictly ambient, rather the music rests temporarily within the boundaries between drum ‘n’ bass, library music, soundtracks and Techno. Or how Jon Tye himself puts it: “It really feels like music from a different place, a different time, made by different people.”

Artwork by Vica Pacheco, design by Steele Bonus, liner notes by Dr. Rob

Played & supported by Max Cooper, Markus Kavka, Marc DePulse, Patrick Lindsey, Sweet n
Candy, Michel De Hey and many more....

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Network’s 30th Anniversary celebrations continue with the re-issue of the debut release from the iconic label. The launch of the logo with Neal Howard “Indulge” in 1990 caused a sensation, with the track being instantly acclaimed as a Classic, and Network noted as a new label to watch.

“Indulge” hails from Chicago, but sounds like its’ DNA is Techno City Detroit.
A futuristic call to dance from Windy City mystery man Neal Howard, whose previous releases “The Gathering” and “To Be Or Not To Be” had already reached cult status. Those gems, and “Indulge” were recorded by Chicago label Phuture Sound. Plans were being laid for the transformation the Kool Kat label - the UK outlet for Kevin Saunderson, Derrick May and Juan Atkins - into Network, but the dilemma was finding something “really really special” for the first release. That search for the perfect beat ended when Network’s Neil Rushton on a visit to Chicago heard the just mixed “Indulge” on a cassette played by Phuture Sound boss Terry Baldwin, who after prolonged negotiations agreed to cancel a USA release so the new UK label could have an exclusive.

The label design for this release is a replica of the original DJ Promo 12” that introduced Network to the World with exactly the same tracks; Terry Baldwin’s much loved Club House and Deep House mixes of “Indulge”, coupled with “To Be Or Not To Be” remixes by Chicago’s Bad Boy Bill and Detroit’s Derrick May. network - it is what it was...

Nick Walters returns to his D.O.T. Records imprint with a suite of forward thinking, cosmic, electronic-jazz experiments, inspired by NASA & the concept of gravitational singularity. Each track on “Singularity”, his first home studio produced album, is built around an audio sample recorded by NASA in space, then expertly transported back to earth by Walters via some magical trumpet and synth work on his newly purchased Juno-106. The album features key contributions from Ruby Rushton drummer Tim Carnegie, 22a Music’s Tenderlonious on flute and some sublime guitar work from Thibaut Remy.

2024 Repress
ODD OKODDO is a Kenyan/German duo consisting of Olith Ratego and Sven Kacirek.

The two artists met in Kenya, about a decade ago, when Sven Kacirek was recording his "Kenya Sessions", an album that put Kacirek on the map of outernational producers. It was reviewed as a "World Music 2.0" (de:bug magazine), whose "fascination endures" (The Wire). Olith Ratego also made an appearance on the "Kenya Sessions”, on the track "Too Good To Be True".

The duo formed the project ODD OKODDO in 2018, with the two musicians joining their various talents which dovetail in perfection. Ratego writes the lyrics and vocal melodies while Kacirek composes, records and produces the arrangements of all nine songs on AUMA. They create a colourful, dynamic sound which is defined by both Ratego’s enormous vocal compass and range of timbres as well as Kacirek’s outstanding skills as a sensitive percussionist.

Olith Ratego sings in a musical style called "dodo", which originates from the shores of Lake Victoria in Kenya, high in pitch and soulfully expressive. He refers to his music as "dodo blues". His lyrics touch upon the topics of politics, family and of course: love. As a skilled luthier, Ratego builds his instruments himself, like the five-stringed Okodo which lends its name to the project.

Sven Kacirek is a multi-instrumentalist who has been commuting between Germany and Kenya for many years now. In the past he has closely collaborated with various international musicians, among them Nils Frahm and Shabaka Hutchings. Kacirek’s sound builds upon a powerful bass marimba which is present throughout the album. It sometimes invokes the sound of a tuned 808 kick-drum. He works with Kenyan an arsenal of percussion instruments as well as household objects and found materials. Kacirek has now settled into a signature sound which has been described as "thrilling and dizzyingly inventive" by the Australian Cyclic Defrost magazine.

The LP comes with a printed inner sleeve with liner notes by Tabu Osusa from the Nairobi based label Ketebul as well as explanations about the song lyrics.

Third volume of Omar-S' Side Trakx series. This time a 7" with two tracks featuring vocals from James Garcia and John FM.

Descending in tempo across three tracks, Outer Heaven states his case founded in breaks. ‘The Observatory’, ‘More Hardcore’ and ‘Minority Industrial Complex’ trail across the hardcore continuum connecting drum & bass to hardcore to hip hop. Essential listening for the discerning raver.

