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"I love it. SO beautiful"
Josh Rosenthal [Tompkins Square]

Songs For A One-String Guitar is the debut instrumental acoustic guitar LP from Jonny Dillon. Better known for his analogue electronic music productions and all-hardware live sets under the ‘Automatic Tasty’ moniker [Lunar Disko, CPU, Wrong Island], Jonny’s records (bearing heavy acid and electro influences), along with live appearances at venues like Berlin’s Panorama Bar and Kiev’s Closer belie the fact that he has been quietly exploring the musical landscape of the guitar for nearly twenty years.

Recorded as a series of sketches over the last 10 years, Songs For A One-String Guitar represents a snapshot taken over a long exposure; one individual’s private response to a variety of currents and inspirations both musical and emotional. While informed in large measure by the world of Irish traditional music and song (of Sweeney’s Men, Planxty and Seán Garvey) along with that of primitivism and the American Spiritual (of John Fahey, Hank Williams and Mississippi John Hurt) these songs are equally a personal attempt to give expression to an inner landscape, from the experience of sorrow and loss to the promise of redemption and renewal.

The LP opens with ‘Turning Invisible In An Imaginary Rose Garden One-Evening’ a contemplative piece played in free-time; “I’ve been playing this piece for years, and it’s gone by so many different names in that time. It’s a sort of shoe-staring daydream, to my mind at least. I want people to disappear when they hear it, and think it suits the LP to open up slowly and reflectively”. While a contemplative strain underpins some of these songs, others are informed more directly by the experience of grief; “I wrote ‘A Requiem For Joe Dillon’ at the death of my uncle. He used play lots of wonderful songs of his own at family gatherings when I was a child, and while a very gifted and sensitive soul, was also troubled by his own demons. The last time I saw him alive was at my family home with my father; I was going out to see some friends and Joe called me back, gave me a hug and made the sign of the cross with his thumb on my forehead, to bless me. It still chokes me up when I think about it. A song of his ‘Light A Penny Candle’ I included to finish the piece in his honour.” A sense of longing and hope is present in other pieces; “Songs like ‘Again But With Feeling This Time’ and ‘Start Again (Carry On)’ come from a sort of hopeful yearning feeling which is always within me; a melancholic sort of joy in search of redemption. For me, music has the strange capacity to express contrary positions simultaneously; to console, redeem and offer transcendence while also expressing suffering and pain. I don’t know what any of this means, but feel as though I’m trying to find my way home by writing the same song over and over again.”

Songs For A One-String Guitar may seem to represent a departure for those who know Dillon for his electronic productions alone, though the reality is that these songs merely represent a new opening onto an old landscape; they are an invitation to more fully share in one individual’s yearning to find meaning through creative expression. “These songs are very personal to me, so there’s a certain nervousness in my seeing them released. I hope that they prove of some use, and that they do some small good to those who hear them.”

3rd album from Soweto sensations BCUC (aka Bantu Continua Uhuru Consciousness) with guest appearances from Afrobeat king Femi Kuti and renowned spoken word artist Saul Williams before a run of festival dates in the UK this summer.

Eschewing the classic album format, BCUC present three tracks – two of which clock in at nearly 20 minutes – that continue their philosophy of “Music for the people by the people”, combining zulu traditions and malombo percussions with a post-punk production and rock n roll attitude that have seen them feted as one of the most vital live bands playing today.

Eno Williams, frontwoman of Ibibio Sound Machine, uses both English and the Nigerian language from which her band's name is derived for the dazzling new album Doko Mien. Long lauded for jubilant, explosive live shows, Ibibio Sound Machine fully capture that energy on Doko Mien, the followup to their Merge debut Uyai.
In a glowing piece in the New York Times, those songs were praised for following 'in the tradition of much African music, [making] themselves the conscience of a community.' By pulsing the mystic shapes of Williams' lines through further inventive, glittering collages of genre, Ibibio Sound Machine crack apart the horizon separating cultures, between nature and technology, between joy and pain, between tradition and future. That propensity for duality and paradox seems common in people whose lives span continents.

Williams was born in the UK, but grew up in Nigeria, always steeped in her family heritage. She obsessed over West African electronic music, highlife, and the like, but was equally empowered by Western genres such as post-punk, disco, and funk. The London octet have enveloped themselves in that maximalist quilt proudly since their 2013 formation. Though it can often bring with it news of stress and uncertainty, the modern world further brings all these disparate traditions into connection.
'Everyone has everything now,' says multi-instrumentalist Max Grunhard. 'Everyone has immediate access to every genre, picking things up from everywhere—like magpies.' And while they haven't suddenly left their African roots behind, Doko Mien does find increased representation of English lyrics in the ratio. By sharing more directly with more universal lyrics, the record feels more anthemic, reaching for grander heights.
'We wanted to give people a reason to sing along, to find their soundtrack every day,' Williams says. 'We wanted everyone to feel as if they're part of the music as well.'

