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Originally released 30 years ago in October 1990, and named after a traditional Norwegian fairy-tale, East of The Sun West of The Moon, co-produced by Ian Stanley (Tears for Fears), marked a departure from previous albums released by the Norwegian new-wave band. Acoustic guitars were added into the mix, and the piano replaced the keyboard/ synthesiser of previous albums. This album also features the first non-Morten lead vocals, by Magne on ‘’The Way We Talk.’’

Slinger Francisco, better known as The Mighty Sparrow, has a career that spans over 40 years and counting. He has entertained audiences across the globe and earned his rightful place as « King of the Calypso World » by defeating every other competitor/pretender to his throne.
"I've Got You Under My Skin" is a song written by Cole Porter in 1936. This song was performed by so many American singers, such as Frank Sinatra, Shirley Bassey, Ella Fitzgerald, Dinah Washington, The Ravens, Frankie Valli
and The Four Seasons. Recorded at Trinidad Hilton hotel, Sparrow’s version became a classic for calypso music lovers all over the world.

Floxmade! Anglo-French binational FLOX has been sowing his Nu-Reggae seeds for years now in venues all around France, and a new genre has sprung up, somewhere between roots reggae and electro. Deeply influenced by the Jamaican Culture, from LKJ to The Police, to the more modern Fat Freddy’s Drop.

Tape / Cassette

Maatsethe’s solo output is all about ambient and sound collage. Loads of processed guitars & samples meander between walls of sound, intimate harmonies and a kind of melancholic cinematic landscape. Stoic basslines are surrounded by soft and gentle spheres. A bit of post-rock feel every now and then, always wrapped up in a meditative monotony, slightly interrupted by small epic narratives to gaze up.

Maatsethe (Matthias Neuefeind, Berlin) curates the KeplarRev series with vinyl reissues of essential electronic albums from the 90’s and 00’s, he plays in the band Fonoda and is part of the project Washer, Zimmer & the Guitar People.

Tracks 1, 2, 3, 4, 6 composed by Maatsethe
Tracks 5, 7 composed by Fonoda
All tracks recorded by Maatsethe
Mastering by Edgar Medina
Artwork by Daniel Castrejón

Tape / Cassette

As one half of Phantom Horse, his long-serving electronic duo with Ulf Schütte, Niklas Dommaschk co-produces beautifully muted, Kraut-inspired jams that seem to soundtrack fictitious TV ads for wondrous imaginary household appliances, e.g. a calmly efficient, if slightly unsettling kitchen robot with an integrated lava lamp feature.

In contrast, Shapes cuts tracks down to size – nothing here is longer than five-and-a-half minutes. Also, Dommaschk has turned up the treble, the prominence of the higher frequency spectrum adding bite and menace to these deceptively simple synth polyrhythms.
Whereas opening track “Benzin” (German for “Petrol”) manages to conjure the paradoxical image of something or someone meandering with urgency, “Einzeller” (German for “single-celled organism”) channels a John-Carpenter-style pulse, complete with horror sound effects. “Interference” is a truly effective representation of the term, with piercing, but quiet tinnitus frequencies set above a beat as sparse as it is crunchy. “Two Stones”, by contrast, offers a kind of robotic wistfulness whereas closing piece “Energies of the mind” fizzes out like a jumble of toy keyboards attempting to score a science programme - and failing, but instead revealing some much grander emotional truth.

This is the sound of breaking some kind of inner lockdown, of turning inwards and then projecting parts of murky inner shadows outward, as well-defined and sometimes lurid shapes, individually clear, but still in the process of becoming organized into a complete whole. The unfinished is what excites us the most. May the shapes never find their slot in the jigsaw puzzle.

All songs by Niklas Dommaschk
Recorded between 2017 and 2020 in Berlin and Nijmegen
Mastering by Edgar Medina
Artwork by Daniel Castrejón

vinyl pressed on yellow 180 gram vinyl

After being summoned from Ohio to London by Adrian Sherwood, Nick Riggio and Rebecca Magnetic have brought their Midwest musical experience to the South London electronic music scene with a unique creative vision. Fusing elements of techno, post-punk and psychedelic rock they explore spiritual connections and transcendence while Rebecca Magnetic's introspective vocals set against a tough backdrop of Detroit influenced rhythms and vibrations leave you in awe.

Their superb single 'My Future' is a brilliantly cosmic exploration of spaced out and spacious grooves. Crashing hits bring an edgy mood, while lurching drums drag you forwards.
Molten acid synths and the strained and pained vocals from Rebecca add further layers of intrigue to this most adventurous electronic trip.

First to remix is Oosh! man Dan Wainwright, and his version is laced up with sci-fi chords and echoing vocal sounds. The downtempo drum rotations are superbly heavy and trap you in a trance.
Next up, Retroforward is Al Mackenzie's solo remix/music project named after his successful Birmingham night.
Al is one half of Field Of Dreams. His 'No Future' remix is an airy and atmospheric remix that takes the track to the farthest edges of space on smooth, hypnotic grooves and beautifully astral melodies.

Lastly, Richard Sen has already been getting support for his remix from ALFOS man Sean Johnston, and he goes for a superbly rugged yet slow motion chugger that is dubbed out and expansive thanks to the arching guitar riffs that ring out to the heavens above fat-bottomed drums.

Whether experienced on the dance floor or in metaphysical states, this music is medicine for the mind and body.

Our lucky 13th release is here!

We have a powerful serving by Russian team Scruscru meets Meowsn.
Both have really cool releases under their belt on Sloth Boogie, NOmada, Nurvous & Star Creature Universal Vibrations.
So, here at Outplay we're very excited to bring you 'Surr Rendez-Vous EP'

A patchwork of creative sampling, wonky jazz chords and powerful synth melodies with a small sprinkling of tongue-in-cheek makes for a super cool four tracker.
The story of the tracks made us reminisce of the rise of the loose beat, broken house of a few years back, while this one still feels very contemporary.
Being a firm believer of letting the music speak for itself: enjoy!