Ein Jahr nach der Veröffentlichung ihres von der Kritik hochgelobten Debütalbums "Good Lies" melden sich Overmono mit ihrer neuen Version von The Streets "Turn The Page" zurück. Die Single ist ab sofort digital erhältlich und kann als 12" schwarzes Vinyl mit einer speziell geätzten B-Seite vorbestellt werden. Overmono (alias die Brüder Tom und Ed Russell) präsentierten ihre Version von "Turn The Page" von The Streets erstmals beim Lost Village Festival 2022 und ernteten begeisterte Reaktionen. Seitdem hat sich der Song zu einem viralen Phänomen entwickelt, auf dessen Veröffentlichung Fans auf der ganzen Welt hingefiebert haben. Vom Rolling Stone UK als "glitchy techno banger" bezeichnet, hat sich der Track in den letzten zwei Jahren zu einem Höhepunkt der gefeierten Live-Show des Duos entwickelt. Von ihrem Coachella-Debüt über ihre Boiler Room Session bis hin zu ihren jüngsten ausverkauften Headline-Shows - Overmonos Version des Songs findet weiterhin auf allen Kontinenten Anklang und festigt seinen Status als zeitlose Dancefloor-Hymne.

Yellow Vinyl

Passarani is a long term friend and klakson family member, a key figure in the European electronic since the early 90ies. His The Dot And The Circle Ep gives us a great taste of his unique blend of future funk, electro and deeper shades of techno. Passarani shows us how its done! As simple as that!!!!! :-)

London-based producer Prayer is set to release a 3-track EP titled "Io" on Rua Sound's SPHERES series. Following previous releases on esteemed imprints such as Hooversound, Black Acre, and Grade 10, Prayer is known for creating atmospheric jungle with an emotive energy that can range from poignant to ecstatic.

Prayer flexes that muscle on opening track 'Set Me Free' with layers of vocals over euphoric breakbeats. "Break Through" takes a turn towards trance-influenced synths, building to a four-on-the-floor finale that reaches for the sky.

On the B-side, Reteoric takes over with an epic jungle track that clocks in at just under 12 minutes. The emotive energy of this track is aptly described as "epic" and serves as a fitting conclusion to the EP. Tim Reaper comes through with a remix of this track as a digital bonus.

Named after the third-largest moon of Jupiter, "Io" is the third release in Rua Sound's SPHERES series. The EP will be available on June 16, 2023.

Vierzig Jahre nach ihrer Gründung und fast zwei Jahrzehnte nach ihrer letzten Veröffentlichung kehrt die legendäre Synthie-Pop-Band Propaganda zurück, um ein neues Kapitel ihrer internationalen Erfolgsgeschichte zu schreiben. Das selbstbetitelte neue Album von Ralf Dörper und Michael Mertens knüpft nahtlos an die Tiefe und Dramatik ihrer früheren Welthits an. Mit modernen Soundwelten, Zitaten und Referenzen reflektieren Dörper und Mertens aber auch ganz dezidiert die persönlichen und gesellschaftlichen Umbrüche seit ihren letzten Veröffentlichungen. Das Album wurde komplett in ihrer Homebase Düsseldorf konzipiert und produziert - eine Entscheidung, die zeigt, dass sich Propaganda ihrer Wurzeln bewusst sind. Die Produktion wird dank des Gastauftritts des gefeierten Film-Komponisten Hauschka und Gesangs der aufstrebenden Künstlerin Thunder Bae in bisher nicht gekannte Sphären geführt. Mit ihrem neuen Album haben Propaganda in einer Zeit der Vergänglichkeit etwas Authentisches geschaffen, das vom ersten Sound bis zum Ausklang der letzten Note und auch dank des Artworks einen bleibenden Eindruck hinterlässt. Das dritte Album von Propaganda ließ lange auf sich warten, aber das Warten hat sich gelohnt.

