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With Folksong Distortions, Pauwels and Van der Aa create a journey of lament through the soul of times gone by. Their radical renditions of works by Larry Polansky and Christopher Trapanido not distort the more upbeat rhythm and tradition of folk songs, but rather reveal and highlight the essence of hard lives, imposed choices - choices that were illusions in the first place - and the difficult times and conditions they have always depicted.

Christopher Trapani arranged two classics from the U.S. South, effects. The work, developed in collaboration with Tom Pauwels and Liesa Van der Aa, was originally made and featured on ICTUS' American Lament programme. The duo was given considerable room for improvisation and interpretation in the process. The first song, 'Wayfaring Stranger', is a well-known folk/gospel melody in A minor. The lyrics contrast an aimless journey through a harsh, hostile world, with the Christian promise of heaven as a 'home' and reunion with lost loved ones. The second song, 'Freight Train', was written by Elizabeth Cotten, a left-handed guitarist who held her guitar upside down, resulting in a very recognisable strumming style.

Sweet Betsy from Pike and Eskimo Lullaby are taken from Larry Polansky's 2005 'Songs and Toads', a five-section piece that computer-composed pieces. The work was originally written for guitar, more specifically for the national steel guitar, refretted in a specific intonation designed by Lou Harrison. Each piece explores a different guitar tuning. A significant intervention to the original work is made to accommodate Liesa Van der Aa's violin with effect pedals, opening to an epic re-reading of the work as conceived by the American composer Larry Polansky. What this set-up enables is a melancholy, slow-paced approach that quite radically opposes the more upbeat and joyful nature of the folk songs.

SIHR: sonic manifesto by a post-anything quartet feat. multi-instrumentalists from the Mediterranean inland Sea. New folklore for a devastated planet, including Frédéric D. Oberland (Oiseaux-Tempête), Grégory Dargent (H), Tony Elieh (Karkhana) & Wassim Halal (Polyphème).

After a few concerts/screenings improvised as a duo in Cairo and Beirut, as well as for the Rencontres d’Arles, the Lille photography center and the Belgian magazine Halogénure, Dargent and Oberland have teamed up with mavericks Elieh and Halal for a puzzling cross-border manifesto. The first sonic moves of this eclectic quartet, made in a bunker studio somewhere between Paris and Berlin, urgently took the form of a quest, that of a neo-folklore for troubled times, a music seeping with many kinds of atavism and experimenting in all directions. A fertile no-man’s-land where trance and contem- plation, jazz and electronica, acoustics and electricity would merge in a stimulating mystical magma.

From the possible emergence of a Babelian language to the shared desire to rediscover music as a ceremonial act, this encounter took place over three days of improvised sound bacchanalia, the phases of which were all recorded by Benoit Bel (Zombie Zombie, Thurston Moore Group, Oi- seaux-Tempête). A hallucinated and generous testimony, SIHR is a synergy of many different worlds and many different possibilities, the sonic vision of a present conjugated in a hybrid tense and exalted by too many tangos danced on the glowing ashes of our days.

Multi-instrumentalist & photographer, Frédéric D. Oberland has been leading the Oiseaux-Tempête collective for over ten years, lying somewhere between avant-rock and free jazz, repetitive music and electronics. Founding member of the bands FOUDRE! and Le Réveil des Tropiques, he’s also perfor- ming solo and composing soundtracks for cinema and installation art. Since 2018, Oberland co-cu- rates the NAHAL Recordings imprint alongside producer Mondkopf.

Electric guitarist, oud player, composer and photographer, Grégory Dargent cultivates his musical schizophrenia and identity through improvised music, trance music, jazz, hijacked maqam, repeti- tive music, pop, electro-acoustic installations and French chanson. From L’Hijâz’Car to Babx, from Berber singer Houria Aïchi to Rachid Taha, from Trio H to Sirventés enragés, from music for images to contemporary choreography, from the most acoustic of ouds to the most nuclear of guitars, he conducts, accompanies, composes, deciphers, questions, delves, makes mistakes, bounces back, ar- ranges, orchestrates and tirelessly shares his creative passions.

Tony Elieh is one of the pioneers of experimental music in Lebanon. A founding member of the first post-rock group of post-war Lebanon, The Scrambled Eggs, he has since developed his unique elec- tric bass skills in various groups and styles of music including collaborating with in groups such as Karkhana, Calamita and Wormholes Electric. Relocated in Berlin in recent years, he has performed a solo set of heavily processed bass generated sounds.

Is Wassim Halal only a darbuka player? Maybe !? But what about his music, compositions, ideas. You can find him with Polyphème playing and co-composing popular-contemporary music with Gamelan Puspawarna, or next to the french bagpiper Erwan Keravec, with the Bey.Ler.Bey trio (w/ Laurent Clouet & Florian Demonsant) working on an improvised-balkan-already-improvised-music, with per- formers and drawers Benjamin Efrati and Diego Verastegui, with Gregory Dargent and Anil Eraslan in H, creating a new pedal generating »Random taksim«, composing his own »Poème Symphonique pour 100 youyou« or composing pieces for ensembles.

Introducing Dionne Warwick 'Now Playing' on Milky Clear Vinyl - This record showcases her iconic songs such as "Walk On By," "I Say a Little Prayer,” and “Do You Know The Way To San Jose.” These classics resonate with audiences across generations and serve as powerful reminders of her talent.