Disco Bits are back with another party time 45.
Cannon & Mirrorball are in the edit suite once again re-touching and consensually grappling with funky old 70's grooves and late nite club accapellas to bring you the heat that your record box has been needing.

A - Hot Lovin' (Dont Stop Dont Quit)
On side A they they serve up some peaktime Studio 54 realness mixed with a bit of late 80's style hip house.
This is Cerrone meeting Sergio Mendes uptown, Saturday Night, whilst Chali 2na and his posse bumrush the show and grab the mic.

B - Shack Attack !
On the flipside the boys funk it up with some never fail drum breaks from the Disco Shack, vocal snatches of a houseparty classic and a swathe of brand new instrumentation.
The result is a jam is so dope you'll get a contact high by un-sleeving the wax.

Ain't no party like a Cannon & Mirrorball party, y'all !

Get 'em while you can.

Fragile X is an exciting new collaboration between vocalist Inga Schunn and producer Dylan Chase.

The group began in 2019 when Schunn posted an iPhone voice recording on Facebook in which she sang an acapella in her native German. Her friend Chase, who was recording and releasing at that time as Caffeine Worldwide, heard the 30-second clip and immediately asked Schunn, at that time only an acquaintance, if she might like to record something. Neither of them realised at the time that the first sessions would lead to a debut 4-track EP that capably references as many styles as most full-length albums from established artists, while also setting a blueprint for a project that could go anywhere from here.

The opening track alone, 'Lifetime', opens with a woozy blend of UKG rhythms and Royksopp synths, before giving way to Schunn's sedate rendition of Daniel Johnston's 'Some Things Last A Long Time'...basically the years 1990-2002 distilled into 5 furious minutes of 5am energy.

Across the whole release, Chase's productions show the same cinematic flair that made his previous releases on French Press Lounge, Third Try and Human Concrete Block must-haves for your late-night record bag.
A2 'Prix' with the kind of R&S attitude that would make forebears like LFO or Lone proud, could be the soundtrack for an illegal outback rave or a sunset drive over a Big Sur overpass.
The album closer, 'Fragile X Theme,” sounds something like if late 90's Bjork was commissioned to soundtrack the movie Hackers with Akai samplers on loan from the Hartnoll brothers.

The whole release may be overshadowed by the B1, 'Karaoke Girl', a track Schunn and Chase wrote in Mexico City in 2019 after a rough night at a Zona Rosa karaoke bar.
Opening with dripping synths as soft and inviting as the last drink before sunrise, Schunn tells a story of a woman who overstays her invite at an intimate birthday party between friends, taking the mic from the birthday girl and singing "Seal, Rush and Kate Bush" with a "death grip on the mic."
It's a bizarre, vivid song for such new artists to have come up with, and the lyrics are underpinned by Chase's equally adventurous combination of Nordic disco elements with heavily treated bursts of Japanese koto.
The Lifetime EP's title is a reference to the laborious process that it took to make the record, with multiple recording sessions across two countries followed by endless edits and a Covid 19 related vinyl slowdown bringing its release to a crawl.
The record itself is a fast-paced, dopamine rush debut that we are proud to share with you as both the culmination of a long process, and the beginning of a strange new story.

Reissue of this long lost funky Afrobeat/Reggae classic from 1978
For fans of Fela Kuti, Peter Tosh, Bob Marley, Segun Bucknor

The year is 1978 and one hot thing from the musical underground is Reggae music from Jamaica, the USA or the UK, where most of the acts had musicians of Caribbean descent. Reggae had the groove, the rebel spirit, and the relaxed attitude all in one, to enchant a big part of the world’s inhabitants. And while at least Jamaica as a relatively poor and so-called "Third World“ country proved to spawn Reggae acts of the highest quality, literally nobody dared to look further and dig deeper into the underground except of a few maniacs who were not satisfied with spinning Marley over and over again. And maybe they stumbled over the 1970s Afro Beat sound from countries like Zambia or Nigeria and then got interested. What did they find in the simmering metropolises of this still mysterious continent? Somewhere in Nigeria, they would have certainly caught a glimpse of mind-blowing performances of The Sea Lions, a six-piece group mixing the then hip Reggae and Afro Beat styles to generate fresh and furious music with a hypnotizing atmosphere.



Polyrhythmic beat patterns build the foundation, the utterly fruitful soil for the heartwarming melodies wailed out by the guitars and the commanding vocals with their conjuring charm. Great organ work builds the link between the groove section and the melody instruments. You can imagine what a pleasant experience this band might have been live back in 1978 when their sole album "Free The People“ got released. And this album, of which copies in only good conditions already fetch prices of $450, while nice clean pieces might go up to $1200, lives up to the expectations one might have from watching a live show by the Sea Lions. The sound is vivid, transparent, powerful, and clean enough to make the music a real pleasure listening to, but earthy enough to present nothing but the band going wild here. The songs all have a similar pace, not too fast, but swinging and pulsating to spread their energy to and among the listeners. The melodies are simple but come from the depth of the heart. This feels typical for African 70s music and despite being kind of reduced, these melodies keep haunting you still even hours after the record been taken off the turntable and put back into its sleeve. They bring images of an ever pulsating city by night, warm climate, palm trees, people at the bar, a witches cauldron of sounds, smells, voice, and pictures. And you feel the magic floating through the air while this groove will not let you go so easily.

