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This first Adam Beyer x Eli Brown collaborative release has been feverishly anticipated by fans keeping tabs on their growing friendship and further excited by the pair’s first official B2B at Lisbon’s Brunch Electronik in September. Now ‘Overdose of Bass’ EP is here, a power-packed techno two-tracker enriched by diverse elements, on Beyer’s Drumcode.

It also marks Eli Brown’s welcome return to the label after his massive collaboration this January ‘When I Push’ with Layton Giordani and OFFAIAH following Brown’s 2022 EP ‘Deep Down’. The EP ‘Overdose of Bass’ combines recent developments and past influences of both techno giants.

‘Overdose of Bass’: the title track has rattling snares and a breaksy beat ushering in a spoken vocal layering different levels of processing, for a half sensual, half robotic riff – ‘there it goes/ overdose/of bass’ – with the doppler siren builds, giving a spacey, mysterious call and response. Hypnotic, disturbing, and edgy.

‘Living In The Moment’: an urgent techno beat, a Moroder-esque bass synth, and a recurrent riff like a signal becoming ever more high and desperate, are counterpointed by an ethereal, quavering, sweet female vocal, strengthened by the melodic build in the huge central breakdown. Urgent, demanding, hyper, this is dancefloor heaven.

David Morales’ legendary track ‘Needin U’ is a landmark in house music culture all the way from its release in 1998 and remains a seminal classic in dance music history. In celebration of the tracks 23rd Anniversary, French artist/producer Dimitri From Paris has created yet another thrilling remix of The Face vs. Mark Brown's previous version of ‘Needin U’, released in 2009 via Cr2, via this limited red vinyl pressing and picture sleeve release.

With plenty of calibre under his belt, including disco remixes of Chic and Sister Sledge, Dimitri From Paris’ take on this all-time house classic is not only marked by his acclaimed signature sound - live instrumentation, booming four to floor beat, dynamic rhythms and energising bass lines, but the fabric of David Morales’ legendary track is evident throughout. Whether for the casual dance music fan, household DJ or an enthusiast for the all-time classics, this remix is a must listen.

DJ Support - Wehbba, Ilario Alicante, Marco Faraone, Paco Osuna, Cristian Varela, Mauro Picotto, Adam Beyer, Richie Hawtin, Luigi Madonna, Joseph Capriati, Eli Brown, Marco Carola and Charlotte de Witte.

Joseph & Indira's ‘Mantra’ is another testament to ARTCORE's ever-increasing weight in Techno and global electronic dance music and features a duo of racy cuts laden with signature sonics from both artists, kicking off with 'Ananda' and its potent classic Techno feel, with a prominent Capriati core of thumping kicks, crisp percussive drive and progressive energy shifts and playful twists, laced with Indira's hypnotic exotic vocal chops and gritty LFO shots.

'Mantra' rounds off the release with an inverted sound transition, leaning heavier into the 'Psy' sound that has seen Indira's notoriety skyrocket. Flooded with undulating low-end movement, creative off-beat flare, shifting rhythmic patterns and uplifting musicality, its immersive blend of darker sounds and spiritually utopian nuances makes for an undeniably unique statement track.

Whilst famed for his endless spree of unforgettable mainstage performances and international club shows, including standout residencies in Ibiza, Joseph Capriati's studio productions have been carefully selected and rare in recent years. With the emergence of their latest studio productions, Joseph and Indira's ‘Mantra’ release serves as a stamp of approval from one of Techno's most respected tastemakers and an insight into the potential of ARTCORE's indelible impact on global dance music.

Suburban Architecture are pleased to announce the fourth in their 'Architecture Dubs' series of limited edition 10" vinyl releases, which sees some of the most revered names active during the mid 90s golden era of Drum & Bass deliver remixes of Suburban Architecture material in homage to that most innovative of periods.

Following on from the now sold out release of Architecture Dub #001 (featuring remixes from Peshay and DJ Trax), #002 (featuring Blame and DJ Trace), and #003 (featuring Nookie and DJ Crystl), edition #004 enlists two further legendary names to put their stamp on the duo's material.

Ray Keith is a DJ and producer who requires little introduction. From his beginnings in the Acid House scene of the late 80s through to the present day via Hardcore and, of course, Jungle, Ray's output has been a steady presence in UK dance music for over 3 decades. From manning the counters of legendary record stores including London's infamous Black Market Records to masterminding bonafide dancefloor hits such as 'Terrorist' and 'Dark Soldier', Ray has touched every corner of the scene. For this remix, Ray brings some of his trademark Dread flavour to 'The Drifter' injecting some tough Amen and Bassline energy to the track.

DJ Harmony is another DJ who cut his teeth behind the counters of some of the scene's pivotal record stores, having worked in Lucky Spin and Section 5, while releasing music on some of the most important imprints in the genre, notably including Moving Shadow. Today Harmony is best known as the driving force behind the brilliant Deep Jungle imprint which delivers classic, new and unreleased music from Jungle's heaviest hitters. Recent releases have come from names including Adam F, Dilinja, DJ Trace and, naturally, Harmony himself. Harmony's remix of 'The Believer' takes cues from classic Jungle with a half time break down, giving way to a smashing Amen workout accompanied by the rousing vocal refrain of the original.

Pressed on 10" vinyl and housed in brown Kraft paper sleeves, the series makes visual reference to the exclusive dubplate pressings which introduced so many classic cuts to the UK's dancefloors in the 90s.

Peter Brown's P&P label is possibly the most collectible of all the Disco-era independent labels. The distribution was always patchy, the records would often appear out of nowhere and then disappear equally fast. Many of the artists were one-off productions or working under hastily conceived pseudonyms.

In short, P&P has all the ingredients of the perfect label for diggers everywhere with records still being discovered some 40 years later. Little is known about Marta Acuna but plenty is known about the production team of Patrick Adams and Lonnie Johnson who were just way ahead of everyone else on this spacey Disco jam from 1977. It's been consistently popular on the cooler dance-floors for the last 20 years but suddenly the 7" has sprung into demand. A mint copy isn't far off £100 these days, so it seemed a good time to finally make the 7" available again.

As per usual, this will be on the original 7" P&P label and mint (which is near impossible to find these days). Always handy to have a guaranteed banger on a crisp 7" pressing and that P&P label looks so good. Black Vinyl in P&P Disco Sleeve.

Elations Recordings presents "Return of the Airpoets", an exploratory recording from longtime collaborators Reuben Lewis (I Hold The Lion's Paw) & Adam Halliwell (Mildlife, IHTLP), occupying a unique space between contemporary experimental music and avant jazz. Engineered and mixed by Reuben Lewis in 2023, and featuring guest appearances from acclaimed Australian drummer Ronny Ferella.

"Return of the Airpoets" continues a conversation begun with 'Cygon Dance', an extended duo between Lewis and Halliwell from Halliwell's 2023 LP "Freedom Lapse"; a dialogue that stems from a shared love and respect for Jon Hassell's Fourth World music. Sonic pioneer and adventurer, Hassell's futuristic vision advocated possible musics, stressing plurality and multiplicity. Faithful to his vision, Adam and Reuben, as trailblazers rather than imitators, delight in boundless musical possibilities, adopting Hassell's futurism as stock-in-trade, making it their own while augmented with neo noir hues and hints of the tilted electro-funk of Miles Davis' collaborations with Marcus Miller.