Introducing The Meters 'Now Playing' On Black Ice Vinyl - This Record Showcases Their Iconic Songs Such As "Cissy Strut," Played By Leo Nocentelli, And The Festive And Celebratory Track That Captures The Spirit Of New Orleans, "Hey Pocky A-Way." These Classics Resonate With Audiences Across Generations And Serve As Powerful Reminders Of Their Talent.

London outfit Kassian continue their broadly- evolving yet highly detailed journey through and beyond sound towards something ever more expansive. Their second release for !K7 Records comes in the wake of creating a dedicated hardware-forward studio in a Northeast London container complex, where they have the freedom to interlink their machines. This renewed focus brought them to Supercontinent EP, named for the ancient geological era when Africa and South America were joined as Pangea.

A reformulation of rhythmic ideas inspired by South= African Amapiano and South American Baile Funk governs the two hemispheres of the record. The pair examine and deconstruct dancefloor material, eschewing 4/4 for interlocking shaker patterns, searing acid lines, cracking breakbeats, and vocal samples in Zulu and Brazil Portuguese.

The immediacy of the restless rhythm and bass-led funk of “Yena” (the word Yena translates to ‘he/him /man’)forms a sweet spot where double-time and half-time can coexist. “Yami” (‘mine’ in Zulu) is a slinkier proposition which sheds prominent percussion in favour of a weighty, fluid, acid-informed bassline undulating from below.

An ascending percussive riff marks the arrival of “Pulgueiro”, followed closely by break beats and the nostalgia of distinctly British acid electro; it is an intentionally future-forward retelling of a vintage sound, replete with a mind-melt breakdown of rave pads.

A dubbed-out groove dominates the bottom-heavy “Sistema” – a groovy, steady roller that chugs and propels and chugs with head-nod hypnotism through an intricately minimalistic approach.

The official soundtrack release to the new film of Amy Winehouse, BACK TO BLACK, releasing Spring 2024. Amy Winehouse is widely considered as one of the greatest artists in recent history, selling more than 30 million records worldwide. Her acclaimed self-produced 2006 album Back to Black, propelled her to global stardom, going on to win a (then) record breaking 5 Grammy Awards, including Record Of The Year and Song of The Year for hit single Rehab. Releasing on 140g 1LP Black vinyl, the tracklist comprises a carefully curated highlights collection of Amy's original recordings and tracks from her idols, such as The Shangri-Las, Billie Holiday and Dinah Washington, that are featured in the film, plus a new original track sung by Nick Cave. The vinyl product is housed in a single sleeve with printed inners featuring a personal note from director Sam Taylor-Johnson.

The Mental Groove Classic series returns with a treasure trove of rare and hard to find tracks plucked from the personal collection of label founder Olivier Ducret, a pivotal figure in Switzerland's acid house and rave-era party scene.

On Volumes Two and Three of the series - the first installment hit stores in 2017 - the Mental Groove and Musique Pour La Danse label founder takes us back to the turn of the '90s, a time he spent promoting parties in fields, squats, forests, warehouses and former factories in and around Geneva and behind the counter of a record shopof the same name. While others in Switzerland's emerging dance music scene gravitated towards US house and garage, Olivier and his crew opted for a bass, breaks and techno-focused sound inspired by regular trips to clubs, raves and record shops in the UK.

Drawing directly from his own record box and a memory bank full of snapshots of euphoric dancefloor moments, Mental Groove Classics volumes Two and Three sees Olivier reaching for cuts of near-mythical rarity, genuinely overlooked gems, and undeniably brilliant tracks that have left a long-lasting impression on the local raving landscape. It's an autobiographical audio document, historical archive and personal musical statement all rolled into one, inspired by a moment in time where musical boundaries were being redrawn in a wave of carefree optimism and freedom inspired new rave scenes across Europe and far beyond.



Matt Anniss

Original artwork by Soho's Brain Club co-owner and artist of early British club culture Mark Wigan.

File under house, breakbeat, techno and warehouse rave music

Few recording artists have aligned the quantity and quality of their releases as well as New Zealand singer/guitarist Roy Montgomery has in 1995. Beginning with kranky's release of the soundtrack for an imaginary film That That Is...Is(Not) by Roy's duo Dissolve early in the year, a series of superb albums and singles have been issued by a variety of labels across the world. Each one of them is a must have. Most recently, the Drunken Fish label released a collection of pastoral drones entitled Scenes From The South Island, singles have appeared on the Roof Bolt and gyttja labels, and further singles are scheduled with Ajax, Siltbreeze and others.
Temple IV is the first solo recording by Roy Montgomery on kranky. The album was recorded by Roy on a 4 track tape deck and then thickened up with monophonic moog. The tracks on the album are thick with interwoven guitar lines and moog drone, inspired by the Guatemalan rain forests and the mysterious ruins of the temple and ruins Roy visited there.
Roy Montgomery spent the past year in New York, Chicago and London before returning to New Zealand. While in the UK he played live with Flying Saucer Attack and collaborated with spoken word performer Kirk Lake. A brief tour across the United States in September saw Roy performing before enraptured audiences in New York, Boston, Chicago, Detroit and Los Angeles.
The long overdue recognition of Roy Montgomery as a crucial figure in New Zealand's musical history as a member of The Pin Group, Shallows and Dadamah, is now augmented by his new recordings. Temple IV will serve to extend and deepen that appreciation.

Longtime enthusiasts of ambient music have much to celebrate as Rafael Anton Irisarri's cherished out-of-print cassette, "Midnight Colours," returns in a meticulously remastered edition and makes its inaugural debut on vinyl. The significance of this album's announcement is accentuated by its historical resonance, coinciding with the same day in 1952 when the world bore witness to the first-ever test of the hydrogen bomb.