You can either dance your soul out to this ultimate reissue or you can sit down, listen and let the music tell you a story of the dark corners of the big city, the narrow alleys that lead you into a boiling labyrinth of mystical dreams. And in songs like "You Can Make It If You Try“ you will find the whole magic of the African world, a world so fascinating for us Europeans but still so unapproachable in some ways and dangerous for the weak. Do not try to resist, this is your pleasure. Grab a copy and the Sea Lions will carry you off to their place. I haven’t heard such a killer Afro Beat and Reggae album with songs this exciting and wild in a long time. If you equally love Peter Tosh, Bob Marley, Segun Bucknor, and Fela Kuti, look no further. Here is the spiritual essence of all these great artists merged into one giant act.

From 1963 to 2014: "Peace Chant - raw deep and spiritual jazz" exhibits 51 years of music. A well matched anthology with sounds to dive into, hard rhythms to dance to and vocals to meditate on.

The Tramp Records crew has compiled 9 tracks in nice order and dramaturgy. Some tunes you might have never heard before unless you own one of the rare original vintage vinyl records. Peace Chant is released on two separate LPs with own catalogue numbers and on one CD. Some songs I can't get out of my mind:

The previously unreleased "Don't Give Up Your Smile Today" is opening the compilation. It's from Das Goldene Zeitalter, a band that didn't survive - but whose members had a huge influence on German jazz, soul, afrobeat and funk within the last years merging into groups like The Poets of Rhythm, The Whitefiled Bros., and The Malcouns. Boris Geiger aka. Bo Baral sings a Pharoah Sanders like tune, his voice deeply resonating, the rhythm section heavily grooving.

After the first three woolly recorded tracks Walt Bolen's "Peace Chant" with its dry and funky sounds with flute, two guitars and percussion is quite a pleasure to listen to. Organ and voice are Bolen's who used to play the keys in San Fernando Valley church when he was a child. "Peace Chant" was recorded for his own Ar-Que label in 1972 and is one of the few cuts with him as a leader. He has played sessions and clubs for years and today he is sitting at the church organ again.

This publication's oldest recording dates back to 1963: "Mozambique" by Luna Brothers Trio, a Caribbean and hypnotic instrumental. For my jazz trained ears it is rather unusual that the güiro (the gherkin played with a stick) is being played throughout the entire song. Heavily laid back cowbell, concas and timbales and the slightly detuned piano are wonderful! "Mozambique" sounds like from another star but its origin is Los Angeles, where the brothers Fred and Ricardo Luna had their night club band. You could imagine a bast skirt strip and at the same time the great Raumpatrouille (Space Patrol) landing on German B&W TV screens in 1966.

Hozan Yamamoto recorded crime jazz with the Japanese bamboo flute shakuhachi. He belonged to Tony Scotts "Music for Zen Meditation" in 1964, played with Ravi Shankar, avant-garde jazz bassist Gary Peacock and appeared at Donaueschingen Festival for contemporary music. Tokio university's open minded lecturer recorded the funky and modal "Spotlight on Sapporo" in 1972.

Two versions of this much-loved gem (covered by Led Zeppelin and Roger Daltrey from The Who more recently), ‘As Long As I Have You’ was the

title track of Garnet Mimms’ first solo album from 1964 which made a brief appearance as a seven inch and now goes for £500.

The slightly longer ‘Single Version’ made it to demo-only in France in 1967 and is a super rare cut - an edited live version with brass courtesy of

The Senate that goes for around £400 if you can find a copy. Remastered here from the original sound source.

”Marking the fifth communication from his self-titled label, Evigt Mörker’s latest EP offers deft instruction in the tranquilising tension between infinities and physicalities.

Arriving as the follow-up to his stunning debut album for Northern Electronics, the EP makes further illustrations toward the total spectral intensity of Evigt Mörker’s world. Across three tracks we trawl through three effervescent enclaves that each wind a different route to heady clubbed-out ravines. A shuffling impermanence remains at the core of the work, keeping us in a persistent transit between movement and reflection. Cycling a wealth of sonic detail over the listener, Evigt Mörker’s command is as effortless as it is chilling.”

Compilation of slow industrial punk EBM edits by Russian duo Olta Karawane. This is their second appearance on Maturre after their previous release on I'm a Cliché last year.

Record Kicks proudly presents "Damaged Heart", the first single taken from The Tibbs forthcoming new album "Another Shot Fired", that will hit the streets on November 20.

"Damaged Heart", a catchy mid tempo soulful gem, will be released on October 09 on digital streaming/download and a limited edition 45 vinyl. On the flip-side of the limited 45 the soulful album's bonus track "Ball and Chain". The 45 is limited to 500 copies worldwide.

According to the band, "Damaged Heart" is a love song and "It's about being in a relationship where something is just slightly off. Sometimes developing serious feelings for someone can be scary. Being vulnerable, and knowing that someone could hurt you very easily can be scary".

Based around Amsterdam, The Tibbs took off in 2012 working right from the start with producer Paul Willemsen (Beans & Fatback, Lefties Soul Connection, Michelle David & The Gospel Sessions). In 2016 their first LP, "Takin' Over" marked their debut with Milan based imprint Record Kicks. The singles "Next Time" and "The Story Goes" received critical acclaim on radio stations throughout Europe and North America and the 45s flew out the door in record time. The release of "Takin' Over" delivered the band far richer rewards. Playing sold-out venues in both Milan and Frankfurt. The Tibbs' profile rose further still with wonderful festival performances in Germany and Hungary, followed by a successful sold-out tour of Spain. In late 2018, Elsa decided to follow her heart and focus on a solo career. The Tibbs duly began their search for a truly worthy successor, bringing astonishing vocalist Roxanne Hartog and the band together for the first time. With new recordings in the bag and a great new album about to be released, The Tibbs are once more ready for lift off.