These nine tracks flow together as a unified suite, their shadowy presence stitched from fractured narratives: imaginary crimes, murders, dreams, the unspoken. At the same time, you can detect the artists' meticulous attention to sonic detail, feel the undercurrents, the complex layering. This music has been distilled, winnowed, from extended improv sessions, with the artists - as producers - zeroing in on offcuts, shards, and splinters, seamlessly patching together fragments in post-production to construct intricately layered sound collages, taking a leaf out of Tao Macero's book, building from the ground up.

Who are these airpoets? Their mystifying trial suggests the travails of Joseph K, sentenced for unspecified crimes. But I prefer to see them as fugitives escaped from Robert Bolaño's novel, "Savage Detectives". In Bolaño's book, poet Juan Garcia Madero is granted admission to the shadowy group of poets, the Visceral Realists, whose movement has no clear aims, and whose members "walked backward . . . gazing at a point in the distance, but moving away from it, walking straight toward the unknown." Like the visceral poets, these airpoets, Reuben Lewis and Adam Halliwell, set their sights on a point on the distant horizon, setting off without map or compass, drawing nearer and moving away, towards the unknown.

Aufgenommen live im Village Gate in New York City am 26. und 27. November 1963 mit den Pianisten Horace Parlan, Melvin Rhyne und Jane Getz sowie dem Bassisten Henry Grimes und dem Schlagzeuger Sonny Brown. Die Musik wurde ursprünglich für einen Dokumentarfilm aufgenommen. Die Bänder lagen 62 Jahre lang im Archiv, bis sie nun veröffentlicht wurden. Restauriert und gemastert von Matthew Lutthans im Mastering Lab anhand der Originalbänder. Die Deluxe-CD-Edition enthält ein umfangreiches Booklet mit seltenen Fotos und Liner Notes von Jan Persson, Tom Copi, Raymond Ross und anderen, neu in Auftrag gegebene Liner Notes der Autoren John Kruth und May Cobb sowie Interviews und Testimonials von Jane Getz, den Saxophon-Ikonen James Carter und Chico Freeman, dem Posaunisten Steve Turre, Adam Dorn – Sohn des langjährigen Kirk-Produzenten und -Förderers Joel Dorn – und anderen.

HILOMATIK is proud to announce its first-ever vinyl release: the HILOMATIK A-Sides EP. This milestone edition delivers a tangible piece of HI-LO’s world, including seven techno tunes ranging from minimal to peak-time, from Township Rebellion, Roemisch, Dok & Martin, Modea, Helang, Pagano, Deus Deserto, Frank Arvonio, Alex Lentini and STOMP BOXX - a mix of established and young, talented producers.

Taking inspiration from the sounds of Space 92, Eli Brown, Adam Beyer, and label boss HI-LO himself, this EP balances hard-hitting rhythms with hypnotic, minimalistic moments, making it a must-have for techno enthusiasts. Released on all digital platforms in May 2025, this first vinyl release on the label marks a new and very exciting chapter of HILOMATIK.

LA-based producer Real Bad Man and Detroit artist ZelooperZ release their joint album Dear Psilocybin via the pro-ducer’s own Real Bad Man Records. The album marks the duo’s first collaboration, culminating in a full-length project that also features guest appearances from Boldy James, MAVI and a verse from The Alchemist. On Dear Psilocybin, ZelooperZ invokes unconventional production out of Real Bad Man to match his own unpredictable and outlandish delivery, working outside of traditional song structures and existing in a lane of his own. The Detroit multihyphenate, who is an integral part of Danny Brown’s Bruiser Brigadecollective and also an accomplished visual artist, painted the album’s corresponding cover artwork as well.

“I definitely haven’t made anything like this before, it’s a very subtle version of my music as far as tone, ” ZelooperZ explained in a conversation with Real Bad Man for his RBM Radio show. He elaborates on the off-kilter approach to the way he recorded to say, “the album feels like a movie soundtrack for a film about a man losing his mind and getting spurts of memories along the way. ”

Speaking about how the project differs from the rest of his collaborative catalog, RBM says, “It’s trippy and it’s a little different – but the main goal was for it to be authentic to Z and his process. ” That dedication to authenticity rings true across his catalog, drawing back to the foundations of his beginnings as a producer, learning the fundamentals of sampling, experimenting with chords and learning to piece songs together by ear. RBM builds a cohesive production arc around each artist he works with, catered to their strengths as artists, working with a variety of lyrical stylists includ-ing Memphis rapper Lukah, Pink Siifu, Blu, Kool Keith, Elcamino & more.

Real Bad Man is the production moniker of visual artist and designer Adam Jay Weissman. A designer and visual artist first, he made his foray into music through his On High Alert series of imaginative, multi-generational compilations, which have featured the likes of Roc Marciano, ROME STREETZ, Pink Siifu, Maxo and more. In the years since, he’s partnered with some of hip-hop’s most talented and adventurous artists on full-length projects, refining and shaping the trajectory of some of rap’s most exciting independent artists.

Single Sided Repress!
We've watched the movies, seen the photos, heard the stories. As in all of New York City, crime was as rampant in the subway as it was on the streets. Thefts, robberies, shootings and killings were a frequent reality throughout the 1970s. In 1979, a group of angered residents led by Curtis Sliwa began taking crime prevention into their own hands, donning red berets - looking very much like a gang and calling themselves the Guardian Angels. This funky track produced by the Legendary Patrick Adams and uptown empresario Peter Brown is an ode to what was hapenning at the time. Like many of the P&P records of the time, this wasn't dance music for flashy downtown clubs, it was the real uptown funk! With bass as heavy as rolling stock, and field recordings from the subway tannoy echoing along almost empty train carriages late at night, Margo Williams's vocals supply the inner city funk menace with some almost ethereal soul.' At a crossroads between funk, soul and an emerging Hip Hop culture this track apealled to both the disco crowd and the bravado of the uptown b-boys.

Mr Reggae Roast Adam Prescott returns to Lion Charge for the 7" vinyl series with 'Time & Space' b/w 'Time Longer Than Rope'

Available on hand stamped 7" vinyl with brown sleeve.

NOW Music is proud to present the newest addition to the ‘Yearbook’ series: NOW – YEARBOOK 1982. 3 LPs of 44 defining tracks that ruled the charts in 1982.
Featuring number 1s, including ‘Eye Of The Tiger’ (Survivor), ‘Ebony And Ivory’ (Paul McCartney), ‘Town Called Malice’ (The Jam), and 1982’s biggest seller ‘Come On Eileen’ from Dexys Midnight Runners.
1982 saw the first huge hits from a wealth of new artists including Culture Club, Wham! and Tears For Fears, as well as an incredible line-up from artists who had established their chart presence in the prior 18 months and would produce some of the greatest tracks of the decade; Duran Duran, Spandau Ballet, ABC, Haircut 100, Soft Cell, The Human League, and a newly solo Adam Ant.
‘Fame’ was the TV phenomenon of the year, and Irene Cara’s theme from the original 1980 film enjoyed massive success.
As ABBA released their last singles for nearly 40 years, pure-pop from Bucks Fizz, Blondie, and Madness is celebrated alongside synth-pop gems from New Order, Simple Minds, Visage and Japan.
Leading artists from the punk scene enjoyed continued and renewed success, including The Stranglers, The Clash and Pretenders, whilst Foreigner, Meat Loaf with Cher, and Steve Miller Band provided radio-favourite rock and power ballads.
1982 saw a huge chart presence for dance music – from the hi-NRG of Boys Town Gang, to the electro-infused beats of Malcolm McLaren, and Rockers Revenge, the 1980’s disco of Shalamar, alongside soul classics from Marvin Gaye and Donna Summer… plus stellar ballads from Elton John, Lionel Richie, and Roxy Music.