Vierzig Jahre nach ihrer Gründung und fast zwei Jahrzehnte nach ihrer letzten Veröffentlichung kehrt die legendäre Synthie-Pop-Band Propaganda zurück, um ein neues Kapitel ihrer internationalen Erfolgsgeschichte zu schreiben. Das selbstbetitelte neue Album von Ralf Dörper und Michael Mertens knüpft nahtlos an die Tiefe und Dramatik ihrer früheren Welthits an. Mit modernen Soundwelten, Zitaten und Referenzen reflektieren Dörper und Mertens aber auch ganz dezidiert die persönlichen und gesellschaftlichen Umbrüche seit ihren letzten Veröffentlichungen. Das Album wurde komplett in ihrer Homebase Düsseldorf konzipiert und produziert - eine Entscheidung, die zeigt, dass sich Propaganda ihrer Wurzeln bewusst sind. Die Produktion wird dank des Gastauftritts des gefeierten Film-Komponisten Hauschka und Gesangs der aufstrebenden Künstlerin Thunder Bae in bisher nicht gekannte Sphären geführt. Mit ihrem neuen Album haben Propaganda in einer Zeit der Vergänglichkeit etwas Authentisches geschaffen, das vom ersten Sound bis zum Ausklang der letzten Note und auch dank des Artworks einen bleibenden Eindruck hinterlässt. Das dritte Album von Propaganda ließ lange auf sich warten, aber das Warten hat sich gelohnt.

Obvious Transfer are back with a killer third release from QNTM CTRL. The super limited OBTRAN003 EP delves further into the wormhole, with a heady mix of dub and techno on 'Smokehouse Shift'. An unmissable release from the new Cultivated Electronics-born experimental collective!

Purple Vinyl

Bristol don Ramu brings the latest edition of our Killer Cuts series. Bored In A Wormhole takes us on a journey through a kaleidoscopic journey through acid-tinged breakbeat, cosmic house, warped bassline breaks, techno, garage and earworm melody jungle. Strap in!

Classic R’n’b and Afro Beat a fusion and perfect match. Modern and warm, pounding beats and pulsing baselines are the ingredients of this German-Nigerian extra ordinary colabo. This is the door opener for our Sedsoulciety Recordings gold line, which displays the modern and zeitgeist driven section of our catalogue. Expect nothing less than powerful, driving beats and smooth vocals. The gold line embodies Rap, HipHop, R’n’b, Neo-Soul, Neo-Boogie and Neo-Funk, not necessarily in one track but as a pool of artists and productions.“Tell Me What You Want” and we deliver it. This time in two outfits, the Afro Vibe Mix on the A-side and the Groove Mix on the flip… This new release on Sedsoulciety Recordings is an unreleased exclusive vinyl 45!

First time reissue from this essential latin jazz album from 1971 !

Often affectionately referred to as the "Godfather of British Latin music" Robin Jones was truly one of the great performers on the international Latin scene.

Denga, his first recording from 1971 is a scintillating fusion of Afro-Cuban and Afro-Brazillian rhythms laden with heavy Fender Rhodes sounds and no less than three Afro-Latin Percussionists. The hard-to-find album has now been reissued by legendary London jazz DJ Paul Murphy's Jazz Room Records imprint. It should be an essential purchase for anyone who loves Latin jazz.

Feature's Robin's personal favorites including "Goodbye Batucada" which rightfully lays claim to be the first Brazilian Jazz Samba tune recorded in the UK and the Worldwide Sound standard setters "Denga" and "Africa Revisited".

Rumore debuts on Hot Haus Recs with 6 low lung house jackers, super deep breakbeat houz 4 the headz!

Preconceived ideas about electronic music die hard. One of them is the belief that the mastery of analog instruments would be more noble than that of software's. S8jfou knows that this is false, as for him a computer is well worth a modular synthesizer, provided you know how to fully exploit it and immerse yourself in it headlong. On his new album Op·Echo, the producer has only worked with two digital tools available on Ableton: the synthesizer Operator and the delay effect Echo. Nothing else. The intend wasn’t to impose constraints or limit himself, but rather to experiment and demonstrate that the character of a sound can be made from scratch and offer a deeper music and vector of emotions.

The producer thrives on his UK electronic influences to compose broken and repetitive rhythms, but without redundancy. A basis on which he then adds several harmonic, dissonant and distorted layers, like a soloist who would express himself on moving foundations.

When you contemplate the world, you also see how violent it is. So S8jfou sometimes get more industrial and radical. But in the middle of the effervescence, the impact of the ambient on his music is felt, nourished by the lifestyle of his author who composed this album in Brittany, isolated.

So even though S8jfou has worked following his concept of limiting the tools at his disposal, it is above all to give shape to wild and crazy sensations and ideas. Isn’t that, by the way, the very essence of music ?