Every so often Public Release takes a snapshot along their discography timeline, to pause and recognize the various artists that represent the past, present and future of where the label sits. The last such release was in 2016, and four years, twelve releases later it’s time for another marker. This EP pools together six exclusive tracks from their global family, some on the PR roster for the very first time. From the beautifully addictive melodies by Tendts and Metropolitan Soul Museum, brooding baselines and synths from Richard Sen and Tim Sweeney, to the ecstatic floor energy produced by Fran-key and Earth Boys, the range presented here is impressive. Equally enjoyable as an abbreviated album, or as singular tracks at your service.

We present to you our twelfth release on 7” format, a collaboration between Ojah, Chazbo & Yuuri Bamboo.

The A side contains the track “Resilience”, a melodica version over a 90’s inspired steppers riddim. The first verse is played by UK Dub legend Chazbo, while the second verse is played by Japanese melodica player Yuuri Bamboo, bringing to the table two unique and different yet complementary melodica styles.
On the B side we find a hypnotic and adventurous stripped-down dub version, reminiscent of those early morning dubs at a Shaka session, mixed live in analog by Ojah at his studio.

Limited edition of 350 copies, hand-stamped and hand-numbered, served in a thick custom reversed kraftliner sleeve.
Produced by Ojah, recorded at Alchemy Dubs Studio, London.
Melodica by Chazbo & Yuuri Bamboo, recorded at Roots Temple Studio, Japan.
Mixed & mastered by Oscar Pablos “Ojah" at Alchemy Dubs Studio, London, 2020.
Graphic design by Victor Castro.

all rights reserved

Climate of Fear follows up Soft Boi’s debut LP with a mammoth drop: 12 tapes ripped straight from the first two years of Berlin parties. Released one per month, the series moves from Izabel’s shivering chug through Nkisi’s deadly anarcho-gabber psychedelia, Polar Inertia’s sleek techno throb and DJ Python & Mad Miran’s impromptu closing b2b.

Climate of Fear's second installment in their tape series comes from Polar Inertia: a one hour masterclass of HD ice burn techno. Recorded live, the set shows PI in full command of their craft, lunging forward with deadly intent while opening up to moments of shivering awe. The full roster is as follows:

Elena Colombi
Polar Inertia
Nkisi
Bruce
Relaxer
Bambounou
Shanti Celeste
Karen Gwyer
Vladimir Ivkovic
Izabel
Terekke
Mad Miran b2b DJ Python

Timeless periods of industrial rhythm: Diarmaid O Meara and Kucera collaborate to release ‘Shadowmen’ vinyl on Gobsmacked Records

Nightclubs around Europe are shut. Even in Berlin, the clubbing capital of the world, nightlife has been reduced to a simmer. “But that doesn’t mean we can’t have a good time and connect via timeless periods of electrifying and industrial rhythms”, said Irish producer and DJ Diarmaid O Meara. Together with long-time Gobsmacked techno stalwart Kucera, the two have dropped their latest vinyl ‘Shadowmen’.

The collaboration has derived from long sessions in the Gobsmacked cavern studios in Berlin. The result: A 12” that is laid out in the style of the perfect rave – with a breakbeat electronica entry that promotes procrastination, freakish, and intensely introverted thoughts created through pulsating rhythms and ghostly frequencies, industrial rave sounds for those moments of release.

Partying is a huge part of Berlin’s identity

By listening to the vinyl featuring a dark rhythm, it becomes obvious that the duo has been heavily influenced by underground techno nights in Berlin, and also regularly sharing the stage together at international events. With the pandemic-mandated closure of clubs stretching through the summer, however, playing gigs and festivals is no longer an option. Hence, illegal parties have sprung up to fill the gap and infuriated some public health officials and politicians, also in Berlin.

“Partying is still a huge part of the city’s identity”, continued Diarmaid O Meara who has been living in Berlin for over a decade and also organising parties all over the city. “Raves are a much-needed way to blow off steam after a period of isolation but we have to consider a more proactive approach, for instance district authorities making public spaces available to party organisers under conditions that ensure hygiene measures are maintained.”

Although there has been no shortage of digital music events either since the pandemic began, clubbing is more than just watching a DJ set. “Rather it’s about the unique space that’s created by artists and the crowd that are pulled together by music”, said Kucera who has been destroying dance floors across Europe with his live sets since 2004. “In times when people are still feeling more isolated than ever, our latest vinyl with the accompanying music video aims to bring a sense of connectedness and community during the lockdown.” The video imagery has been recorded live using Kuceras machine pattern triggering whilst performing the tracks live.

Unwavering dedication to the culture of counter-culture

The name ‘Shadowmen’ reflects the work both artists have contributed constantly and consistently to the scene over the past two decades with unwavering dedication to the culture of counter-culture. The artwork, in classic Gobsmacked style, comes with a tip of the cap to the global elite who have been successfully driving humanity off a cliff. “We’ve thrown a little apparent illuminati symbol in there for those who’ve been confined too long at home and on YouTube for the past 6 months”, said Diarmaid O Meara.

Both artists are working on a multitude of new tracks and events for the post-Covid era. Of particular interest is Kuceras live visual show for Gobsmacked, with visuals triggered from his machine live-set patterns. This is something he has been wanting to experiment with for a long time now and it started to take shape in the form of visual hallucinations of industrial areas and trains he had been filming while traveling across Europe before the world stopped functioning properly due to Covid-19. Diarmaid O Meara has quite a few tricks up his sleeve, including a new politically inspired alias, where both artists will take centre stage in some wacky antics.

Counterchange presents 'Eigenlicht' by Portuguese-German multi-instrumentalist, producer and award-winning film composer John Gürtler.

Gently teetering between krautrock-influenced synth mantras and saxophone improvisations, down-tempo electronica, sound design experiments and moments of rich ambience, 'Eigenlicht' is a diverse album of electro-acoustic music. The 11 tracks were recorded between two studios and on location at Berlin's infamous Teufelsberg, the abandoned Cold War era US spy-radio and radar outpost named 'Field Station Berlin', surrounded by forest to the west of the city.