Recorded in Memphis, 1960-62 by Home of the Blues Record Company – sixteen tracks of vintage rocking Memphis blues that went unissued at the label’s demise and were lost in a warehouse, ultimately rediscovered and released by Acoustic Archives.

All now remastered to perfection by Oz Fritz and a team of A&R experts working with the original masters, including ones made by Sam Phillips Recording Studios in Memphis.

Featuring the superb arrangements of trumpeter Willie Mitchell, accompanying some of the best singers of the day, with guitar by Sammy Lawhorn, bass by Lewi Steinberg and drums by AI Jackson Jr. Recorded in glorious mono by Scotty Moore at Sam Phillips Recording Service.

Each artist bio had been thoroughly researched under the guidance of Acoustic Archives producer Marc Ryan with the assistance of Dr. Dave Evans, head musicologist at Memphis State U. The story provided in the 12-page booklet includes how these cuts eventually surfaced from the early 1960s and features the photos and commentary on the recording artists, with how the original owners of the Home of The Blues Record Shop, once at 107 Beale Street, worked at the recordings.

In 2004, California-based indie band Golden Shoulders followed up their highly acclaimed debut with their second album, Friendship Is Deep. Now, on the twentieth anniversary of its release, the album most requested by their fans for a vinyl release is finally set for one on Unspun Heroes. Described as “one of the great semi-lost albums of the 21st Century”, the album showcases singer, songwriter, and band mainstay, Adam Kline’s knack for lyrical hooks and penchant for catchy melodies. But, like friendship, this is deeper than its pop sensibilities might suggest.
 
From the moment the opening track I Will Light You On Fire opens with its simple piano refrain and vocal harmonies you know you’re listening to something worthy of further exploration. From this building of tension between its temporary aural chaos and the beauty that ultimately emerges, you’ll be hooked. Yet, scratch beneath the surface and you’ll find this is an album that carries with it a political, pro-peace, and pro-humanity message, albeit somewhat more satirical than you might expect of a band hailing from America’s West Coast. This is particularly notable on tracks such as Golden Soldiers and the Committee, where Kline’s turn of phrase and wit shines through, cleverly weaving words so they create detailed poetic mosaics. 

Golden Shoulders is a loose and ever-changing lineup of international talent, with Kline as the kingpin and sole songwriter. Given the pedigree of those whose talents grace the album – among them, Todd Roper and Greg Brown (Cake), Josh Klinghoffer (PJ Harvey, RHCP, Pearl Jam), Neal Morgan (Joanna Newsom, Fleet Foxes), and Dan Elkan (Broken Bells) – it’s no surprise the compositions and attention to detail present in each and every one of the 14 songs is top notch. It’s this pleasing mix of accomplished individuals, and their mishmash of influences, which lend a pinball effect to the set of stylistically diverse songs on Friendship Is Deep. Collectively though, the music you’ll hear has a focus, one that channels late 90’s Brendan Benson, the poppier side of 80’s Violent Femmes, and even the mid-60’s flair of the Beatles’ Rubber Soul. 

bring you a 7 inch scratchsafe™ battle record.

A narrow head-gauged deep cut non skip 7" DJ battle tool at 83bpm.

Standard scratch samples with AI generated voices from well known celebrities!


Featuring - Alex Jones, Bart Simpson, Kermit the Frog, Stan Marsh, Angry Male, Adam Sandler, Alan Partridge, Cleveland Brown, Jerry Springer, Rick Sanchez, Snoop Dogg, Donald Trump, Tucker Carlson, Eric Cartman, Stewie Griffin, Greta Thumburg, Arnold Schwarzenegger, Joe Rogan, Limmy, Peter Griffin, Peter Kay & Simon Cowell
Includes an additional x2 Portablist Lounge vinyl marker stickers for easy application
Digital download not available.

Weighing in at 40gms.

True Acid Wizards of the 1980s/1990s Psychedelic Underground TreaTmenT performed at Stonehenge Free Festival and at squats and clubs all over London including the now legendary Alice In Wonderland, The Crypt and Club Dog where they assaulted the minds of those present with their unique and somewhat terrifying blend of '60s psychedelia and '70s space rock all liberally spiked with a questioning punk attitude. Performing with Dr & The Medics, Ozric Tentacles, The Magic Mushroom Band, Naz Nomad and The Nightmares and other luminaries of the neo-psychedelic space rock revival, TreaTmenT were an integral part of the scene and possibly the most psychedelic band of them all.

Hardcore to the max, the band insisted on performing in a psychedelicised state, looking like a cross between Arthur Brown's Kingdom Come and early Pink Floyd and often with a lightshow. Firmly fixated on taking their audience on the trip of a lifetime TreaTment consisted of Adam Blake (Jacket Xerxophon) on guitar and vocals, Gordon Leach (Gordon Zola) on further guitar and vocals, Clive Leach (Evil C. Live, Ron Number, Curtis Vile) on bass/trombone, Paul Ross (The Big Beat, Mr Raagh) on drums/percussion and Paul McWhinnie (Mutant) on keyboards, noises and vocals. They were without doubt a live phenomenon, and although they released a couple of singles, cassettes, a live album and a studio album - Cypher Caput - on the Delerium label (home to Porcupine Tree), they never really managed to commit their mind-blowing magic to vinyl. Now, nearly 20 years after it was recorded TreaTment are releasing a limited-edition double vinyl LP of their second studio album How Much is Enough? in memory of guitarist Gordon Leach who sadly passed away in 2021.

The album was intended to be released on Delerium in 2000 but never was and whilst one track 'Keep Ahead' appeared on the Cherry Red box set Last Daze of The Underground - Delerium Records Anthology in 2011 nothing else has seen the light of day until now. Fans of the band will note cornerstones of their live set such as the wondrously trippy 'What The Hell to do' the humorous swipe at the music press 'Hate The Band' the melodic keyboard swirling 'Restless', the frenetic guitar cross fire of 'No Understanding' and the nihilistic nightmare 'Blot Out'.

Housed in a gatefold sleeve packed with photos and memorabilia as well as for the first time the full history of the band and limited to only 300 on 180-gram vinyl How Much is Enough? will no doubt be seen in the future as one of the landmark releases of the '80s/90s Neo-Psychedelic revival.

warehouse find !

Another extremely rare underground disco track coming out of the Peter Brown & Patrick Adams (P&P) camp - Check!!
This 1979 floor packer comes in long and short version, originally released on Lonnie which was a division of famed Queen Constance Records. The first bit of the track has a loose funk groove with horns that turns into this incredible 4/4 percussive disco track with cool keywork at about halfway down the track. Tip!