Late album highlight 'Guess We Found a Way' addresses the change with a coy smile. 'Guess we found a way to speak to you/ Guess we found a way to say what's true/ To say what's real,' Williams coos over glistening chains of reverberant synth and diamond dust percussion, before returning to Ibibio in the chorus. Perhaps the best example of the group's ability to convey meaning across language and tradition, to blend past and future into a singular present comes on 'She Work Very Hard'. The traditional Ibibio folk tale bobs over the waves of tuned percussion, chunky synth, and pinprick highlife-esque guitar, while Jose Joyette's drums and Derrick McIntyre's bass funk groove bring everyone to the dance floor. 'These stories won't be forgotten. Feel the music: it speaks to everybody,' Williams says. 'We can travel back in time together, while convening on a futuristic, present tense. We hope that we can give people that reason to wake up, that one song to sing and dance and be happy.'

Doko Mien: Tell me everything. On their new album, Ibibio Sound Machine provide the perfect companion, ready to digest as much as possible and then further unfurl beauty and hope. They remember and honor the past and charge forward toward the future, all while intensely expanding the present.

Compilation from British post-punk/Futurist group Ghosts of Dance formed in North Devon in 1981.

The members were Yvette Norris (vocals), Kevin Maynard (drums), Daryl Hunt (bass), Mark Butcher (keyboards), and Pete Heaton (guitar). Ghosts of Dance took their name from the song 'Ghosts' by David Sylvian which appeared on the first Japan album. After playing an early gig in Barnstaple, a gentleman in the audience named Richard Newman expressed his interest to start a record label and release their music. Richard scheduled a recording session for the band at Otter Studios in Georgeham with producer Harry Williamson, son of Henry Williamson, member of progressive rock band Gong. The debut single ‘Ghosts of Dance’ was released in 1982 on Plastic Canvas Records to mixed reviews as it was very different from anything being released at the time.

This compilation includes their debut single along with 9 bonus tracks recorded between 1981 and 1983 on vinyl for the first time. The band call themselves “Vocal Trance Music” on the 7” sleeve credits and it’s accurate. Melancholic pop with gloomy atmosphere and dream-like melodies. The final track shows the band moving in a New Romantic direction with Mark taking over the main vocals. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a jacket featuring original artwork by John Hurford and includes an insert with photos, lyrics and liner notes by Pete Heaton.

As part of their 20th Anniversary celebrations, Strut present the first new volume in their pioneering 'Nigeria 70' series for over 8 years, bringing together rare highlife, Afro-funk and juju from the '70s and early '80s. Compiled by collector and DJ Duncan Brooker, this new selection of tracks is receiving its first international release outside of Nigeria.

The compilation returns to a fertile heyday in Nigerian music when established styles like highlife and juju became infused with elements of Western jazz, soul and funk and musicians brought a proud new message post-independence. Brooker places the spotlight particularly on some of the incredible Ukwuani musicians from the Delta State region as guitarist Rogana Ottah and Steady Arobby's International Brothers Band forged their own fluid brand of highlife and soulman Don Bruce drew on the US R&B greats for a series of great albums and explosive stage shows at his residency at Hilton Hotel in Abuja.

Elsewhere, the album explores the close connection between Nigeria and Benin's music, most famously through Sir Victor Uwaifo, appearing here with a killer mid'80s ekassa jam, as well as highlife hitmaker Osayamore Joseph on 'Obonogbozu' (Joseph made headlines in Nigeria for very different reasons in 2017, surviving a one month kidnapping ordeal).

Other tracks include 'Sickness' a 1979 lament on how all countries share troubles by Prince Nico Mbarga, the Nigerian / Camerounian star behind the smash hit 'Sweet Mother'; reggae singer Felixson Ngasia switches to funk and disco for a heavy workout with potent lyrics around black identity; another major highlife great Etubom Rex Williams unleashes a punchy psych funk gem with 'Psychedelic Shoes' and Africa 70 member Pax Nicholas vocals a simmering Afrobeat groove from Jacob Lee's Saxon Lee & The Shadows International Band.