A document of Gürtler's development, many of the pieces here were first laid down in his bunker-like former basement studios at Drontheimer Straße in north Berlin, before he eventually elevated above ground - both physically and musically - building his current Paradox Paradise studio and becoming an established film music composer. In 2019 John won the European Film Academy Award for Best Score, for his soundtrack for Nora Fingscheidt's debut feature 'Systemsprenger' (System Crasher).

In recent years John collaborated on a number of projects with acclaimed German producer and composer Phillip Sollmann aka Efdemin, performing live and releasing the 'Gegen Die Zeit' EP on Sky Walking, a subsidiary of Dial records where he also remixed Efdemin's 'Parallaxis' under the moniker The Borderland State.

In part an ode to the Macbeth Systems M5 modular synthesizer, with its three oscillators, much of the album features the towering instrument, whose uniquely rich tone and rumbling, pure bass end characterises tracks like 'Eigenlicht', 'M5', 'Synthetics' and 'Five Voice'.

"The M5's built in spring reverb and huge sliders and faders - as opposed to all the tiny knobs on Eurorack synths - make it as playable as any acoustic instrument."

John's primary background is in acoustic music, coming from woodwind and keyboard instruments, improvisation and composition. The leap into working with computers and electronic instruments found him exploring ways to make synths and samplers sound as organic as possible.

„Gianmarco Liguori has created his own fascinating niche in music which exists at a place where jazz, soundtracks and improvised art music intersect … mesmerising, sometimes eerily ambient … grounded in electronica soundtracks, experimental Miles Davis of the Seventies, slightly funky Eighties jazz-rock with a nod to minimalism and impressionism … Albums by Liguori offer the indefinable and stand at some distance from just about everything else going on in New Zealand music.”
Graham Reid, NZ Herald

Duga-3, composed and produced by New Zealand-based multi-instrumentalist Gianmarco Liguori, was originally released in 2011 in an edition of 200 copies. The album quickly sold out, with original copies sought after by collectors and fans of Murray McNabb and Kim
Paterson (who appear on the LP), both pioneers of jazz rock in New
Zealand in the early 1970s.

Co-producer Murray McNabb (1947-2013), keyboardist with legendary NZ jazz rock group, Dr Tree in the
1970s, recorded his album Song For The Dreamweaver with ECM artists
Ron McLure and Adam Nussbaum in New York (1990), and had performed with the
likes of Don Cherry, Ed Blackwell, Charlie Haden, Joe Henderson and Sam Rivers. He
was also a top-tier composer/arranger for film, television and radio.

The Games new album - Born 2 Rap - gets a limited 3LP unoffical Record Store Day release!
• ***PLEASE NOTE THAT THIS IS A NON-DISCOUNTED TITLE***
• The Game, two-time GRAMMY® Award nominated multiplatinum Compton rapper, songwriter, producer,
actor, and entrepreneur. He locked down a place in the pantheon alongside greats of both coasts by a
combination of bar-for-bar bravado, provocative observation, hard-hitting hooks, and sharp introspection.
And now the prolific rapper returns with his 9th album fittingly titled, Born 2 Rap. Collaborated on the
album with artists such as Ed Sheeran, Miguel, Anderson .Paak, Nipsey Hussle, 21 Savage, Bryson Tiller,
Chris Brown, Trey Songz, and many more.
• The Game’s prior album 1992 debuted #1 on Billboard’s “Top Rap Albums Chart” and tied Drake for most
#1 album debuts since the chart began in 2004. Also, the album gave The Game his eighth #1 on
Billboard’s “Top R&B/Hip-Hop Albums Chart” tying him for third with 2Pac and Lil Wayne. He started this
impressive legacy with double platinum 2005 full-length debut, The Documentary. It not only bowed at #1
on the Billboard Top 200 and garnered GRAMMY® nods in the categories of “Best Rap Song” and “Best
Rap Performance By a Duo or Group,” but it also emerged as a classic avowed by Pitchfork among the
“Top 50 Albums of 2005”. The 2006 followup Doctor’s Advocate retained his spot at #1 on the Billboard
Top 200 and went platinum. Maintaining positions in the Top 10, he ignited a prolific string of blockbuster
releases—L.A.X. 2008, The R.E.D. Album 2011, Jesus Piece 2012, Blood Moon: Year of the Wolf
2014, The Documentary 2 2015, The Documentary 2.5. [2015], and 1992 [2016].
• “Born 2 Rap” has over 75 million streams worldwide and peaked at #2 on Billboard charts

Another killer collection of blues and gospel, this is the eighth volume in the super enjoyable 'La Noire' series. The LP comes in a cool gatefold sleeve.

Brothers Reginald Omas Mamode IV and Jeen Bassa come together as Mama Odé on full length album 'Tales And Patterns Of The Maroons'. At its core this is a classic "hip hop" format LP - but have you ever heard Creole Sega Rap Roots music before? Of Creole descent from a group of African islands that transiently have hosted many settlers, west African slaves, colonialists and the potentially indigenous East African-Malagache Maroons; the brothers have an inherent spirit of diversity that runs through their recordings. Musical influences consist of jazz, funk, blues and reggae to un-placeable but definite Afro-drum patterns, through to their Golden-Era-Rap vocal flows, which have a sure nod to ATCQ and Slum Village. The album's deep grooves overwhelmingly seed optimism, subscribing to a positive future drawn from historically multi-ethnic ancestral lines. The brothers' natural vocals carry messages of unity, love and well being as well as a conscious questioning of humanity's ill practices and ideas.

Listening to Linja’s debut LP makes one think of Polish director Yuri Norstein’s gloomy melancholic (yet playful) movies, or perhaps just of a rainy day, or Chopin.