"Midnight Colours" is far more than a mere album; it's an exploration of the enigmatic relationship between humanity and time. Conceived as a sonic interpretation of the Doomsday Clock, which symbolizes the world's existential vulnerabilities, Irisarri's work beckons listeners to contemplate the gravity of our existence and the delicate balance that envelops it.

"I wanted to capture the essence of humanity's relationship with time, both the anxiety and the serene beauty that coexists within the shadows of the night," explains Irisarri. "The vinyl format adds a tactile dimension to the experience, inviting listeners to physically engage with the music."

Known for his contributions to the ambient and electronic music genres, Irisarri often explores themes of introspection, nostalgia, and the interplay between sound and emotion.

Recorded in 2017, when the Clock was at 2½ minutes-to-midnight (and at the time, the second-closest to midnight since the Clock's inception in 1947), "Midnight Colours" permeates with the melancholy of memories resurfacing as one approaches the end of life: the regrets, the closure, the uncertainties, the anxieties.

Originally released as a limited tape on the beloved Atlanta-based label Geographic North, "Midnight Colours" swiftly garnered praise and acclaim within the ambient music sphere. Now, with this newly remastered edition on his own Black Knoll imprint, fans, both longstanding and newfound, can rediscover the album's captivating beauty in unprecedented clarity and depth.

"I've wanted to release 'Midnight Colours' on vinyl since it first came out, and I'm thrilled to finally be able to. The remastering process, brilliantly done by Stephan Mathieu, has breathed new life into the work, and I'm eager for listeners to experience it in this format."

The reissue of "Midnight Colours" features band-new artwork and design by the renowned Mexican visual artist Daniel Castrejón. A frequent collaborator and friend of Irisarri, Castrejón's imagery impeccably complements the album's mood and themes, extending a compelling invitation for listeners to explore its aural world visually.

This landmark release serves as a testament not only to Irisarri's enduring impact on the ambient music genre but also as a long-awaited gift to those who have patiently anticipated the album's vinyl debut.

Forest Green Vinyl

Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

180GM BLACK VINYL : 500 PRESSED WORLDWIDE.

Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.
Formed in the first wave of British post-rock alongside the likes of Mogwai in the late 90s, John Peel favourites Billy Mahonie are set to return with the first new music from their original line-up in some twenty-four years. Whilst their debut album ‘The Big Dig’, released in 1999 on Too Pure Records, is considered a classic of the post rock genre, Billy Mahonie always crafted their intricate music with memorable hooks and melodies and performed it with energy and gusto. Theirs was not an aimless, meandering sound, instead the songs and attitude were rooted in punk rock, and still are. Billy Mahonie put the rock into post-rock.
Set for release this coming May 24th via Whistling Sam Projects, ‘Field Of Heads’ sees the band returning with their classic original line-up of Gavin Baker (guitar), Howard Monk (drums), Hywell Dinsdale (bass and guitar) and Kevin Penney (bass and guitar). Whilst this line-up has been semi active for a few years, no new material came to fruition. After their last gig in 2017, however, the band decided it was time to get back into the studio, but with two members living abroad new challenges were faced, but ideas were shared, old ones were resurrected and finally in October of 2019, Billy Mahonie were back in the studio.
Recorded over two long weekends on either side of the Covid 19 lockdowns, the band tracked at The Church studios, owned by their former collaborator and front of house engineer Paul Epworth, with senior engineer Luke Pickering at the controls, allowing ‘Field Of Heads’ to quickly take shape.
New single ‘Kaiju’ gives the music world the first taste of ‘Field Of Heads’ and right from the off, it’s classic Billy Mahonie. Immediately bursting into life with the energy and melody that is so unique to their sound, Howard’s driving drums thrust the music ahead as the guitars and synths weave their way around them. Intricate and shifting, but never at the expense of a tune that sticks in your head.
“This one came from a chord progression myself and Gav first tried out jamming in 2010,” explains drummer Howard. “Needless to say, when Hywell and Kev got their hands on it, it became something no-one ever envisaged. Kev's great title is, of course, the Japanese name for the subgenre of monster-based science fiction. A frenetic riff opens the song and for a counter guitar part only two options remain, play in the minimal gaps or find an overarching theme. We chose both. Kaiju films influence the additional Synths, echoes of those early Japanese movie themes. Some people we have played this to in advance have suggested this track is one we should lead with, as it is kind of where we left off. We agree. It rocks pretty hard. And is a bit funky too. What’s not to like?!”
 
Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, set up for global distribution through SRD, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.

SEXTOSENTIDO is proud to present its first vinyl release in the hands of Intuition, the joint entity conformed by Aeryeen and IMMATERIÆ somewhere on the Catalan coastline. After some individual releases and many hours of meditation, their debut has crystallized into a prism that distorts the space-time continuum, lensing the higher self back to the source.

Let yourselves be taken on this heartfelt journey divided into four eerie crusades across the Sol system.

Following a short hiatus, Superlux Records returns for their 9th exploration into the expanses of house, techno, and electro by welcoming the exciting, emerging Dutch producer and DJ Mathijs Smit to their roster.

As soon as Smit grabbed the attention of the Superlux crew with his hybrid production style and trademark vocoder work, they knew these were earworms destined for their catalog. Marking his first solo EP since 2021, Smit showcases his development In the studio on the 'Twisted Minds' EP with four modern, stylish house cuts loaded with versatility for use from peak time to warm up.