'Nigeria 70: No Wahala' iis released on 29th March 2019 on CD, 2LP and digital. All tracks have been restored by See Why Audio and mastered by The Carvery. The package features comprehensive sleeve notes including exclusive interviews with some of the original artists.

Fresh of their most busy year actively djing in Milan and across Europe, Ayce Bio, Turenne and Borbo are ready to launch a new Ep: One track each + a Remix by Bologna's finest producer and vinyl collector DJ Rou.

Mixed and mastered by Reel Mastering, distributed by Rubadub Uk.

Funclab records runs a monthly show on Rocket Radio and a club night at Apollo club, inviting al- ways different dj's and producers to share the decks with them, among others they played with San Proper, Boo Williams, Eclair Fifi and Pangea.

After the first release 'House al dente', they spent one month during the summer touring with a van around Europe to promote the vinyl, going to their favourite radios and vinyl stores to bring it personally, ending at Barrakud festival in Croatia in front of two thousand people with a dj set and set design.

The collective is the real strength behind the newborn record label, collaborating with a lot of local producers they're always working on new things, in the next few months they are going to release also a various and other two eps.


A1 AYCE BIO - COME IN TO GET HER

909 patterns and jazz funk chops with crispy bass cuts, let your children know who play funk.

A2 AYCE BIO - COME IN TO GET HER (DJ ROU REMIX)

Bass infused remix from Bolo's finest producer and collector.

B1 BORBO - STUNTMAN MIKE

Deep atmosphere, '70s hypnotic rhodes with lofi-esque drums and vocal cuts from Grindhouse.

B2 TURENNE - REALLY COOL

Funk/Soul samples with groovy drums and a really cool vocal.

David Marston is a producer, DJ, musician, and guitarist hailing from the vibrant Caribbean island of Jamaica. He takes a multifaceted approach to his music, and has worked to achieve a sound that is a fusion of multiple genres, including, but not limited to, house, hip-hop, disco, jazz, as well as reggae. During a six-month stint in Jamaica in 2016, Marston reconnected with a close friend and fellow musician, Craig Williamson, and the pair began writing music that would become the basis of Marston's first full length album. With the album set to be released in early 2019, Marston has endeavored to put together a special 12" to showcase the club-friendly side of his music with a selection of the album's dance cuts.

The A-side of the vinyl kicks off with the title track, "Feeling You", which features Williamson's crooning voice over a hypnotic instrumental characterized by a swirling arpeggiated synth, punchy bass hits, and stomping drums. To round off the A-side, Italian DJ and production duo, Lowheads, give the aforementioned track a fresh makeover with their lively classic house remix and dub version. The flip side of the record consists of two instrumental tracks. The first, "Ragamuffin", is a mesmerizing four to the floor tune constructed around an Indian raga sample. The final number, "On My Mind" is an off-kilter house groove with rolling keys, garage style drums, and a soaring lead. Taken together, the 12" album 'sampler' is a robust yet tantalising collection of club-ready tunes.

The Seeds of Fulfillment by David Drazin (November 2018)

Andrew Venson founded Seeds of Fulfillment (SOF) in early 1978. In the 1960s he had played electric bass with Arthur Conley, and later the original Peaches and Herb. On the same bill with Big Brother and the Holding Company, he hung out backstage with Janis Joplin. Yes! Vince was hoping SOF would get all of us to the top. He composed three tunes for the band, and we always had a ball playing them.

Roger Myers is a marvelous drummer. We co-composed Namaste. Roger would settle on a drum pattern of four measures at a time that he wanted to keep, and I'd put chords and melody right on top of his pattern. When he layered a second drum pattern on top of the first one, we'd get two melodies at the same time. We thought we were going to collaborate on more songs this way, but it didn't happen.

Lee Savory is a very inventive jazz man. He's musically literate, and wrote excellent transpositions. I remember Lee's asking for my input while he was composing Tight Squeeze, but it was clear he had it down. Once when I was visiting a DJ who played the album in a local radio station, the total of checks next to Tight Squeeze for number of plays was by far the highest!

Randy Mather's sax playing always knocked me out. I could hardly wait to hear him solo. When he left SOF to go with Woody Herman's orchestra it was amazing, but true.

Jeanette Williams had recorded 45s for the Duke and Peacock label when she was 17 years old. Her powerful singing was incredible to me. When we needed an original for Jeanette, Vince composed it, and Roger's wife Linda wrote the lyrics.