Velvet Noise is a collection of 7 experimental pieces made by Linja sometime around 2016-2017, using drum ma- chines and a lot of modular synthesisers. The album is woven with Simple melodies that crack through the squeaks and the bleeps, eery pads that fill the voids all sorts of FX. The atmosphere becomes filled with tension when it is playing in the room, as if something is clearly about to happen. Linja’s album is not so easy to describe, and yet due to its coherence and storytelling it has a certain feel and per- sonality of a good book rather than just a record. “It transcends its existence as a record”.

A vital voice in the modern discourse on depression, body positivity, and the LGBTQ community, her trailblazing influence has arguably never been more apparent and some of the key writers of the moment have teamed up to work with her. Alongside Rae Morris and Fryars, who co-penned the first single WHO I AM, co-writers include Jonny Lattimer (Ellie Goulding, James Bay, Rag ‘n’ Bone Man), Future Cut (Little Mix, Shakira, Lily Allen), Tom Neville (Dua Lipa, Kesha, Calvin Harris) and Shura. Among the tracks she releases here are the slinky, tropical-tinged Overload, a warning to a people getting on your nerves, and Escape, a broken beats-driven track about escaping everyday life. The summery Self Love owes a debt to Donna Summer, while Melanie’s love of Billie Eilish influenced the moody, intimate Nowhere to Run. Melanie and Billie’s admiration for one another was plain to see at this year’s BRIT Awards, where Melanie presented Billie with the Best International Female Solo Artist award after a long embrace. Who I Am and second single Blame It On Me have both set up the self-titled album and despite releasing during a global lockdown, she has performed to great acclaim on TV and online across the world on flagship shows such as The One Show in the UK, no less than 4 million plus German TV shows and James Corden’s Late Late show in the US where her performance is now the benchmark. With growing streaming support and A list radio support on both tracks in the UK, Australia, Latin America, SE Asia and Germany so far, it’s a global new chapter for Girl Power.

First new album in five years from Kiwi musician and producer Andrew Spraggan, aka Sola Rosa, spanning the genres of soul, funk, R&B, nu-jazz, hip-hop, and electronic music. The album features a heavy hitting line-up of vocalists, including regular collaborator and Streets singer, Kevin Mark Trail, Basement Jaxx’ long term collaborator Sharlene Hector and genre-defying, rising UK reggae star Kiko Bun. Other collaborators include London singer/songwriter Josh Barry, London’s eclectic Neo-Soul singer Jerome Thomas, British reggae and dub MC vocalist Eva Lazarus, plus up and coming Australian vocalist Thandi Phoenix. Closer to home, ex-pat Kiwi vocalist Wallace and Aotearoa’s own musical maverick, Troy
Kingi add their talents to the mix. Two single national/specialist radio campaign pre release Full UK/EU print and online PR campaign for singles, DSP tracks, and album release Extensive online/social marketing and advertising campaign to accompany each release
Physical product will consist of digipack CD, gatefold double black LP and ltd edition double Post-coronavirus touring and international promo trips are planned for 2021
Black double vinyl in a gloss gatefold sleeve.

Released in 2011 on the compilation «Mental Beauty » on record label, Composite Records, DJ Yellow teamed up with his friends,Tiago Fragateiro and the sublime singer Tracey K, to create the song "Special". This track had major success in the clubs and on the radio, with DJ’s like Hot Since 82 featuring it on his Pirate Ship Mix, as well as it landing in the Beatport top ten.Now Poussez Music has decided to re-release « Special » on vinyl and digital including a new mix of the original , DJ yellow’s Sleep No More remix, and a brand new track « Don’t you know ».This EP will be released on 12" vinyl and digital on Poussez Music in May 2020.

Absorbing new album from this very special artist. Hand printed sleeves. Very limited edition.

Marta De Pascalis is an italian composer living and working in Berlin. Her solo works employ analog synthesis and tape loops, incorporating free playing into steady, repetitive patterns. She has produced two albums of Berlin School minimal synth excursions: the self-released Quitratue (2014) and Anzar (The Tapeworm, 2016). Her new piece ‘Her Core’ has been published on spring 2018 by The Wormhole. Marta creates densely layered collages of glowing melodic shards and growling bass lines, her hypnotic minimal synth figures warping and whirling around each other before dissolving into entropic oblivion. For her compositions she uses improvisation on a tape-loop system, in which patterns of repetition create a sense of a dense, dynamic and cathartic distance.

All music by Marta De Pascalis Recorded at WORM Sound Studios in Rotterdam, artist's studio and Big Snuff Studio in Berlin, between 2019 and 2020. Mastered by Giuseppe Ielasi. Artwork by Lorenzo Mazon Studio. All rights reserved to the respective owners. doser039LP - Morphine Records 2020

A virtuoso pianist and composer of seminal works in early electronic and experimental classical music, Jocy de Oliveira’s musical output has had a great influence within Brazil and abroad. Her sole contribution to Brazilian popular music, her 1959-recorded album, ‘A Música Século XX de Jocy’ in many ways stands apart from the rest of her artistic oeuvre.

The original vinyl release marketed the record as adding to Brazil’s samba heritage with a ‘simple and original dialectic’, naming its style ‘vanguard samba’, which differs from both traditional samba and Bossa Nova, in its infancy at the time.

Listening to Jocy’s ‘20th century music’ in the context of the contemporaneous and vastly more influential Bossa Nova style is especially striking. Where Bossa Nova’s innovators incorporated influences from jazz and French piano music to a samba foundation, Jocy de Oliveira took a greater leap, wedding her century’s classical music to samba. Where Bossa Nova dawned a new epoch of poetic lyricism in Brazilian popular songs with great poets such as Vinicius de Moraes and themes of longing, love and nature, Jocy de Oliveira’s lyrics are concerned with scenes of urban tragedy and decay, presenting an alternative vision to Brazil’s stereotypical tropical paradise image almost 10 years before the emergence of the Tropicália movement.