Remixed and remastered reissue of the legendary ORQUESTA DEL DESIERTO sophomore album. Unable to tour as a group due to commitments to other projects but fueled by the success of the debut release, Brown immediately turned to booking another recording session for the band. Hoping to further expand the group's dynamic sound, Brown and Stahl solicited song contributions from Mike Riley and Country Mark Engel for the second album. While the core of Brown, Stahl, Riley, Engel and Lalli remained intact for the second session, the group's diverse approach benefitted from the addition of drummer Adam Maples (earthlings?) and percussionist/drummer Pete Davidson. Additionally, the group was joined at famed Joshua Tree studio Rancho de la Luna by pianist Tim Jones and Bill Barrett on trumpet.

Green vinyl, limited to 350 copies. Remixed and remastered reissue of the legendary ORQUESTA DEL DESIERTO sophomore album. Unable to tour as a group due to commitments to other projects but fueled by the success of the debut release, Brown immediately turned to booking another recording session for the band. Hoping to further expand the group's dynamic sound, Brown and Stahl solicited song contributions from Mike Riley and Country Mark Engel for the second album. While the core of Brown, Stahl, Riley, Engel and Lalli remained intact for the second session, the group's diverse approach benefitted from the addition of drummer Adam Maples (earthlings?) and percussionist/drummer Pete Davidson. Additionally, the group was joined at famed Joshua Tree studio Rancho de la Luna by pianist Tim Jones and Bill Barrett on trumpet.

Staples Jr. Singers — the family gospel trio of siblings Edward Brown, R.C. Brown, and Annie Brown Caldwell — announce their first new album in nearly 50 years, Searching

It happens at times that a stone cold classic from a bygone era gets rediscovered. But how often does that rediscovery happen when the band is still around? And how often does it lead to a new album? That’s the surprising circumstance behind the Staples Jr. Singers’ long-awaited second album, Searching

You likely know the Staples Jr. Singers—the family band from Aberdeen, Mississippi—from their first and only record, 1975’s When Do We Get Paid (Luaka Bop, 2022). They made that record themselves when they were only teenagers. Finally, in a moment they’ve been waiting for most of their lives, the family is back with their sophomore album, Searching. Recorded in 2023 in West Point, Mississippi, and Nashville, Tennessee, and produced by Ahmed Gallab, aka Sinkane, the first pressing comes with a booklet of photos by Adam Wissing and notes by Anton Spice.

City Gates is the album by the George Adams-Don Pullen Quartet released in 1983. The quartet consisted of George Adams on tenor sax and flute, Don Pullen on piano, Dannie Richmond on drums, Cameron Brown on bass, and together they recorded five jazz-bop tracks. All tracks were either written by George Adams or Don Pullen, except for the traditional African American spiritual song “Nobody Knows The Trouble I’ve Seen” which was arranged by Adams and Pullen.

City Gates is available as a limited edition of 500 copies on white coloured vinyl and contains liner notes on the back sleeve by music journalist Frits Lagerwerff

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

Repress!

HI-LO returns to Adam Beyer’s label for a sharp new outing ‘WANNA GO BANG’. The new track comes almost a year on from his energetic Drumcode debut ‘Hypnos’, which was followed by his remix of Adam Beyer & DJ Rush’s ‘Restore My Soul’. Oliver Heldens’ techno alias HI-LO has been building steam over the last 12 months, remixing Nina Kraviz’s ‘Skyscrapers’, sharing line-ups with everyone from Erol Alkan to PanPot and Enrico Sangiuliano on the world’s biggest stages, while also collaborating with Reinier Zonneveld, Eli Brown, and Space 92. All the while he’s kept in contact with Beyer, a sophomore offering on Drumcode always on the cards. ‘WANNA GO BANG’ is a high-powered Chicago-influenced weapon, that takes its vocal from the DJ Deeon classic ‘2 B Free’. HI-LO’s cut sees the vocal combine with a volley of drums throughout the mid-section, which adds a clever dynamic energy to the track. Already teased in HI-LO’s sets, and widely supported by the underground’s finest including Beyer, Amelie Lens, Enrico Sangiuliano, ANNA, and many more, ‘Wanna Go Bang’ is set to dominate clubs worldwide. Included in the pack, ‘LOKOMOTIF’ is five minutes of pure machine funk as HI-LO crafts a fantastic little groover driven by 90s house synths stabs. The track which has been in the works for the past two years has been teased in HI-LO’s sets over the summer, also garnering support from Carl Cox. On both tracks, Oliver Heldens says “‘WANNA GO BANG’ is my take on Chicago legend DJ Deeon’s classic vocoder vocal sample (from his 1992 song “2 B Free”, but it’s pitched down 5 semitones now which gives it such a dark vibe). I’ve always wanted to make my own DJ weapon version of it since I heard Bjarki’s trippy version in 2015, and I’m really happy with how it turned out, it’s such a monster! “LOKOMOTIF” is a high-energy groover, driven by 90s House synth stabs, funky percussion and banging drums, and it sits very nicely in between Techno and House. Both are really ‘dance floor’ focused, so I’m very pleased that many noteworthy DJs have been banging out these tracks in their sets already pre-release. And I couldn’t be happier than to see them released on one of my all-time favorite labels, Drumcode!”

1970’s Cloud One disco brilliance and one of P&P’s most well-known cuts gets a much-needed official reissue. A studio project masterminded by the legendary Patrick Adams and P&P Records’ Peter Brown, Cloud One’s ‘Disco Juice’ showcases the genius of Adams’ songwriting and production prowess. A bundle of joy from start to finish, every element is given space and arranged exquisitely from the soaring strings and Venus Dodson’s celestial vocals, to the vibraphone twinkles and power piano keys. Deliriously good grooves.

On the B side, ‘Charleston Hopscotch’ a cosmic funk-fuelled jam bouncing guitar riffs, sweltering synths and piano stabs out to the stratosphere and back again, returning with another Patrick Adam’s masterclass.

Long time Leng recording artists 40 Thieves are back with one of their most notable singles to date – a surprise collaboration with two NYC disco originals, storied vocalist Cinnamon Jones and multiinstrumentalist/producer Gary Davis.

San Francisco outfit 40 Thieves has been serving up cosmic, dubbed-out and otherworldly contemporary disco treats since the mid 2000s, and have been part of the Leng family since 2011. The crew, headed up by Layne Fox, Jay Williams and Corey Black, have released countless killer cuts on the label, as well as an expansive
debut album, 2014’s The Sky Is Yours.

They’ve worked with other artists before, but nobody at the same legendary level as Cinnamon Jones and Gary
Davis. The latter cut his teeth as a musician working with iconic disco producers Patrick Adams and Peter Brown at their P&P Records stable, before becoming a producer and artist in his own right writing and arranging the disco classic ‘Got To Get Your Love’ performed by Clyde Alexander & Sanction.

Jones, meanwhile, has enjoyed a hugely successful career both in her native New York (as Joyce Jones, an original member of First Choice) and on the West Coast, where she not only became an in-demand performer, but also snagged a role in the Supremes biopic Dream Girls.

‘The Gift’ is one of Jones’ most cherished solo songs – a joyful celebration of a new day dawning that has long been popular in her live sets. With input and instrumentation from Davis and a fantastic delivery of her own lyrics by Jones, 40 Thieves has successfully re-framed the track as a sunrise-ready future Bay Area free party
favourite; a dubbed-out, suitably cosmic creation that’s presented in three potent versions.