The release starts as it means to go on with 'Changed My Mind (But Not Myself).' A sleek, forward-thinking house jam that salutes to the past with a fast-paced, organ bass melody and intricate drum-machine programming, setting the tone nicely for what's to follow. The A-side wraps up with 'My Mind Is Yours'. Shades of golden-era Italian progressive to this one, a straight no-nonsense feel-good party starter; mark your cards for summer.

On the flip, we get deeper into the groove starting with 'Plugger'. A shuffling beat underscores a moodier bassline with acid flourishes to give this one a bit more of a basement feel, although the bright synths do leave enough versatility in this one to work in multiple settings; a testament to Smit's dexterity on the buttons! Closing out proceedings is the interminably funky 'Quiero, ' the last track submitted by Smit, which is suitably the one to close out a seriously impressive debut on the imprint.

The release continues Superlux's proud lineage of discerning dance music, with Smit being a welcome addition to a roster already sporting the quality of N-GYNN, Paul Blackford, LVCA & Thoma Bulwer. Expect more as the label continues its development in 2024 and beyond.

Singer, actress and cultural conduit for peace, Liraz releases a new collection of four songs, primed with an intensity and a raw musical revolt, energising the Middle Eastern musical landscape, sung in Farsi and driven by her deep desire for positive energy and much needed global harmony and light.

Continuing his rippin’ run of stellar EPs on the likes of Limousine Dream and Pleasure Club, Rudolf C rolls through with a new plate of precision engineered hardware for DATA DISK. The cryptic cabal laying down the 1’s and 0’s at DD have been tracking Rudi’s work via stealth satellite since his early production and A&R work at his own Salt Mines imprint. Smitten with his maximalist mutations, we’ve skulljacked four tracks of recursive, roiling Techno directly from Rudi’s brainstem and lovingly laid them wax. Mild acidity throughout has etched continuous looping grooves onto the medium, allowing the end user to retransmit this DATA through their choice of high-powered audio amplification system.

Kalita are proud to announce the first ever 7” single reissue of what is possibly the most coveted gospel disco record in existence, the Al-Dos Band’s soulful masterpiece ‘Doing Our Thing With Pride’. This iconic reissue is backed by the band’s previously unreleased recording ‘Love Jones Coming Down’. At long last, Kalita revives this South Carolinian grail single, housed in a limited-edition picture sleeve. Originally penned and produced in 1976 by husband-and-wife duo William and Elizabeth Robinson in Greenville, South Carolina – a city steeped in musical heritage – the record was released in a run of just 200 copies the following year on their own label, Warmer Productions. ‘Doing Our Thing With Pride’ epitomises the best in uplifting crossover gospel disco, equally suited to both peaceful listening and dancefloor action. Despite garnering some attention upon its original release, the single struggled to make headway against the prevailing music forces of the time. Coupled with mounting academic and familial obligations, the release faded into obscurity, eventually becoming a highly sought-after gem, commanding exorbitant prices whenever an original copy surfaced for sale—a rarity that occurred only once every decade. Now, following their successful unearthing of the band’s unreleased album in 2021, Kalita present this remarkable record in a limited-edition 7” picture sleeve single.

2024 repress

Staying on the Mediterranean coast for their third release, Music From Memory this time shift their attention to the work of Mallorcan musician Joan Bibiloni. TIP!

Primarily a guitarist, Bibiloni was creating music at an early age, releasing his first single at the tender age of 15. In his twenties he formed Spanish progrock outfits Zebra and Euterpe where he would meet Pepe Milan, the two of them becoming the bluesy folk duo 'Milan & Bibiloni'. Bibiloni himself would later go on to play with a number of luminary musicians such as Larry Coryell, Daevid Allen and John Cage to name but a few.

In 1982 Bibiloni set up his own label Blau in order to highlight the muchoverlooked work of musicians not only on his home island of Mallorca but across the Balearic Islands. In doing so he created a platform not only for
local talent but also for his own music to breathe a new life, much influenced by the landscape and life that surrounds the islands.

Whilst Bibiloni's first solo releases on his Blau imprint have stronger echoes of contemporary Jazz fusion of the time, it is on the album known as 'Una Vida Llarga I Tranquila' where Bibiloni really began to experiment with new sounds
and technologies; fusing tape loops, drum computers and synthesizers.

Taking these more electronic infused works as a departure point for the compilation and drawing on material from across his following five albums, 'El Sur' sets out to highlight Joan Bibiloni's unique ambient fusion and sun-drenched Mediterranean beach boogie.

Incubus released their critically acclaimed studio album "Morning View" on October 23, 2001 and was celebrated by fans and the music industry alike. The album went double platinum and spent 60 weeks at number 2 on the Billboard 200.

Now the band is releasing the re-recording of the highly acclaimed double album entitled "Morning View XXIII".

"About 23 years ago, we rented a house by the sea to start an art experiment. The unfamiliar and expansive surroundings helped us find the FLOW state we had been longing for, and the songs that became known as 'Morning View' have since become an integral and important part of our lives," says Brandon Boyd.

"That album helped make our little art experiment called 'Incubus' a way of life, and here we are, some 23 years later, ushering in a new phase of its existence. 'Morning View XXIII' is a re-recording of the 2001 album and is the result of our desire to honor that legacy, but also to reinterpret it as musicians who have played these songs night after night with much love over the last 23 years. See you on the road soon!"

Superb classious Acid mental music... Acid Swan songs full of energy and nostalgy... walking on a frequency tightrope.

Chelsea Wolfe has always been a conduit for a powerful energy, and while she has demonstrated a capacity to channel that somber beauty into a variety of forms, her gift as a songwriter is never more apparent than when she strips her songs down to a few key components. As a result, her solemn majesty and ominous elegance are more potent than ever on Birth of Violence.