The sounds and lyrics of Jocy’s landmark release still shock today. Put in the context of a conservative Brazil on the eve of Brasília’s inauguration, it is even more startling that this record ever got made. An unconventional mix of classical and popular musical influences combined with socially critical, ironic and at times journalistic lyrics make for a unique listening experience.

A unique representation of Brazilian popular music, Jocy de Oliveira’s masterpiece ‘A Música Século XX de Jocy’ is reissued for the first time. Meticulously remastered, the record is pressed on high-quality 45-RPM vinyl, with a modernised back cover and printed inner sleeve including previously unseen pictures taken for the record’s release in 1959.

Die in Los Angeles lebende Harfenistin Mary Lattimore kehrt mit ihrem neuen Album ,Silver Ladders" zurück. Seit ihrem letzten Longplayer ,Hundreds Of Days" aus dem Jahr 2018 ist Lattimore international getourt und hat gemeinsame Alben mit KünstlerInnen wie Meg Baird und Mac Mccaughan veröffentlicht. Außerdem erschien 2019 ein Remix-Album von ,Hundreds Of Days" an dem sich unter anderem Jónsi und Julianna Barwick beteiligten. Bei einem ihrer Festival-Auftritte traf Lattimore Neil Halstead von Slowdive: ,A friend introduced us because she knew how big of a fan I was and Neil and I had a little chat... The next day, I just thought maybe he'd be into producing my next record." Das tat er schlussendlich auch. Lattimore nimmt ihre Alben traditionell allein auf, daher hinterlässt Halstead als Produzent und Mitarbeiter eine ganz eigene Note. Der Aufnahmeprozess in Halsteads Studio, das auf einem alten Flugplatz stationiert ist, dauerte über neun Tage. Lattimores unverkennbarer Stil ist auch auf ,Silver Ladders" elegant - im Vordergrund stehen sich ausbreitende Harfen-Schichten, welche mit aufblühenden Low-End-Synthesizern und Halsteads Gitarre angereichert werden. Die Musik kann sich teils bedrohlich anfühlen wie der Klang des Ozeans, der sich mit den Gezeiten verändert. Inspiriert von den Erzählungen aus Cornwall, die Halstead mit Lattimore teilte, sowie von diversen Gesprächen, Ideen und ihren eigenen Reisen, haben die Songs deutlich etwas märchenhaftes - und doch ist ,Silver Ladders" offen für eigene Interpretationen. LATTIMOREs Erinnerungen - ,the Cornish landscape, the hotel from the movie The Witches, the cream tea, winning the pub quiz, the Sunday Roast, the ghosts of all of the surfers who had died in the wild waves, the night walks to the top of the hill to see the moon shining on the water." - scheinen durch diese Werke hindurch, ohne sie zu definieren. In gewisser Weise gehören sie, ähnlich wie das Meer oder der Himmel, allen. Das ist die Schönheit ihres Handwerks!

Even if you don't know her name - you will know her voice. It's 'Melbourne's High Priestess Of Soul' Kylie Auldist's unmistakable vocals on the 2016 global dance hit 'This Girl' by Kungs vs Cookin' on 3 Burners - the track that not only topped almost every pop chart across the planet, featured in many TV shows, adverts and films and social media memes, and has achieved over 1 billion streams & climbing. But of course, that's far from the whole story. Kylie established her enviable reputation as the featured vocalist in the awesome Australian outfits The Bamboos, and Cookin' On 3 Burners, and her fantastically well received solo albums for Tru Thoughts; 'Just Say' (2008), 'Made of Stone' (2009) and 'Still Life' (2012) and 'Family Tree' Freestyle Records (2016). Kylie's brand new album - 'This Is What Happiness Looks Like', her first for Greg Boraman's brand new label Soul Bank Music, further develops the musical approach she began on it's predecessor 'Family Tree' - and is very firmly entrenched on an electro boogie tip, rooted deep in the New York club scene of the early 80's. The opening track 'Everythink' sets out that 1980's electro-boogie sound and then fuses it with the song writing of a classic Wham or Hall & Oates tune - it has an infectious, slinky Moog synth bass line that will lodge itself in people's minds. Kylie's simply stunning vocal performance on this breezy and summery tune will surely make it a future classic. Producers Warren Hunter and Lewis Moody skills in the studio have brought forth many musical highlights on this album, but special mention has to be made for Is It Fun? This is where a brilliant and incredibly infectious composition is further enhanced by some top notch instrumentalists, perfectly executed production, a simply beautiful vocal performance, and results in what should surely end up being an anthemic, brand new 'soul weekender' style classic. Soul boys & girls, funkateers and disco fans won't be able to stop themselves falling deeply for this new collection of tunes, because it's not only a highly original take on a classic sound, but it was conceived, performed and recorded with a genuine passion and love, as Kylie says "Some albums are written fast, some take a long time, some albums experience setbacks, become beset by creative blocks and personal issues, and can generally be a whole lot of hard work which makes you question why you even bothered to start it in the first place - this was not one of those albums - hence the title 'This Is What Happiness Looks Like'!

Part 2 of the compilation series sees the journey evolving, this time with a more upbeat affair. Not much has changed in terms of selection, as we continue to draw inspiration from the wider world, we bring to you the sounds of artists originating from Argentina, Japan, Netherlands, Portugal, Brazil and the UK. Beyond the restrictions of this physical realm, let you ears nourish the mind & soul as they traverse the world for you…

Argentinian resident Silvio Astier introduces us to the record with the aptly named ’Santa Maria del Buen Ayre’ - the former name of his hometown Buenos Aires. Easing us in with a wonderfully atmospheric piece, carefully mixing simple percussion patterns with his own well-crafted luscious guitar work.