Leading the charge, and stretched across side A of the vinyl version is the band’s ’Disco Mix’ which boasts a fully realised instrumental arrangement and extensive use of passages from Jones’ vocals. Not all the lyrics are present as the Bay Area band has chosen to focus on selected lines that most neatly fit their musical vision and
celebrate the joys of dancing at sunrise. There are more spaced-out keyboard solos, sharper guitars (smothered in effects in true 40 Thieves fashion) and sound design that’s as immersive as it is heady and intoxicated.

On the flip is the ‘Disco Dub’. A bona-fide dub disco chugger rich in relentless synth-bass, addictive guitar licks, echo-laden vocal snippets, sparkling nu-disco electronics, tactile, deep house style electric piano stabs and cosmic effects aplenty, it’s a track tailor-made for slowly shuffling while the sun peeps over the horizon.

To complete an inspired package, 40 Thieves have also included a killer DJ tool: a ‘Beats’ take that wraps energy packed percussion hits, trippy electronic noises, trailing dub delays and sparse melodies around a metronomic drum machine beat. It’s a wavy, groovy and pleasingly mind-altering way to conclude one of 40 Thieves’ most magical EPs to date.

Am 9. Juni 2023 wird Capitane Records Adam Greens "Friends of Mine" anlässlich des 20-jährigen Jubiläums des Albums neu auflegen. Für Fans von Green und seiner Band The Moldy Peaches mag es schwer zu glauben sein, dass es schon zwanzig Jahre her ist, dass in den frühen 2000er Jahren eine neue Generation von Künstlern, Interpreten und Songwritern die Indie-Rock-Welt in Flammen setzte. Innerhalb von gefühlt nur wenigen Monaten versorgten Bands wie The Strokes, The White Stripes, The Libertines und The Moldy Peaches das Indie-Publikum mit neuen Versionen und Interpretationen des Rock'n'Roll-Kanons, Mit Einflüssen, die sowohl Standards wie The Velvet Underground, Television, The Stones, The Doors, The Stooges, Leonard Cohen, The Modern Lovers und Bob Dylan als auch neuere Künstler wie Beck, Daniel Johnston, Nirvana, Sonic Youth, Will Oldham, Pavement und The Silver Jews umfassten. Die Ergebnisse variierten zwischen geradlinigem Rock'n'Roll und Punk mit einem vom Folk inspirierten Songwriting-Bewusstsein. Vorbei waren die zerrissenen Jeans und Flanellhemden von einst. Enge Hosen und Lederjacken regierten den Tag...und die Nacht. Nach erstem Solo-Album und dem Erfolg seiner Band The Moldy Peaches (die 2001 zusammen mit The Strokes bei Rough Trade Records unterschrieben und anschließend mit ihnen auf Tournee gingen) schrieb und nahm Adam Green Friends of Mine auf, das bahnbrechende Album, das eine neue Richtung in seiner Karriere einschlagen sollte. In Abkehr von den selbst aufgenommenen 8-Spur-Analogaufnahmen seiner früheren Alben wandte sich Green einem Sound zu, der zu dieser Zeit eindeutig als Hi-Fidelity-Sound bezeichnet werden konnte, komplett mit Band und einer Streichergruppe (mit Arrangements von Jane Scarpantoni). Friends of Mine orientierte sich an den Werken von Serge Gainsbourg, Scott Walker und Frank Sinatra, während der lyrische Inhalt wie von der symbolistischen Poesie und dem Surrealismus von Brecht und Dylan abgeleitet schien. Das Ergebnis war etwas völlig Neues, eine Platte, die sowohl rührend traurig als auch sardonisch, satirisch, lässig und sogar laut lachend komisch sein konnte. Songs wie "Jessica" oder das Titelstück wurden zu Hymnen für eine neue Generation junger Indie-Rock-Fans in Europa, in Deutschland wurde Adam Green besonders gefeiert, von Indiekids, der Musikkritik, im Feuilleton und auch fast sogar in der Klatschpresse. Capitane ist stolz darauf, Friends of Mine nun als Doppel-LP bzw. 2CD und limitiert erstmals als farbige Einzel-LP wieder zu veröffentlichen. Die Deluxe-Edition enthält auf einer zweiten Disc Outtakes, B-Seiten und Live-Versionen und Linernotes zu den Songs von Green, die neue Einblicke in seine oft kryptische lyrische Methodik sowie Anekdoten aus der Entstehungszeit der Songs bieten. Ebenfalls gibt es Auszüge aus einem Gespräch zwischen Green und Dan Myers (Produzent), Steven Mertens (Bassist), Matt Ramono (Schlagzeuger) und Larissa Brown (Zeit). Die fünf alten Freunde tauchen tief in die Produktion von Friends of Mine ein und tauschen Geschichten über die vergangene Zeit aus. Die 2023er-Ausgabe von Friends of Mine ist ein Fenster zu einem wesentlichen Teil unserer jüngsten Vergangenheit und ein Zeugnis für einen Künstler, der den Test der Zeit bestanden hat. Adam Green ist immer noch dabei - genau so sleazy, weird & funny wie vor 20 Jahren!



Doppel-LP, zweite Platte mit B-Seiten, Demos, Outtakes und Liveversionen, klassisch schwarzes Vinyl im Klappcover, bedruckte Innenhüllen mit neuen Linernotes plus 4-seitigem Insert mit Interview! Definitiv Deluxe!

Am 9. Juni 2023 wird Capitane Records Adam Greens "Friends of Mine" anlässlich des 20-jährigen Jubiläums des Albums neu auflegen. Für Fans von Green und seiner Band The Moldy Peaches mag es schwer zu glauben sein, dass es schon zwanzig Jahre her ist, dass in den frühen 2000er Jahren eine neue Generation von Künstlern, Interpreten und Songwritern die Indie-Rock-Welt in Flammen setzte. Innerhalb von gefühlt nur wenigen Monaten versorgten Bands wie The Strokes, The White Stripes, The Libertines und The Moldy Peaches das Indie-Publikum mit neuen Versionen und Interpretationen des Rock'n'Roll-Kanons, Mit Einflüssen, die sowohl Standards wie The Velvet Underground, Television, The Stones, The Doors, The Stooges, Leonard Cohen, The Modern Lovers und Bob Dylan als auch neuere Künstler wie Beck, Daniel Johnston, Nirvana, Sonic Youth, Will Oldham, Pavement und The Silver Jews umfassten. Die Ergebnisse variierten zwischen geradlinigem Rock'n'Roll und Punk mit einem vom Folk inspirierten Songwriting-Bewusstsein. Vorbei waren die zerrissenen Jeans und Flanellhemden von einst. Enge Hosen und Lederjacken regierten den Tag...und die Nacht. Nach erstem Solo-Album und dem Erfolg seiner Band The Moldy Peaches (die 2001 zusammen mit The Strokes bei Rough Trade Records unterschrieben und anschließend mit ihnen auf Tournee gingen) schrieb und nahm Adam Green Friends of Mine auf, das bahnbrechende Album, das eine neue Richtung in seiner Karriere einschlagen sollte. In Abkehr von den selbst aufgenommenen 8-Spur-Analogaufnahmen seiner früheren Alben wandte sich Green einem Sound zu, der zu dieser Zeit eindeutig als Hi-Fidelity-Sound bezeichnet werden konnte, komplett mit Band und einer Streichergruppe (mit Arrangements von Jane Scarpantoni). Friends of Mine orientierte sich an den Werken von Serge Gainsbourg, Scott Walker und Frank Sinatra, während der lyrische Inhalt wie von der symbolistischen Poesie und dem Surrealismus von Brecht und Dylan abgeleitet schien. Das Ergebnis war etwas völlig Neues, eine Platte, die sowohl rührend traurig als auch sardonisch, satirisch, lässig und sogar laut lachend komisch sein konnte. Songs wie "Jessica" oder das Titelstück wurden zu Hymnen für eine neue Generation junger Indie-Rock-Fans in Europa, in Deutschland wurde Adam Green besonders gefeiert, von Indiekids, der Musikkritik, im Feuilleton und auch fast sogar in der Klatschpresse. Capitane ist stolz darauf, Friends of Mine nun als Doppel-LP bzw. 2CD und limitiert erstmals als farbige Einzel-LP wieder zu veröffentlichen. Die Deluxe-Edition enthält auf einer zweiten Disc Outtakes, B-Seiten und Live-Versionen und Linernotes zu den Songs von Green, die neue Einblicke in seine oft kryptische lyrische Methodik sowie Anekdoten aus der Entstehungszeit der Songs bieten. Ebenfalls gibt es Auszüge aus einem Gespräch zwischen Green und Dan Myers (Produzent), Steven Mertens (Bassist), Matt Ramono (Schlagzeuger) und Larissa Brown (Zeit). Die fünf alten Freunde tauchen tief in die Produktion von Friends of Mine ein und tauschen Geschichten über die vergangene Zeit aus. Die 2023er-Ausgabe von Friends of Mine ist ein Fenster zu einem wesentlichen Teil unserer jüngsten Vergangenheit und ein Zeugnis für einen Künstler, der den Test der Zeit bestanden hat. Adam Green ist immer noch dabei - genau so sleazy, weird & funny wie vor 20 Jahren!