There is a core element to Chelsea Wolfe’s music—a kind of urgent spin on America’s desolation blues—that’s existed throughout the entirety of her career. At the center, there has always been Wolfe’s woeful longing and beguiling gravity, though the framework for compositions has continuously evolved based on whatever resources were available. Her austere beginnings were gradually bolstered by electronics and filled out with full-band arrangements. The music became increasingly dense and more centered around live performances. Her latest album, Birth of Violence, is a return to the reclusive nature of her earlier recordings

“I’ve been in a state of constant motion for the past eight years or so; touring, moving, playing new stages, exploring new places and meeting new people—an incredible time of learning and growing as a musician and performer,” Wolfe says of the era leading up to Birth of Violence. “But after awhile, I was beginning to lose a part of myself. I needed to take some time away from the road to get my head straight, to learn to take better care of myself, and to write and record as much as I can while I have ‘Mercury in my hands,’ as a wise friend put it.“ Birth of Violence is the result of this step out of the limelight. The songs stem from humble beginnings—little more than Wolfe’s voice and her Taylor acoustic guitar. Her longtime musical collaborator Ben Chisholm recorded the songs on a makeshift studio and helped fill them out with his modern production treatments and the occasional auxiliary flourish from ongoing contributors Jess Gowrie (drums) and Ezra Buchla (viola).

The album opens with “The Mother Road,” a harrowing ode to Route 66 that immediately addresses Wolfe’s metaphoric white line fever. It explains the nature of the record—the impact of countless miles and perpetual exhaustion—and the desire to find the road back home, back to one’s roots. Songs like “Deranged for Rock & Roll” and “Highway” offers parallel examinations on the trials and tribulations of her journeys while the ghostly “When Anger Turns to Honey” serves as a rebuttal to self-appointed judges.

While the record touches upon tradition, it also exists in the present, addressing modern tragedies such as school shootings in the minor-key lullaby “Little Grave” and the poisoning of the planet on the dark wind-swept ballad “Erde.” But the record is at its most poignant when Wolfe withdraws into her own world of enigmatic and elusive autobiography. Much like Alan Ginsberg’s hallucinatory long-form poem Howl, the tracks “Dirt Universe” and “Birth of Violence” weave together specific references from her past into an esoteric overview of the state of mankind. Though the lyrical minutiae remain secret, the overall power of the language and delivery is bound to haunt the listener with both its grace and tension.

“These songs came to me in a whirlwind and I knew I needed to record them soon, and also really needed a break from the road,” Wolfe says. “I’ve spent the past few years looking for the feeling of home; looking for places that felt like home. The result of that humble approach yields Wolfe’s most devastating work to date.

European Headline tour confirming now for 2020. UK/EU Publicity handled by Lauren Barley at Rarely Unable. Immense support from Press, including coverage with NPR, Pitchfork, FADER, Vice, Revolver, Decibel, Under The Radar.

"Return Of The Super Ape" was the final revelation from Lee Perry’s Black Ark Studio, a psychedelicized dub journey into uncharted sonic territories. The longplayer is now state-of-the-art remastered by Pete Norman (Finyl Tweek) and restored with original press artwork complete with inner disco sleeve!

The album from 1978 is the final chapter in the trilogy of albums in the period from 1976 - 1978 following "Scratch The Super Ape" (aka "Super Ape") and "Roast Fish & Cornbread". Produced, mixed and arranged by Lee Perry at the Black Ark Studio featuring on all tracks the skills of The Upsetters and additional vocals by The Full Experience on "Dyon-Anasaw" and "Tell Me Something Good". The frontsleeve artwork image was created by Lloyd Robinson (also known as the singer of the Studio One classic "Cuss Cuss").

Reggae expert Jeremy Collingwood says: "The Return Of The Super Ape that surfaced later in the year 1978 saw Perry way off the mainstream with a set that owed much to jazz with its loose structure and horn breaks. The title track took an early production from Perry, U-Roy's " OK Corral", and reshaped it into another futuristic outing - just like the original that had been a decade earlier. At the time few knew what to make of it and over the years its lack of proper re issue had meant it's remained a hidden Perry gem. It also marked the end of a hugely creative period at the Black Ark."

Tracklisting / side-split
Side One
A1 Dyon-Anasaw
A2 Return Of The Super Ape
A3 Tell Me Something Good
A4 Bird In Hand
A5 Crab Yars
Side Two
B1 Jah Jah Ah Natty Dread
B2 Psyche & Trim
B3 The Lion
B4 Huzza A Hana
B5 High Rankin Sammy

• Follow-up to the highly acclaimed dub album Super Ape, the album like its predecessor, was produced by Lee ‘Scratch’ Perry. This was the last album recorded by The Upsetters before Perry closed down his Black Ark Studio.
• The remastered album showcases the production skills of undisputed dub master with insanely layered textures and technical wizardry. With musical backing The Upsetters – Boris Gardiner, Mikey Richards, Sly Dunbar, Benbow Creary, Earl ‘Chinna’ Smith, Winston Wright, and Keith Sterling.
• Remastered by Pete Norman at Finyl Tweek
• Coloured Inner Bag

2024 Restock

Grand Soleil is an ode the awakening. Composed for Organ and Piano, this 7 tracks album is a soul trip with gospel accents. The great french soul singer LYNN is blessing this record with her airy vocal layers and a dope song: Clouds. Blackjoy closest partner, Blundetto is rocking the drums over minimal drum machine paterns. This record is recommended for the best morning routing.