In 1978 I was in my senior year at Ohio State University when I met Vince. He came into a bar called My Brother's Place where I was playing with a trumpet player named Bobby Alston. When I was a freshman at OSU I'd played in an off campus band called Akadama. Before that I played in my home town of Cleveland, Ohio in the Brush High School Stage Band and a jobbing band called The Midnight Combo.

Everyone in the band contributed something to Egg Cartons in a composition jam session. We rehearsed in Vince's basement, and he had covered the walls with egg cartons to make the room sound more like a recording studio. The Provider was inspired by Country Preacher by Joe Zawinul. In those days I especially admired the way Zawinul would get his soulful feelings across, but also loved Herbie Hancock and to a lesser degree Chick Corea too. It took two years (with a break of several months) for the band to conquer Self-Fulfilling Prophecy. It shows you what consideration and dedication is, that ultimately they felt it was worth learning.

We recorded at Fifth Floor Studios in Cincinnati, Ohio. While we were there I got to shake hands with Bootsy Collins, who was recording in the rooms downstairs at the same time. Years later, Fifth Floor burned down and all the master tapes were destroyed.

Taken for the widely played and adored Lenny Williams Spark of Love Album, which was released during the Disco Era of 1976 and featured disco hits like, 'You got me Running', I still Reach and 'Midnight Girl' comes 'Changes.'

Edits and Overdubs Produced and Performed by Joaquin Joe Clausell; Changes is the tune that was mostly ignored from the extensive Lenny Williams music catalogue.
Similar to his past works where he chooses songs that are mostly un popular to the outside world but classics amongst himself and his siblings at home, Joaquin Joe Claussell takes this Jam that he used to groove to at home as a young teenager, lifts it out from obscurity and turns it into something that will sure be played by most DJ's who are into the Lenny Williams Sound, soulful disco and beyond.

Listed at a time length of (5:03) Joe cleverly up lifts this soulful disco composition and extends it to a time of (9:01). He achieves this, as usual, with respecting the original composition and with never anyself-masturbation. In the end, the results are a New Disco Classic that drives with relentless energy and enough soul for anyone who's seeking more soul that hailed mostly from the urban side of American disco music.
So, listen, dance and spin.

Lenny Williams - Changes Edits & Overdubs by Joaquin Joe Claussell will be the first single to come out from the forth coming Joaquin Joe Claussell Presents Edits & Overdubs PT 2 2XCD and Special Limited 7Inch.

'Bobbie Gentry's The Delta Sweete Revisited' is
Mercury Rev's committed and affectionate
resurrection of an album that anticipated by three
decades their own pivotal expedition through
transcendental America, 1998's 'Deserter's Songs'.
From their recording lair in New York's Catskill
Mountains, the founding core of Jonathan
Donahue and Grasshopper with Jesse Chandler
(previously in the Texas group Midlake) honour
Gentry's foresight and creative triumph with
spacious invention and hallucinatory flair.
Gentry's stories and original resolve are brought to
new vocal life and empowerment by a vocal cast
from across modern rock and its alternative paths:
among them, Mazzy Star's Hope Sandoval; Laetitia
Sadier, formerly of Stereolab; Marissa Nadler;
Margo Price, the fiery new country star with a
punk rock heart; and Norway's Susanne Sundfør,
who cuts through 'Tobacco Road' with arctic-Nico
poise. Phoebe Bridgers, whose first record was a
softly stunning 2015 single for Ryan Adams' PAX
AM label, hovers through the acid-western
suspense of Gentry's 'Jessye Lisabeth' with floating
calm, like a comforting angel.

Blues Creation was founded in Tokyo in 1969. They released this, their impossibly rare debut of American blues covers, that same year. Featuring covers of Sonny Boy Williamson, Chester Burnett, Memphis Slim, Willie Dixon, and more, this is the greatest recorded example of the Japanese obsession with American blues music. The band would record several more albums and then come back as, simply, Creation, but nothing reached the sheer blues rock heights of their debut.

Hound Gawd! Records Freut Sich, Die Veröffentlichung Des Selbstbetitelten Debütalbums Von J.d. Hangover, Am 11. Januar 2019 Bekannt Zu Geben. »es Ist Urtümlich, Viszeral Und Gefährlich, Es Knurrt, Brodelt Und Tyrannisiert«, Beschreibt Das »dancing About Architecture Magazine« Die Aufnahmen.

Nach Einer Reihe Von Bodenerschütternden Auftritten In Europa Und Großbritannien Mit Seelenverwandten Wie Boss Hog, The Scientists, Public Image Ltd. Und Alejandro Escovedo, Rückten Sie In Den Fokus Von Hound Gawd! Records. Das Ergebnis Ist, Dass Die "j.d. Hangover Ep" Nun Auf Gutem, Hartem, Ehrlichem Vinyl Erhältlich Ist.