Doppel-LP, zweite Platte mit B-Seiten, Demos, Outtakes und Liveversionen, klassisch schwarzes Vinyl im Klappcover, bedruckte Innenhüllen mit neuen Linernotes plus 4-seitigem Insert mit Interview! Definitiv Deluxe!

A blistering single 'Make You Freak' marks a welcome return to Drumcode for Eli Brown.

The Bristolian artist debuted on Drumcode in September last year with ‘Deep Down’, a summer highlight for Adam Beyer's label. His return 'Make You Freak' is five minutes of pure mechanoid techno, imbued with layers of acid, Brown's pin-sharp drums and a famous vocal sample. It's a thrilling cut that’s highlighted Drumcode's Warehouse Project party, Fabrik in Madrid and all across Eli Brown's 'Believe Tour' in 2022. ''This is a track I’m really excited about'' he shares. ''It features a sample of an iconic club classic in LFO's 'Freak', which I've been hammering in my sets for a while now. I think this could be the biggest techno track I've released yet and I couldn't be happier to be signing it to Drumcode.”

Ghost Producer aka Badawi (aka Raz Mesinai aka Bilal ibn Yakub al-Badawi) is a prolific producer and artist who has been on the forefront of underground experimental jazz and electronic music scenes around the world for over thirty years, with a catalog of albums on labels as ROIR, Asphodel and Tzadik under various monikers dating back to the late 1980s.

Ghost Producer released his first albums starting in the late 80’s under the monikers Psy Co. and Ruff Riddim Productions, selling his cassette tapes in NYC. He produced, on average, at least one album per week since 1988 until today. One of the twenty or so monikers was Badawi, later being signed to ROIR Records and releasing the seminal experimental dub, punk albums »Bedouin Sound Clash« and later »The Heretic of Ether« on Asphodel. Spending time as a child between Occupied Jerusalem, the West Bank (Balata) and New York City (Rock Steady Park) during the height of the B-Boy era in the 70s and 80s informed Ghost Producer’s singular sound of heavy driving Sufi rhythms, sonic experiments, percussion, piano playing and sound design which has connected him to a wide variety of artists ranging from Maryanne Amacher to John Zorn, to added elements of darkness to music by such artists as Hanz Zimmer (Black Hawk Down) and rappers Danny Brown (Pneumonia) and Skepta and Double D (Don) among many others.

At age 14, Ghost Producer was discovered by visionary jazz and rock musician, Juma Sultan (Jimi Hendrix) whom later trusted Ghost Producer with producing the archive of over 2000 hours from recordings from »Studio We« and the Free Jazz Loft Movement in NYC in the 60s and 70s. As a composer, he has worked with Kronos Quartet and has had premiers at Carnegie Hall (Cross Fader, The Echo of Decay) and Lincoln Center (String Quartet For Four Turntables). In addition, Ghost Producer has released several albums on John Zorn’s Tzadik label, where he explored producing to the books of Franz Kafka (Before The Law, Resurrections for Goat Skin, Cyborg Acoustics)

As a composer for film, he coined the term »score design» to describe his work in conceiving and producing scores for films with particularly demanding needs, working on such films as A Late Quartet (director Yaron Zilberman composer: Angelo Badalamenti), The Fountain, Black Swan and The Wrestler (Darren Aronofsky/Clint Mansel), Black Hawk Down (Ridley Scott/Hans Zimmer) and many more. In 2014, he was awarded as a fellow in the Sundance Composers Lab.

In 2015, Ghost Producer formed the Underground Producers Alliance, a unique program for developing producers, performers and composers, with co-founders Scotty Hard (Wu Tang Clan, Medeski Martin and Wood, De La Soul), HPrizm aka High Priest (Anti Pop Consortium), Honeychild Coleman (the 1865, The Slits) and Prince Paul (Jungle Brothers, De La Soul), where Ghost Producer produces entire albums with student participation in his master course.

This album, »The Book of Jinn«, is one of many productions done within the course, featuring players/mentors Juma Sultan (percussion), Chandenie (voice) and Shahzad Ismaily (electric bass), with additional student participation from Adam Culbert and Jonah Sollins (aka Goodnight 1500) on synths and percussion as well, then all remixed and rearranged by Badawi into what you hear here, The Book of Jinn.

Eli Brown steps up to unveil his highly anticipated debut release on Drumcode.

The UK artist hailing from Bristol has long been on Adam Beyer’s radar. He made his debut on Drumcode’s sub label Truesoul in 2019, teaming up with Will Clarke for their standout EP, ‘Our Love’. Since then, Eli Brown’s sound has continued to evolve and develop, with his signature dark and subversive sonics exhibiting on labels such as on Filth On Acid, We Are The Brave and his Arcane imprint earning high praise in techno circles.

His maiden contribution to Drumcode is in the form of his high-octane four track EP ‘Deep Down’. The title track ‘Deep Down’ has been a go-to weapon for Adam Beyer who’s been slaying it at Awakenings, Ultra Europe x Resistance and Loveland. It’s a dynamic, vocal-led production driven by a squelchy psy-laced synth line. ‘Nazareth’ is a pumping acid-infused stomper that galvanised the masses at Tomorrowland. Brown draws inspiration from Detroit for ‘Can’t Stop The Feeling’, a track that delicately balances an exuberant soul vocal with a nostalgic rave vibe. The EP rounds out with the thrilling highlight, ‘Pressure’, as 90’s house chords and gritty synths combine with a luring vocal hook for an ecstatic conclusion to the EP. It went down a treat when Beyer played it at Drumcode’s Off Sonar party in June.