This 7” single features two outstanding cumbias published on MAG in the 60s that have never been available on a 45 release before.

Dance floor oriented tropical music at its best!

MAG has been, since its foundation in 1953, a pivotal label in Peruvian music, allowing the development of the careers of both tropical artists and musicians of other genres such as rock, pop and jazz. At the head was Don Manuel Antonio Guerrero, its founder, and the name of the record company is nothing more than an acronym formed from its own name. (M.A.G.).

This 7” single features two outstanding cumbias published on MAG in the 60s that have never been available on a 45 release before.

Carlos Pickling was a legendary MAG artist who led the orchestra that accompanied Benny del Solar, Lita Branda and Melcochita in the tropicalized version of Spanish rumba, when the beats of Iberian rumba were still exotic in South America, and he also played countless cumbias, mambos and guarachas. The distinctive sound of his Hammond organ can be heard on this recording, ‘Cumbia Morena’, as it became his signature sound.

Los Demonios de Corocochay were one of the first Andean cumbia bands in Peru and sported an unique sound spiced up with the textures of a playful organ, as can be heard on this superb ‘Cumbia en Dominante’.

2024 Repress

With over 20 years of experience in the scene, Digital World will mark Break’s fifth solo album amongst a stack of anthems across the years. The Top D&B Artist of all time on Beatport, Break has built a huge reputation for crisp breaks, heavy bass, and strong melodies with stellar D&B cuts like Last Goodbye with Celestine, as well as I Got You with SHY FX, Breakage and Tyler Daley. His output of killer remixes and singles have to led to this latest project for 2023, which looks to be a big year for Break and Symmetry.

Break continues his legacy with this flawless body of work which truly encapsulates his timeless, forward-thinking sound that continues to push the limits of the genre. The album contains a stacked line up of features, boasting vocals from legends MC Fats, Charli Brix, Fox, Liam Bailey, Lorna King and SP:MC, all amongst that signature Break production of crisp drums and huge, system rattling basslines.

"Deep Dancefloor Jams of African Disco, Funk, Boogie, Reggae & Proto Electro Music 1977-1986reggWhen a passionate DJ and crate digger intuitively selects music for a DJ compilation, without artistic compromise and without the burden of trends, AfroMagic vol.1 emerges from the depths of his soul. Herewith we present the new favorite phonomancer’s tool for all the DJs who experience the dance floor as a sanctuary and a source of freedom and love.

The most fundamental thing that defines African music is that it was created for dancing. In African dance, there is often no clear distinction between ritual celebration and social recreational entertainment – one can seemlessly merge with the other. Because dance and rhythm have more power than gesture and more richness than words, and because they express the deepest experiences of human beings, dance is in itself a complete and self-sufficient language. It is truly an expression of life with all of its emotions – joy, love, sadness and hope – without which there is no African music and dance. For the African people, dance and music are integral parts of the body and soul, thus depicting the expression of life, current emotional states, visions or dreams. Through hypnotic repetitive music and dance, people communicate with each other and with the souls of the dead, the animals, the plants, the stars, the Gods… They free the body and the spirit through ecstatic states, reaching a healing sense of freedom, happiness, and satisfaction.

Throughout history, this transcendental perception of rhythm and dance originating from Africa, influenced popular music worldwide, thus creating new living and breathing forms of musical genres – freeing them from their industrial mold. Funk, disco, soul, boogie, reggae, dancefloor jazz etc., developed in parallel all over the world. It is foolish to perpetually discuss where they originated from and who were the creators of all these fiery dance floor genres – being obvious that they directly or indirectly originate from the African continent and its people who were as well, over the centuries, influenced by disturbing socio-cultural factors of colonialism. However, no one can enslave the soul. The seeds of free and uninhibited dance and rhythm, true to their original form, initially first sprouted onto the USA’s fertile fields of clubbing and popular music while later evolving in other parts of the world.

The disco funk club culture manifested itself as a phenomenal explosion of artists and grooves in the second half of the 70s in the USA. Shortly it spread around the world continually reigning over charts in its various forms – to this day. Clubs emerged where the DJ is an almighty shaman and the dancers are a tribe united under one roof. This urban ritual had and still has a single goal: togetherness, freedom, and love. Clubs have evolved into temples where we free ourselves from the burden of a consumerist lifestyle and suppressed emotions – a place where we receive love and give love – to be who we really are.

Disco funk clubbing was such an influential global phenomenon that its influence can be observed in various other genres from the disco funk era i.e. progressive rock, which mutated by layering complex rock arrangements with a disco funk groove resulting in hybrids, highly sought by today’s diggers, producers and collectors. The profit-hungry music industry of the 80s very quickly commercialized the original disco funk sound by amputating of its original Afro groove to be able to easily ‘sell’ it globally. So, the original disco funk groove became underground again, and it has remained so until this day. Today, for a DJ to unearth that ravishing groove that will lead the dancers to the stars, he must dig passionately like a true musical archaeologist in search of that groove that picks you up after just a few initial beats. That groove which forces the atoms in your body to vibrate, that groove which unites the body and releases the burden.

The AfroMagic compilation series is created as a tool for real DJs who stick to the aesthetics and essence of clubbing.

This continuation of the Afromagic compilation by DJ Borovich was created in a private jam session which served as an escape route from intense and complex love problems.

Unconsciously driven by intuition and emotion and following a live mix tape framework where many tunes are arranged instantaneously, Borovich narrates his story with a strong rhythm that cuts loose even the most blocked off energy nodes and restores happiness to the spirit and the body.