Diese Aufnahmen Sei Fans Von The Gun Club, Suicide, Boss Hog, Gallon Drunk And Lightnin' Hopkins Wärmstens Ans Herz Gelegt.

The Lemonheads' first record in 10 years!
Covers album - Includes versions of Nick Cave, Yo La Tengo, The Bevis Frond, Eagles and more.

Extensive world tour over the 12 months, including Europe, USA and Asia. Banana scented scratch & sniff vinyl sleeve!

'The Lemonheads are no strangers to a cover, the grunge-pop heroes perfect the art.' NME

The Lemonheads follow up the critically acclaimed 'Varshons' from nearly ten years ago with another eclectic collection of covers.
Produced by director Matthew Cullen and mastered by Howie Weinberg (Beastie Boys, Nirvana, The Ramones), their tenth studio album brims with the slowly-matured vocal of Evan Dando as he lures a host of personal faves to his melodic lair. He really has become one of the great expressive singers of our time.
What they said about Varshons:

'Gram Parsons, Wire, and GG Allin: You'd be hard pressed to find three more disparate rock acts, yet on 'Varshons' they all sound like the Lemonheads - boppy, overcast alt-rock delivered at a fast clip and sung in a whiskey tenor.' Pitchfork

'Varshons 2' is a hokey jukebox filled with unique versions of Yo La Tengo, Nick Cave, The Bevis Frond, NRBQ, The Eagles, Paul Westerberg, The Jayhawks, Lucinda Williams and John Prine.
Like Hank Williams slumped in his car between gigs, strumming and hollering, reasoning and weeping, humming it on over, Evan and his Lemonheads make every tune their own.

Auge und Ohr vereint: Kollaborations-EP von Oscar Powell und Wolfgang Tillmans. Zufällige Treffen können viel in Gang bringen: Oscar Powell, der Londoner DJ, Elektronikproduzent und
Gründer (mit Jaime Williams) von Diagonal Records, und der deutsche Fotograf und Künstler Wolfgang Tillmans, dem 2000 als erstem Fotografen und Nichtengländer der renommierte Turner Prize verliehen wurde, liefen sich 2017 im Tate Modern bei einer Performance von Tillmans über den Weg. Man kam ins
Gespräch, führte die Konversation per Mail fort und fand sich schließlich in Berliner, Londoner und Turiner Studios wieder. Die dabei entstandenen Titel sind auf der vorliegenden EP versammelt. Obwohl dem Visuellen verpflichtet, waren die Aufnahmen für den aus Remscheid stammenden Tillmans kein Neuland. Schon 2016 veröffentlichte er Vocal basierte elektronische Songs auf einer Reihe von EPs und Mini-Alben.
Eine Komposition von ihm schließt sogar Frank Oceans Album "Endless" ab. Powell hingegen veröffentlicht seit 2011 Musik auf seinem eigenen Label sowie bei Mute und XL Recordings.

The arrival of Marvin Parks on today's musical scene is a perfect addition to the renaissance of the Afro-American Jazz Crooner panorama, deeply rooted in the Black Music tradition. Having his roots in Gospel and in the '50s and '60s jazz singers by the likes of Nat King Cole, Johnny Hartman and Joe Williams, Marvin Parks yet remains by all means an artist of today. In his debut Marvin shapes his light baritone colors within the sound of a well-established group of musicians under the direction and production of Nicola Conte, giving a different light to well-known standards and some originals.

International Black's 6th release comes from critically acclaimed electro supergroup London Modular Alliance. Operating from a refreshingly simple credo of: 3 men, 0 computers, many patch cables - LMA create their music on the fly using soley modular synthesis. Consisting of Koova (brokn toys), Pip Williams (Central Processing Unit) and Yes Effect, these three experienced producers have blown minds with their ecstatic live performances across the globe. Coming in hot after releases for Kirk Degiorgio's A.R.T. Records and Hypercolour, their release for International Black takes no prisoners. Opening the A side is 'Same Repeated Cycles', an ice cold electro inspired groove featuring LMA's signature modular synthesis. Engineered to perfection and mastered by Matt Colton, this cut delivers a new level of toughness to the International Black catalogue. On the B Side, 'Acid Lab' takes a more gentle approach: slo-mo electro drenched in acid. The lead tb303 riff floats in an abyss of dubbed-out dystopian psychedelia. Closing the record is 'Volatile State' , an otherworldly piece of alien sound design which simmers ominously for over 2 minutes before exploding with an extra-terrestrial electro force which simply can't be ignored. Each listen reveals a new detail of this impossibly intricate yet incredibly effective record. Designed for the club, engineered for the mind.