180gm Clear Vinyl housed in a 3mm wide spine sleeve with printed
inners, Remastered by Alchemy Mastering At AIR from the original
production tapes
The Selecters's second album, Celebrate The Bullet was released in February
1981 as the follow up to the successful 2 Tone debut album Too Much Pressure,
along with the hit singles On My Radio, Three Minute Hero and Missing
Words.Switching labels to Chrysalis Records, the band returned to On My Radio
producer Roger Lomas, moving into a more melodic slower pace, whilst keeping
their lyrical commentary on racial and social issues. Original members Desmond
Brown and Charley Anderson departed before the recording began, with Lomas
and Norman Watt- Ray (Ian Dury) helping on bass before new members James
Mackie and Adam Williams joined to complete the recording.
Due to unfortunate timing, upon release the title of this album was
misunderstood due to the recent murder of John Lennon and an assassination
attempt on U.S. President Ronald Regan meant radio stations didn't support the
single or album and the release was largely ignored.
This forgotten classic from the 2 Tone era is a timely reissue and will give time
for a re- evaluation in the same way the 2021's reissue of too Much Pressure
showed the band as relevant.
Pauline Black, who was recently awarded an OBE in 2022, and the band will be
touring in November 2022 and into 2023 performing the album in full along with
selections of their previous album.

The FIXX has been heralded as one of the most innovative bands to come out of the “MTV” era. For four decades, the style and substance of the band has always created a special connection with its audience. The FIXX’s themes are often complex, introspective and thought-provoking, but not without widespread mass appeal. The band has garnered three #1 hits, five more in the Top 5 and a dozen which reached the Top 10. With millions of albums sold worldwide, songs such as “One Thing Leads To Another,” “Red Skies” and “Saved By Zero” remain everyday staples on the playlists of the Rock, AAA and Alternative radio stations that continue to break new acts inspired by the era that The FIXX helped to define. The FIXX’s classic lineup remains intact, Cy Curnin (vocals), Jamie West-Oram (guitar), Rupert Greenall (keyboards), Dan K. Brown (bass guitar) and Adam Woods (drums). The alt rock pioneers return with their new studio album EVERY FIVE SECONDS,their first in nearly a decade, on June 3, 2022!

Foiling on the front, coconut coloured vinyl
Rising from the ashes of Palma Violets, Gently Tender first begun as a reminder
for Sam Fryer to treat himself more softly. Joined by his former bandmates Will
and Pete, along with The Big Moon's Celia Archer and guitarist Adam Brown, the
band's long- awaited debut album 'Take Hold Of Your Promise!' has been five
years in the making, and marks a return to something slow and careful, rooted,
and soulful.

B. Bravo (aka Adam Mori) returns to Bastard Jazz with the long-awaited follow-up to his 2017 debut LP, "Paradise," with a fresh full-length offering: "Vizionz." Replete with his signature future funk vibes, infectiously soulful grooves, and talkbox excursions, "Vizionz" sees the multifaceted artist take the classic West Coast into outer space. If B. Bravo's last album sought to get lost in paradise - enjoying the moment here and now - "Vizionz" looks forward, feet placed firmly in an established LA vibe, while the matured eyes of a veteran producer gaze keenly to the future.

"Vizionz" arrives following a slew of diverse singles, which highlight B. Bravo's stunning versatility as a songwriter, producer, and collaborator. Last year's "Lifted (What U Waiting 4)" came first, at the end of May, 2020, pairing g-funk talk-box verses and synth lines with rich vocal harmonies and a dance-floor-ready beat. Frequent collaborator Reva DeVito (Miami Horror, Kaytranada) makes a standout vocal appearance on "Fly Bye," the second single. Here, Adam surrounds Reva's vocals with ambient pads, a Dilla-inspired beat, and an irresistible bassline, while Reva's dreamily sings about getting away from it all. The final single, "Believe," sees Chuck Inglish (of the famed duo The Cool Kids) rhyme in his distinctive baritone over a bass-heavy instrumental meant to rattle some car stereos.

The singles offer a view into the rest of the album: Solo B. Bravo joints include "Moon Bounce," a talk-box boogie jam begging for late-night drives with the top down; the largely-instrumental synth improvisation, "Midnight Rider;" the upbeat "Penelope," which showcases Adam's vocal and harmonic prowess; a bumping g-funk interlude, with "Flip Out;" as well as the laid back album opener, "Da Essence."

Further vocal assists come by way of Sally Green on the flirty "10/10," and Rojai on the slow jam ""No Regrets" . Both singers have worked on B. Bravo projects in the past, with Rojai additionally joining forces with Adam to form the duo Kool Customer, whose self-titled debut album was released on Bastard Jazz in 2018. Two more hip-hop-leaning tracks are aided by Def Sound ("Back Times Two") and Nico Fasho ("Ms. Stardust"); leaning heavy into outerspace G-Funk Hip-Hop vibes.

Taken as a whole, "Vizionz" is a much needed boost of serotonin: Uncompromisingly positive, sometimes nostalgic, sometimes aspirational, but always funky. The range of styles is a testament to Adam's indelible production chops, songwriting skill, and ability to collaborate. While it has been a long 5 years since "Paradise," "Vizionz" proves more than worth the wait.

Born and raised in California, with roots in Japan, B. Bravo's signature style of Cosmic Funk and late night synth grooves have made him a favorite among DJ's, dancers, and music lovers worldwide. A tasteful producer, sought after remixer, party rocking DJ, master of the talkbox, band leader, and alumnus of the Red Bull Music Academy, Mr. Bravo is an accomplished performer both at home and abroad.

Heavily inspired by the synthesizer-enhanced R&B grooves of the late '70s and early '80s, B. Bravo debuted in 2009 with the seven-track "Analog Starship" EP. A deeper impression was made the following year with a shorter extended play, "Computa Love," the title track of which was supported by BBC DJ Benji B months prior to release. Additional strides were made with a batch of singles and EPs that followed throughout the next few years, as Bravo toured and performed at numerous festivals around the world.

His relationship with the Brooklyn tastemaker label, Bastard Jazz Recordings, began in 2016 with the 7" single "I'm For Real / Stay The Night' (which notably featured a Mr. Carmack remix of the latter). Bravo's debut solo LP quickly followed with 2017's critically acclaimed "Paradise" - which shone a light on vocalists and frequent collaborators Reva DeVito, Trailer Limon, Kissey, and Lauren Faith - with a remix album appearing six months later.

Additional solo releases have found a home on Gilles Peterson's Brownswood Recordings and Frite Nite, while production credits have appeared on releases from the legendary Blue Note Records, HW&W, All City, Friends of Friends, and Tokyo Dawn. B. Bravo has worked on projects with the likes of Salva, Mr. Carmack, Teeko, DJ Lean Rock, Reva DeVito, Lauren Faith, and Kate Stewart.

Having toured throughout the US, Latin America, Europe and Asia, he's shared the stage with performers like Erykah Badu, Flying Lotus, DāM-FunK, Hudson Mohawke, at a world-spanning range of festivals such as Detroit Electronic Music Fest, HARD LA, Northern Nights, Laneway Singapore, Sonar in Barcelona, Snowglobe, SXSW, Basscoast, Do-Over, Low End Theory, Boiler Room, and Soulection.