The musical experience of the groove is completed by the lyrics of the songs, which symbolically give DJ Borovich universal answers to his questions arising from questioning the boundaries, nuances and other forms of love.

When considering that Borovich’s selection was created to facilitate an escape from the burdens of reality through rhythm and dance, we can be sure that Afromagic Vol. 2 will have a 100% uplifting, energized and spaced-out effect on the listeners.

The intro to A1, “Feeling Happy” by the Apostles, introduces us to an experienced and slow, cool and irregularly tight groove containing a confidently sung chorus that instantly gives a sense of freedom and hints at the remainder of Afromagic Vol. 2: “I’m gonna feel happy, ´cause I know I’m gonna be myself.” After the anthemic song mantra of the Apostles, Aigbe Lebarty uncompromisingly continues with a dirty disco rhythm. Acidified by accented synths that elevate it to shamanic levels and held together by a female tribal choir, we embark on an uncompromising ritual disco journey. Without a moment to take a breather the prog funk band Mighty Flames and their Road Man launch a highly vicious and raw, thick funk groove spiced with acid synths and dirty RnR breaks, raising the bar for the A side. Jimi Hendrix himself would surely praise it given the ultimate freedom and virtuosity in the solo sections. With the last tune on A side DJ Borovich decides to burn the floor with Geraldo Pino’s psychedelic, acid furious groove and lyrics which describe this HEAVY part of love problems: “The way she walk, the way she talk, the way she does a funky dances, she is really really heavy – that woman”.

While the A side represents a compact intoxicating afro groove machine that separates us from reality and lifts us up to the stars in over 23 minutes, the B side is a treasure trove of proto sub-genres gems. This selection represents the mission of the Afromagic: to find singular events in African recorded discography of popular music from the 70s and 80s that give evidence to the birth of new modern genres on the Dark Continent even before they emerged in the U.S.A. or Europe. The beginnings of electronic music influenced genres are represented back to back with 80s synth jazzy pop, all painted in African colours.

The B side opens big with Jake Sollo and a huge reggae blues number singing about the humiliation of a man – goosebumps guaranteed! “You think I’m nobody that’s why, you don’t know the way for me, I’m somebody I know, I found myself at last”. Adolf Ahanotu then enters the scene with a hard sliding tackle at B2 and an exotic rare disco funk dancefloor napalm. A ‘Sensation’ that would ignite even the coldest of introverts. While we approach the end of the compilation the narrative revolves again and takes a different turn. No less and no more than to the proto-electro that Baad John Cross serves us in “Give Me Some Lovin´”. The fat and repetitive broken electro synth groove, championing many early 90s electro tracks, is presented here without hesitation and with constant tension accompanied by a mantric chorus “Gimme some, gimme some, gimme some looooovin’, EVERBODY!!!”. Finally, we’re guided to the end of Afromagic Vol. 2 by Eji Oyevole’s 80s synth pop style presented in an authentic afro manner, giving us a glimpse at yet another released Afromagic edition, as well as giving an answer to DJ Borovich’s love problems. A smoothly broken electronic rhythm resembling electrified highlife sounds, carried on the wings of a virtuoso dreamy saxophone on top of which Eji presents the most intimate parts of himself. Finalizing the track with a symbolic chorus, on the surface referring to the dancefloor and simply having fun, but in actuality referring to the skill and happiness of living: “I´m a dancer, I can dance”. So, get up and dance among the stars with DJ Borovich and Afromagic.

Limited black vinyl. Full colour sleeve with unseen pics of Ron Geesin in his studio doing maths stuff on the back.
Wow! So you’re telling me Ron Geesin made this kooky electro groovy score to a really progressive maths educational programme on Central TV in 1980 and it’s musically anarchic and amazing and it’s never been issued before? Until now. Wow again!!!! And there’s 30 tracks!!! Trunk Records we love you...
Basic Maths was the second educational TV Series for the Midlands-based ITV station for which I composed, played and recorded all music and noises. The first series, also for budding mathematicians in the 7-10 age group, was Leapfrog in 1978 produced by ATV (Associated Television): Basic Maths was for the newly-formed Central Television, the work spanning 1980-1981; both series were of twenty-eight parts.
The most worthy idea for both of these series was to project mathematics into life by means mainly of non-verbal sound and vision, with both animated and live action films, linked by two presenters, Fred Harris and Mary Waterhouse. In my role as Media Composer, I had had quite enough of voice overs, therefore music well under, so this fairly radical educational approach at the time encouraged my creative juices to run unhindered. Of course the sound had to do something with the picture and not just use it as a carrier for peacock display. It had to duet, play with and explain the visual content using novel and engaging techniques, so this involved the usual and sometimes intricate mathematical calculations which constantly exercised my already reasonable school maths.

Long-time contributor to Drumcode, Christian Smith lands on Truesoul for the first time in his career.

The Tronic boss and all round techno stalwart shows us the groovier and more melodic side of his music personality with a pair of quality cuts. Co-produced by John Selway, ‘Here To Stay’ is a slick slice of robot fun, underlined by an elegant melodic underbelly, rugged electro riffs and an intergalactic vocal. Its accompaniment ‘Our Destiny’, is a searing chord led production ideal for warm-ups or silky morning sets.

The new hashtek23 ! A brilliant sweet meltdown of acid tekno full of thinlaced drops.
Big !

White color vinyl LTD editionb !

Fat fAt faT & FAAAT Industrial Acid weapons !

12'' / Red transparent Color Vinyl

Pain Beurre and his Intergral Transform brings a tribe long tune, morphing into Trance... or putting you into trance anyway...