Electro master Dez Williams joins the Discos Atónicos camp for the label's 4th installment and delivers 5 dystopian cuts infused with his signature sound - crunchy bass lines, spaced out drama, alien funk and a touch of acid. Strongly recommended!

Hailing from the north of England, he is no stranger to the global electronic music scene yet prefers to stick to the underground and stay true to his own artistic and creative spirit.
Dez started releasing in the early 00's and has tracks on such labels as SCSI-AV, Cheap, Bass Agenda, Earwiggle, Killekill, Mechatronica, Bedouin, Shipwrec, New Flesh as well as his own imprint Elektronik Religion.

A very welcome reissue of one of the highly regarded pieces of music by the great pianist and composer Mary Lou Williams. The concept behind "Black Christ of the Andes" is about the ideal meeting between Jazz and Spiritual. From the dark, smokey atmospheres of the Devil's music to the luminous sound of the African American Church. A very enjoyable record made up of different materials like "Jump Blues" numbers, a cappella choral pieces and some striking piano trio cuts. All arranged and conducted by the great Melba Liston and featuring performances of Jazz luminaries such as Milt Hinton, Grant Green, Percy Heath, and Mary Lou Williams herself.

'Garage bands suddenly obtain cult status and become the antithesis of their initial appeal'

Garage Class were a group of reluctant outliers who produced one of the finest contributions to the wave of UK DIY music that emerged during the late 70s and early to mid-80s.

Hailing from Alsager in North West England and comprised of Tim Shutt (vocals) Phil Murphy (lead guitar) Clive Williams (guitar) Lynne Sanders (bass) and Phil Bourne (drums / bass on studio recordings) Garage Class originally went by the name of The Pits before their then manager Steve Hurt imposed an alias which, though unpopular within their ranks, would nevertheless reflect the shambolic art they would eventually capture on their first and only single.

As The Pits the group offered a loutish inflection on glam-punk flamboyance, evoking Johnny Thunder hitting the north and remaining disowned yet undeterred in a dreary old boozer. But as Garage Class the group distilled a roughcast and homespun primitivism that felt quintessentially their own. In this they proved too unruly to be assimilated into any wider scene. Early gigs descended into acrimony and recognition proved elusive. Yet what they managed to make back then now sounds like an extraordinary article of underdog ambition.

Released in 1984, four years after it was originally recorded, the Terminal Tokyo single is an unlikely triumph of exceptional messthetic punk. Though raw and unpolished the songs here are precariously pop-minded and indisputably anthemic. The titular A-side reveals the dry and detached drawl of Shutt aka The Subliminal Kid, a sharp, jaded and poetic voice that has some of the most iconic lines never heard in punk. Accompanied by second-hand guitars, on-the-fly handclaps and a chorus like a terrace chant this is the cult hit that never was, a heroically artless masterpiece that has all the ragged character and misfit euphoria of Swell Maps and The Buzzcocks if they were more impulsive and boisterous, and left to their own devices in the remote margins of a Cheshire town. The original B-side is here substituted for I Got Standards, a track that, until now, has somehow remained unreleased. An ideal twin to Terminal Tokyo there's the same brusque and dog-eared quality to the band's delivery, as well as the same upfront emphasis on strong hooks and insistent momentum. Yet again, Shutt is on impeccable form, perfecting an inflated, adolescent antagonism that has all the sardonic, malcontented charm of similarly 'shirty' buggers like Dan Treacy (Television Personalities), Patrik Fitzgerald and Mark Perry (Alternative TV).

Although never accepted in their own time both tracks represent a brief but inspired moment of fervent imperfection, one that epitomized the best of a diffuse and autonomous underground movement spearheaded by The Desperate Bicycles and built upon by the likes of Amos & Sara, The Homosexuals, The Cleaners From Venus and Family Fodder. Like them Garage Class were situated at a point where punk, art, humour and a sense of stubborn independence all intersected.

In the years since Terminal Tokyo has accumulated a retrospective appeal among certain trusted circles, with Jon Dale celebrating the single in his exhaustive and essential Story of UK DIY for Fact Magazine, and original copies regularly changing hands for a foolish forty quid or so. With this inaugural release on the Outer Reaches label Terminal Tokyo is not only restored for the very first time but given a worthy expansion courtesy of JD Twitch (Optimo).