B. Bravo's "Vizionz" LP is out on Brooklyn's Bastard Jazz Recordings Spring, 2022.

Bobby Weir & Wolf Bros—consisting of Bobby Weir, Don Was, Jay Lane and Jeff Chimenti—are set to release their second batch of live recorded material this year. Bobby Weir & Wolf Bros: Live In Colorado Vol 2 is out October 7 on Third Man Records, a follow-up to the first volume of the critically acclaimed live performance collection. Bobby Weir & Wolf Bros: Live In Colorado, Vol 2 features more songs recorded at the band’s live performances at the historic Red Rocks Park & Amphitheatre in Morrison, Colorado and the Gerald R. Ford Amphitheater in Vail, Colorado on June 8, 9, 11, 12, 2020, including classic Grateful Dead hits, "Ripple" and "Brokedown Palace" along with covers of Merle Haggard and Marvin Gaye. These shows were the group’s first live audience concerts in over a year and featured Greg Leisz on pedal steel, along with The Wolfpack: Alex Kelly, Brian Switzer, Adam Theis, Mads Tolling and Sheldon Brown. “Been too long,” Weir said of the performances, “but I can’t think of a better place to pick it back up…” Live in Colorado, Vol 1, received acclaim from LA Times, Forbes, USA Today, Billboard and more. In their review for Volume 1, Pitchfork Says, "Weir's rootsy trio offer a more intimate reimaging of his former group's historic counter cultural songbook." Weir explains “I’ve been workin’ in my spare time on expanding the sonic coloration of the songs I do. The Wolfpack is basically a step toward full orchestration - and further, I gotta say, these guys are game. We worked on the arrangements a bit but eventually we needed to trot it all out and play it for folks - and right at that moment, the folks in Colorado reached out and told us they were gonna open up. Holy Shit, WTF? Let’s Go.” Bobby Weir and Wolf Brothers will be performing four nights at the Kennedy Center in Washing DC this fall. 8/4 - Announce/Pre-order w/ IG: Ripple 9/2 - 2nd IG: Other One 10/07 - STREET DATE w/ focus track: Brokedown

Over recent years, there have been countless reissue of reggae-disco rarities and slept-on classics. Soul Jazz has, surprisingly given that they first dipped into the style 20 years ago on the now legendary Reggae Disco Hustle compilation, been surprisingly silent, so it's nice to see them joining the party in fine style. Disco Reggae Rockers is a fitting sequel to its illustrious predecessor, featuring as it does a wealth of killer covers of - and more adventurous 're-versions' inspired by - vintage soul, disco and funk tunes. The plentiful highlights include Devon Russell's inspired take on Curtis Mayfield's 'Move On Up', Risco Connection's super-sweet version of Diana Ross classic 'It's My House', Valerie Harrison's interpretation of Me'lissa Morgan's 'Fools Paradise' and Hortense Ellis re-frame of Candi Staton hit 'Young Hearts Run Free'.

Bobby Weir & Wolf Bros—consisting of Bobby Weir, Don Was, Jay Lane and Jeff Chimenti—are set to release their first ever vinyl collection of recorded material. Bobby Weir & Wolf Bros: Live In Colorado is out February 18 on Third Man Records—their debut with the label. Bobby Weir & Wolf Bros: Live In Colorado features a collection of songs recorded at the band’s live performances at the historic Red Rocks Park &Amphitheatre in Morrison, Colorado and the Gerald R. Ford Amphitheater in Vail, Colorado on June 8, 9, 11, 12, 2020. These shows were the group’s first live audience concerts in over a year and featured Greg Leisz on pedal steel, along with The Wolfpack: Alex Kelly, Brian Switzer, Adam Theis, Mads Tolling and Sheldon Brown. “Been too long,” Weir said of the performances, “but I can’t think of a better place to pick it back up…” Weir explains “I’ve been workin’ in my spare time on expanding the sonic coloration of the songs I do. The Wolfpack is basically a step toward full orchestration - and further, I gotta say, these guys are game. We worked on the arrangements a bit but eventually we needed to trot it all out and play it for folks - and right at that moment, the folks in Colorado reached out and told us they were gonna open up. Holy Shit, WTF? Let’s Go.” Third Man Records says “When Don approached us about this project of course we all jumped at the opportunity. The whole live music experience is so important to everyone here at Third Man Records and the chance to work with a few of the all time greats, well it seems like a miracle.”

Cat Power - vocalist, songwriter, musician and
producer Chan Marshall - releases her new album,
‘Covers’, via Domino.
 Cover songs have always occupied a crucial place in
the Marshall canon, and ‘Covers’ௗcompletes a trilogy of
sorts, following beloved past Cat Power collections
‘Jukebox’ (2008) and ‘The Covers Record’ (2000).
 While she frequently delights and surprises with the
songs she chooses to cover, it’s Marshall’s total
commitment to the performance - imbuing the songs
with a creative singularity that rivals her original work -
that make Cat Power covers so special.ௗ Says
Pitchfork, Marshall can “rearrange a song simply by
squinting at it.”
 Produced in its entirety by Marshall, ‘Covers’ features
fully reimaginedௗsongs by Frank Ocean, Bob Seger,
Lana Del Rey, Jackson Browne, Iggy Pop, The
Pogues, Nick Cave and The Replacements and more,
plus an updated rendition of her own song, ‘Hate’, from
‘The Greatest’ (2006), retitled ‘Unhate’ for this album.
 CD in clear tray in 6-panelled digipack.
 Heavyweight vinyl with full colour labels, printed inner
sleeve and digital download card.
 Press - Reviews in MOJO, Loud & Quiet, Uncut, Record
Collector, HiFi News, Aesthetica. Features in MOJO,
Uncut, Guardian Saturday Magazine, Kinfolk, Adam
Buxton podcast.

With sunshine, blue skies and good times on the horizon, Toolroom is ready to usher in the summer in a huge way with the brand new summer hit from Siege – ‘Reach Out’. Making his return to the label, Siege is back with a record that promises to steal the spotlight and your all-time favourite tune. Big favourite of Carl Cox, Alan Fitzpatrick and Adam Beyer, Siege has firmly planted his foot in the scene having released a selection of quality records already this year like, ‘Give It Up’ with Mark Knight, a collab with Eli Brown and a killer remix of Green Velvet and Technasia’s hit ‘Suga’.

Flawlessly proving just why he is one of the most exciting artists and producers out there in Dance Music right now, Siege flexes his talents on ‘Reach Out’. One of his best releases yet, Siege has reworked classic George Duke’s classic 1983 hit ‘Reach Out’ into the feel-good dance track of the summer. The track itself is pure ecstasy, from the sublime vocals and chorus melodies to the solid instrumentation of the record itself. Siege manages to retain every single drop of the feel-good magic that resonated throughout the original, reinvigorating the sound for the clubs of 2021.

The single also features a killer remix from Michael Gray and Dr Packer who bring their signature style and sound to the record, emphasising the Disco elements to a whole new level and an exclusive VIP edit from Siege himself. This is a euphoria laced Disco House record through and through, ‘Reach Out’ is a sure fire summer hit, classic in the making who has brought the infectiously catchy classic record back to life in a completely fresh and new way.