CED "deadline" tune is a CC Atom incision in something more rockn'roll with a cool breakbeat drop...

All in one it's a thinlace of acid melodies and progressives structures... lightening sound !

Mastering : Stefan ZMK, Cut Simon the Exchange, Pressing Vinyl de Paris

Matching his signature melodic futurism with enduring club music structures, Pev brings the Pulse series to a natural conclusion with the Pulse Phase EP. On this third release he underlines the broader approach to tempos and styles he’s taken across this latest period of his output, soon to be coalesced into a new live set.

If there’s been a nostalgic streak detectable amongst the crisp modernism of the Pulse series, it comes through clearer than ever in the looped-up house jack and starry-eyed techno synth hooks of ‘Pulse IX’. ‘Pulse TEN’ pares back for a lean soundsystem workout driven by a strafing arp and fractured drums while ‘Pulse XI’ revisits 90s bleep techno with a deep, dubby intention. ‘Pulse XII’ completes the picture capturing the skeletal pressure of 2-step at its most slender and deadly.

There’s never a sense of over-familiarity — the exacting angles of the drums and alien hue of the synths maintain Pev’s distinctive sound first and foremost. But this series has also been an opportunity to hear some of his musical DNA more explicitly than before, cast in universal rave motifs propelled by the unrelenting pursuit of new forms for the dance.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Done and dusted! That could have been the motto of the WPBH series back when it started as an offshoot for sample-based house experiments by the core We Play House Recordings crew.
However, according to Discogs WPBH is NOT a real label, so who are we to invent mottos for imaginary labels?

But as we digress the music hits us hard and straight up. Uit De Hoogte brings us rawness...and then some. A touch of Dance Mania, a hint of smoothness, a dose of drum machine magic and a whole lot of attitude. Five tracks to stir up your dancefloor, your body and your soul. On a label that does not exist... How underground can one get?!

Coming up on WPH & related further in the year will be new material by Red D on his Red Basics outlet, more WPH U.S. Series and possibly also some stuff they don’t yet know about themselves.

Lange nicht auf Vinyl verfügbar ist „Native Tongue“, das vierte Studioalbum der „Hair“ Metal Band Poison, endlich neu aufgelegt worden. Im Original wurde das Album 1993 veröffentlicht. „Native Tongue“ erreichte die Top 20 sowohl in den US Billboard Top 200 als auch in den UK Album Charts. Neben der Stammbesetung mit Brett Michaels, Bobby Dall und Rikki Rockett wurde Richie Kotzen an der Lead Gitarre verpflichtet. Native Tongue wurde von Richie Zito produziert. Die vorliegende 2LP Version enthält drei Bonus Tracks, die nicht auf dem Originalalbum enthalten waren.

Debut of Maurizio Martinucci's (aka TeZ) pseudonym SARMUNG on the newly born Amsterdam-based, Orizzonti Paralleli record label.

"TeZ is an Italian interdisciplinary artist and independent researcher living and working in Amsterdam. He uses technology as a means with which to explore perceptual effects and the relationship between sound, light and space. Since 2010 he has been a permanent member of Adi Newton’s seminal british band Clock DVA and a regular contributor of Antigroup.

Under the SARMUNG name he is now exploring the subtle atmospheric intersections between ambient, IDM, acid and minimalist Sound. For this project TeZ has been inspired by the mythological Persian collective Sarmung whose music was meant to accompany secret sacred dance."

Comes with full picture cover and insert!

Es ist 2021, und eine Pandemie würgt die Welt ab - und niemand scheint Spaß zu haben. Der scheinbar unermüdliche Musikfreak Peter Tägtgren kümmert das wenig, denn er landet einen Volltreffer mit - Entschuldigung für die harte Sprache - einer verdammt eingängigen... naja, Partyhymne.

Wir sprechen natürlich über den Song ?Party in My Head' von Tägtgrens synthinfiziertem Metal-Projekt PAIN. Unser geliebter Planet mag am Ende sein, aber in der Welt von PAIN scheint immer noch nicht viel falsch zu sein, da 2024 schnell im Kalender voranschreitet.

Es kann einfach nicht sein, denn das sehnlich erwartete neue Studioalbum von PAIN, "I Am" ist bald hier - ja, nach acht Jahren des hingebungsvollen Wartens. Das kraftvoll klingende "I Am" ist wirklich eine vielseitige - wenn nicht die vielseitigste - musikalische Rakete in PAINs reicher Diskographie. Die neuen Songs bewegen sich überall mit schweren industriellen Riffs, eindringlichen melancholischen Vibes und groove-gefüllten Rhythmen - ohne Überraschungen natürlich zu vergessen.

Kater's captivating songs celebrate the power of oppressed people and act as an antidote to centuries of exploitation, fear, and greed. This collection of ten songs, featuring appearances by today's finest roots musicians such as Allison Russell, Aoife O'Donovan, and Taj Mahal, showcases Kater's biting topical songwriting and deft arranging chops. 'Strange Medicine's' intricate orchestrations were inspired by diverse sources: composer Steve Reich's propulsive minimalism, the frenetic jazz drumming of Brian Blade, the unsettling orchestral scores of film composer Jonny Greenwood, and the spiraling rhythms of the West African kora.


Furthermore, Kater's delicate yet robust banjo playing charts new territory well beyond what's expected of the instrument. With 'Strange Medicine', Kater taps into the full kaleidoscope of her artistry, creating an outlet for our collective grief and celebration and inviting the ancestors to a place of honor at the table.