Continuing his own fascination with the fringe history of UK DIY - documented on his own outstanding compilation Cease & Desist: DIY! (Cult Classics From The Post Punk Era 1978-1982) and in his re-edits of Crass Records classics for an early release on RVNG INTL - Twitch reinterprets I Got Standards as an incisive, dubwise outing that pictures Jaki Liebezeit and Muslimgauze on a bender in England's provinces, tasked with remixing the raw product of local punks. A new slant on Garage Class' crude magnificence, built to play loud on contemporary soundsystems.

Although the latter part of 1980 spelled the end for Garage Class with members moving on to other projects (Bourne fell in with The Colours Out of Time, Murphy went on to front The Regular Guys and Shutt eventually left to form Happy Refugees) this reissue attempts to give their fleeting time together and the unique single statement they made the treatment it deserves. If this means Garage Class have obtained cult status, their initial appeal remains. Just listen for yourself.

Kinobe scored one of the biggest chill-out club hits of the Noughties, the deathless 'Slip Into Something More Comfortable'. Known from dancefloors, club backrooms, bars, radio spins, Café del Mar compilations and TV spots the world over - most famously the 'femme fatale' Kronenbourg beer advert - 'Slip...' established the duo at the forefront of a scene that still includes Groove Armada, Air, Röyksopp and Zero 7. Now Kinobe are back in a big way. Founder member and songwriter Julius Waters is now joined by Chuck Norman, multi-instrumentalist, producer and programmer who has worked with the Pet Shop Boys, Peter Gabriel and Robbie Williams. Norman has beefed up the classic Kinobe sound, while adding a pop sensibility to a raft of sparkling new material destined to soundtrack 2018 and beyond. On August 31st 2018 comes Golden Age, the first Kinobe album in 9 years. Lead single 'Little Words' might just be one of the tunes of year, a Donny Hathaway-esque, soulful slice of too-slow-to-disco that nods towards 60s hipster groovy. At once instantly familiar and brand new, a heartfelt three-and-a-half-minute pop-dance floorfiller - with a hook once heard, never forgotten. Elsewhere the Stephen Hague mixed 'End Of The Road' is a huge gospel-tinged ballad destined to own daytime radio, 'Skyhigh' is a gorgeously haunting sundowner, 'Heartstring' is all cosmic soundtrack strings while 'Sunray' is Kinobe at their very best, with its irresistible hooks, washes of melody and downtempo beats. Golden Age is shaping up to be the chilled album of the year, a thirteen-track soundscape of sparkling songs and idiosyncratic instrumentals that is vintage Kinobe. With live shows and festival appearances planned through the rest of the year, the return of Kinobe is only just beginning. Welcome to the Golden Age.

Released on Leeds Jazz & Soul labelATA Records, the debut LP fromThe Lewis Express takes the rich legacy of the soul-jazz outfits of the 1960s as the initial blueprint of their sound. Taking inspiration from the likes of Ramsey Lewis, Young-Holt, Eddie Cano, Ray Bryant and Cannonball Adderley, they present a collection of tracks that range from introspective spy film themes to burning Brazilian jazz.

Primarily based in Leeds, The Lewis Express is comprised of many of the musicians that have graced previous ATA releases: George Cooper, Piano (Abstract Orchestra) Neil Innes, Bass (The Sorcerers, The Magnificent Tape Band, Tony Burkill), Sam Hobbs, Drums (Dread Supreme, Tony Burkill, Matthew Bourne) and Pete Williams, Percussion (The Sorcerers, The Magnificent Tape Band, Tony Burkill). Recorded over an intense two-day session by the band of the same name, "The Lewis Express" is a nod to the classic soul jazz recordings of The Young Holt Trio / Young-Holt Unlimited and Ramsey Lewis, from who this group take their name. But, delivered with a distinctly European feel. As with many of the classic Ramsey Lewis cuts, this album was recorded live, capturing the rich inter-relationship between the players.