Next up, we have Japan native/Berlin resident Kotoe continuing the flow of downtempo sounds that slowly settle us into this compilation. ‘Ondami’ conjures up images of a distant dream… the floating vocals and echoing chimes capable of drifting the listener to a place of blissful escapism.

The tempo is turned up a notch for the last track of side A, provided by UK born folklorica maestro El Buho. Renowned for his love of merging the traditional and natural sounds of South America with modern electronica, ’Swifts’ certainly ticks those boxes with an added touch of dance-floor-ready groove.

Portuguese native duo Oxhala continue to push the sounds on the flip side into heavier territory. ’Earth Spirit’ builds from an amalgamation of stomping tribal drums, hypnotically playful keys and distorted vocals, channeling the listener to our innate primitive spirit - this is one for the body & mind.

Dutch party-starter Mytron’s contribution ’Oil’ provides the fuel for the party as he turns to fast-paced conga rhythms, cowbells and elephant trumpets. These exotic sounds bounce along with ever-persistent energy to create the soundtrack to a hedonistic carnivalesque celebration of all things wild.

If you haven’t already peaked with the previous offering, Brazilian native El Peche wraps things up nicely with track ‘Rastro De Fogo’ (ft. Mari Branco). Tripped out vocals phase in and out as the track is dominated by a tight bassline before delicate keys bring in a softer element to finish.

LTM presents a limited double vinyl gatefold edition (500 copies only) of B9, the definitive collection of cold wave and minimal electronica from Belgium, recorded between 1979 and 1983.
Originally released on Sandwich Records in May 1981, B9 featured 10 exclusive tracks by luminaries such as Digital Dance, Polyphonic Size, Kid Montana, Pseudo Code and Prothese, the latter the first recording project by Daniel Bressanutti of Front 242. Now digitally remastered, with 10 additional tracks on the second disc, this new deluxe vinyl edition also features Front 242, The Names, Marine, Siglo XX, The Neon Judgement, Berntholer, Allez Allez, Isolation Ward and more.
Cover op-art by Victor Vasarely. Design by Benoît Hennebert, based on a poster for The First Belgian Rhythm Box Contest (1981). Liner notes by James Nice. The existing CD version of B9 is also still available (LTMCD 2486) 

Repress!

Summer's in the air, and with impeccable timing, Bawrut returns with his fourth EP for Ransom Note Records! From ‘Ciquita’ to ‘Rumba’ to ‘Three Sounds’, the Madrid-based producer has been providing DJs with off-kilter dance floor ammunition for years now, amassing a dedicated following in the process. Out 13th September on 12” and digital, the Pronto Arpeggio EP is arguably his biggest and best collection to date. It’s certainly his silliest, kicking things off with a frankly absurd title track. Clocking in at almost 11 minutes, ‘Pronto Arpeggio’ is a prog techno labyrinth of fakeouts, tempo switches, thwacking kickdrums, and huge synths like if Giorgio Moroder did the music for Tomorrow’s World . So yeah, not your average mid-set toilet break tool (although if you want to use it for that, we won’t judge you). ‘Shooreee’ is classic Bawrut with a psychedelic twist, like spiking your own Negroni with mescaline. This sweaty, slow-burn acid weapon bides its time before erupting into a potent payoff. ‘Atchu’ carves its way through laser bleeps and dub FX, built around an unforgettable vocal sample that’ll be lodged in your skull for months whether you like it or not.

When it came to the remixes, we thought it was only right to enlist some of Bawrut’s biggest supporters. KiNK chisels ‘Pronto Arpeggio’ into a vlean slab of high-velocity machine funk, while Ruf Dug teases out the gentler side of ‘Shooreee’, resulting in a melodic track that feels tailor- made made for Mediterranean sunsets.

Bawrut absolutely ruled the festivals in 2018 with ‘More Cowbell’ and we’re expecting more of the same this year as he continues to go from strength to strength. Forza!

Another all-time classic from the extensive back catalog of the legendary Miami songstress Gwen McCrae.

"90% Of Me Is You" is instantly recognizable, it's been sampled countless of times by some of the most seminal Hip Hop artists ever (Large Professor, Jaylib, Mobb Deep & more) & is a bonafide "Rare Groove" sure-shot that never loses it's appeal & is always in demand with DJ's & producers. Perhaps it's the pairing of the languid guitar & strings, or Gwen's sultry vocals & that steady breakbeat that keeps people hooked some 40 years after it's original release Whatever it is, it's classic material from start to finish!

Backed here with it's original b-side slow jam "It's Worth The Hurt" this super-rare 45 has been re-mastered, re-pressed & brought back for 2015's dance-floors in conjunction & with the permission of T.K. Disco / Henry Stone Music, Miami USA.

Tape / Cassette

Longstanding collaborators & Bay Area based experimental duo Kush Arora & Lucas Patzek aka Only Now & Orogen return with ‘AVULS’, the project’s sophomore release.

Building on the unearthly, black hole transmissions and creaking, exospheric ambience of their self-titled debut, Only Now & Orogen present an abyssal, elemental broadcast from another unchartered extra-terrestrial zone. Remote and astronomical yet tied to a newfound sense of rhythmic structure, ‘AVULS’ navigates a course through inverted beat-led frameworks, surging detonations of sub-bass, and severely turbulent, monumentally scaled soundscapes.

Amidst this large, slow-moving cyclone of sound sit fragmentary emergences of choral voices and Gregorian chants; a distant, esoteric presence within dense eruptions of attritional noise and infinite recesses of low end.

In harsh, pointillistic detail and through infernal surround sound, Only Now & Orogen channel dub, noise and power electronics, evoking a distorted, ritualistic inflection on the Voyager Golden Record; a mass of tectonic motion and friction; a storm in deep space.

Jazz / Funk / Fusion 45" from the Italian collective 291out. Comes with a premium brown paper sleeve and pantone label. Mastered and manufactured by Timmion Cutting.