Salar Salman (1959), an exceptional musician and composer, was born in Kirkuk, a city in Kurdistan — the North of Iraq. As a young boy he was famed in his village for his rich and warm voice. When he developed his talent as a guitar player he was seen as one of the best guitar players from North Iraq. As his fingers found a way to accompany his moving voice, he was able to share his songs with a broader audience. Salar Salman’s songs about love, tenderness and soreness affected many people and delivered him the nickname ‘Santana of Kurdistan’. Unanswered love, hidden love, lost love, failing love — his lyrics resonated with his peers in their integrity and honesty. But it was not only his new way of storytelling that moved many; the way he composed music was something new. Moving away from the more traditional, folkloric, often monotonous sound, his melodies moved freely. Inspired by Afro-Western sounds from the 70’s and 80’s, like jazz, psychedelic rock or flamenco, he was able to give a new meaning to his own musical heritage and to create an alternative sound that is still influencing younger generations of Iraqi Kurdish musicians today.

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Fast FWD Records announces he upcoming release of "Playing In The Sandbox Vol. 1" Sampler. This three song release is the first of three samplers, with the final release dropping in Spring 2014. Heavy-hitting House tracks from an equally heavy-hitting team of seasoned producers, this EP is a perfect introduction into what is going to a run of killer releases, culminating in the release of "Playing In The Sandbox Vol. 1". It'll be hard to wait for that to land, but in the meantime this 12" will keep us more than happy!

Repressed !

"L'Incroyable Vérité" is the first album of Sébastien Tellier. His previous discographic publications consist of a participation in the Source Rocks compilation, in 1998, with "Fantino" (used in Sofia Coppola's Lost In Translation film), which was noticed by the magazine Rolling Stone («(...) one of the loneliest sounds you will hear this year», December 1998).

The album was recorded between September 1999 and March 2000.

Sébastien plays most of the instruments and produced his album himself. It was mixed by Quentin Dupieux (aka Mr Oizo) and Sebastien Tellier in July 2000 with the help of Guillaume Lebraz.
Sébastien and Mathieu Tonetti wrote the lyrics to the songs.
"L'Incroyable Vérité" is an album about life. You can hear a dog singing, a woman screaming, and legs growing.
Sébastien Tellier recommends that you listen to his album alone by candle-light.

"Voyager / Strange Thoughts" is the debut on Insomnius Music from producer and DJ Section 63, also known as Blade from The Sect, and is also the first vinyl release on the label as a whole. Rolling, techy drum & bass shoots through dark galaxies - both in digital format and as a clear blue 180g vinyl, with a printed cover and a blue padded inner sleeve. Mastering through Beau Thomas (Ten Eight Seven).

THE LIGHTS, THE HEAT, THE STROBE, THE SWEAT! Just in time for the club season, Sneaker hands in two ten-minute trips containing the darkest secrets of dance music. And for the working DJ, there are 4 stripped-down tools on top. The Flow is the sound of tomorrow! The Flow is the sound of the 90s. But elevated to the next level. Yeah, progressive! The Flow is the sound of our heroes. The Flow is the sound of NY and Boccaccio wrought into DEEP BEAT. The Flow is the mellow of LB and the trip of Andrew. May they rest in heaven's glory on the wings of eternity! The Flow is the endless vibe of Josh's groove and the elegant abyss of Murk ensouled with celestial angels. The Flow switches paradigm into the extravaganza synthesis of Dazzle Ships. Ain't nuthin but a 909, an Emulator and a Studer. Cream of the crop. Plus the immersive soul of Yvonne drawing from half a century of light, heat, strobe and sweat. And the vision of a continental producer, whose perspective is timeless, deep, and loving. The Flow is a utopia, where clubs exist. - And flourish!

Steve Fors offers deeply physical music on his Hallow Ground debut »it's nothing, but still.« Having already established himself as a composer of visceral drone and noise pieces in various Chicago- and New York-based underground projects, Fors’s first release under his given name is even more dense and evocative than his earlier work. A concept album on the subject of breath, the Siavash Amini-produced record sees the now Swiss-based composer blend field recordings with electronic and acoustic sounds—most notably towering cello drones—to almost overwhelming effect.

Initially taking inspiration from living with a chronic lung condition, Fors meticulously crafts pieces that transcend his personal experience and reach for something universal. »The album is a study in melancholy and transience,« he explains. »And my intention is that the sounds trigger a memory, an image, a feeling in each of us. While our specific circumstances are momentary and discrete; joy, rage, and despair remain existential to our common experience.«

At first listen, Fors describes moments in time by building on a foundation of simple field recordings—an afternoon in a cathedral, the idling of COVID-19 morgue trucks outside Brooklyn Hospital, or the fleeting sound of wind in the trees—and then progressively overlays electronic and acoustic textures. On repeated plays however, the songs unfold, revealing a complexity, depth, and presence uncommon in current ambient music.

What makes »it's nothing, but still« such a memorable album is that it doesn’t impose anything on the listener, but rather offers them something to get lost in. From the first lush drones on the opener »(good enough) for now,« to the solemn piano chords on the title track, to the glistening cello feedback on »the way to heaven,« Fors’s sentiment about the record rings true. »If we surrender ourselves, these sounds can move us out of our present condition into a distinctly different existence, if only for a moment. If we choose to listen closely, we can experience the superpositioning of both memory and imagination in real time.«

Just as a film or painting does, recorded music proposes a space in three dimensions, it may not be permanent and it could be said to be illusory, but to us, in the moment, it is there.
Sunstroke were Ben Bollaert and Etienne Delaruye, both were obsessed with the burgeoning possibilities of electronic music it made sense that they collaborate in the studio.

The resulting experiments culminated in the 1985 release of Nothing's Wrong in Paradise.
The record was conceived as a soundtrack to a film that doesn’t exist - a sophisticated meeting of post-Berlin-school dreaming, Yen-records hi-tech calm and Impressionist Café music ennui. What makes it most compelling though, is that even while it conjures a seemingly perfect world, something around the edges lets you know that all might not be as it seems. Maybe there is nothing wrong in paradise. Or maybe that’s just wallpapering over the cracks. The rough edges and regret of everyday life cannot help but intrude. Once you have spent some time with it, the whole record starts to seem bathed in a dim half-light, suggesting utopia glimpsed through a smudged lens.

Just like the ethereal space in their music Sunstroke only existed for a moment, a second LP was planned but never materialised, Delaruye returned to theatre music and Bollaert opened a successful synthesiser store and was active in the New Beat scene. Briefly they created a paradise and pointed out its temporary nature, all at the same time.

Remastered from the Master tapes.e.

The emerging songwriter Michael Rea under the moniker of Symbol Soup releases his debut album Slow Puncture via Sad Club. Tender and conversational, Symbol Soup has crafted a wonderfully candid and approachable debut album melding indie rock with folk and country elements intertwined.Seeing his hometown Milton Keynes through the lens of a small American town, Rea’s tracks portray a Pacific Northwest fantasy ideal.

Written during the summer of 2021, Michael notes: “A ‘Slow Puncture’ is the perfect example of a problem that gets thought about every day and left unfixed. A tyre with a slow puncture needs constant effort and maintenance just to keep moving, but usually doesn’t get fixed until it’s too late.” Holding up the mirror to himself, weaving through ‘Slow Puncture’ is the theme of living with your own limitations or flaws. As Rea states, this is done so “ideally through acceptance, other times through pure laziness.” This metaphor carries through to the process of growing older, with a gradual loss of substance as time passes.

Setting the tone for the enchanting and introspective journey, ‘Slow Puncture’ opens with “I’m a cloud that’s procrastinating raining”. For fans of Hovvdy, Alex G and Soccer Mommy.

After an intense opening bout from Rarelife, Columbus, Ohio label Shut Off Notice come back with another grip of underground treats delivering on that Midwestern rawness. Teakup, aka Lauri Reponen, first appeared on another choice Ohio label, is/was, back in 2018, and he brings a little house energy to this EP without shirking on the grit and impact. 'No Matter What I Do' bounces with vocal slices and a bumping groove reminiscent of Todd Edwards were 'The God' to get a little rougher around the edges, while 'Alive' takes things deeper and funkier. 'I Can't Fight It' hits a sweet spot between clamouring techy intensity and a thumping house rhythm section, and 'What I Got 2 Give' keeps the pressure up with some gnarly low end pressure and crafty boogie sampling edging Teakup's swinging style closer to outright garage.

Ivano Tetelepta's third album Veldhuizen is another masterclass in deep, shrouded in smoke, spaced out electronics. Touching all half spaces in between dubby minimal, ice cold techno and hazy deep house - the prolific Nijmegen based producer shows on Veldhuizen he's more on point than ever before. Starting the journey with the lush ambiance of 'Sterkenburg' via the deep dubbing 'Opveld', Tetelepta shows his trademark minimal grooves on tracks like 'Langenhorst' and 'Tolhuis'. But there's more, there are multiple efforts in deep hypnotic techno -- 'Halsterenstraat' is one of these impacable hypno grooves that get you locked in space. Together with 'Balearenstraat', 'Klepperheide' and 'Toekomst' it makes this one of the most techno focussed albums of Tetelepta to date. A well balanced pack of deep electronics, influenced by its many branches and restructured with a very personal touch by Tetelepta himself.