Kicking off the album isLove Can't Turn A Man, a slow burner that introduces the piano of George Cooper as he works over a rock solid backbeat.Cancao De Momentois an up-tempo Brazilian Workout in the style of Milton Banana with rhythmic piano punctuated by percussion.Brother Move Onis probably the most recognizable as being in the soul jazz vein, with nods to such classics as Ramsey Lewis'The 'In' CrowdandSoulful Strutby Young Holt Unlimited, particularly the latter. Moving intoHawkshaw Philly(their nod to session music legend and leader of The Mohawks, Alan Hawkshaw) the band create what sounds like a rare library cut.Theme From The Watcheris a nod to the cinematic soul-jazz of the 60s, conjuring up the sort of imagery that coincides with the black and white spy thrillers, espionage and intrigue.Last Man In The Chain Ganghas a very strong Ramsey Lewis feel and offers some of the most powerful piano playing of the whole album. The final track,Straight Seven Strut, is the only vocal track of the album. The staccato swing and French vocals lend it some of the qualities of 60s yé-yé music but with a far jazzier backbone, spiced with percussive handclaps.

Unreleased baroque jazz horror score to controversial lesbian sex cult witchcraft exploitation drama from 1973, composed by the man who wrote the Catweazle theme! Hell yeah!

HISTORY:
Ted Dicks is not that well known as a composer these days, but back in the mid 1960s he was composing library music as well penning some of the greatest comedy songs of the era, including 'Hole In The Ground' and 'Right Said Fred'. His work was performed by Kenneth Williams, Petula Clarke, Bernard Cribbins, Topol and more. But until now, little has been known of his brief flirtation with film music.

Virgin Witch was his first brush with film scoring - one of only two score he wrote. The film was produced by legendary wrestling commentator Ken Walton (under his Sexploitation pseudonym of 'Ralph Solomans'), with the help of Hazel Adair, a woman famed for co-creating the long running UK TV soap Crossroads. Virgin Witch was a racey film, turned down at least once for certification by the BBFC, passed uncut with an X for release just in London, then cut and passed for general release shortly afterwards.

The score itself is a unique and quite beautiful pop baroque work, utilizing the cimbalom, an instrument more than likely played here by 'Ipcress file' musician John Leach.

This is a very limited release of a most unique 1970s pop horror lesbian witch score. Get it before they are all sold and you start moaning you didn't order it in time.

Set for release on June 23 via Asylum Records, x (multiply) is the hugely anticipated new album by Ed Sheeran.
It follows his critically acclaimed and hugely successful 2011 debut +; an album that was certified 6 times platinum in the UK alone and has achieved worldwide sales of over 4 million copies to date. It also saw Ed asthe recipient of various awards for the record, including 2 Brits, an Ivor Novello and multiple Grammy nominations.
Never an artist to stand still, Ed recorded x at various locations around the globe (all the while drawing on experiences and influences encountered on his over three years of unrelenting touring) with such luminary producers as Rick Rubin (Eminem, Jay-Z, Red Hot Chilli Peppers), Pharrell Williams (Daft Punk, Robin Thicke, N.E.R.D), Benny Blanco (Rhianna, Wiz Khalifa) and Jeff Bhasker (Alicia Keys, Jay-Z) adding new flavours to the classy work of key collaborators Johnny McDaid (Snow Patrol) and Jake Gosling (who produced +). xhas the musical ingredients to make it one of the most important global releases of this year.
The new set showcases the exponential growth (both vocally and musically) of an incredible artist, who at 23 exhibits the poise of a seasoned veteran. The songs for x came together whilst touring + and, in the same way as the latter was a snapshot of his life and relationship to-date, x charts his loves and life since. Only 'One', the perfect album opener and first song written for the record (in 2011 whilst on tour in Australia) looks back to that time and is the link between the two records. With 'One' under his belt, almost before he noticed he was writing, Ed had ten new songs and counting.
The breath-taking album-closer 'Afire Love' was written about his grandfather who passed away last Christmas. 'Always the hero of the family - such a cool guy - he'd been suffering with Alzheimer's for some time and I actually started writing that song two weeks before he passed away," Ed says. "I was thinking 'What if' and then he did...' Then there is the timeless ballad 'Photograph' written in May 2012 in a hotel room in Kansas whilst on tour with Snow Patrol. McDaid had a piano loop playing on his laptop while Ed was making a Lego X-wing Fighter to give to a charity auction. He just started singing as he put the pieces together and the song grew from there. 'Don't' started life as a riff on his phone and grew into another of x's massive moments. The deluxe version of the album also includes the original song, 'I See Fire', which Ed wrote, produced and recorded for the second Hobbit movie. This was after Academy award-winning filmmaker Peter Jackson personally commissioned him. With no promotion besides 3 tweets from his personal twitter account, it reached #2 on the UK iTunes chart.
However it's the Pharrell-produced lead single 'Sing', due out in the UK on June 1, that's pushing the envelope for Ed. #Sing was the number one trend on twitter globally ahead of launch with the track immediately tearing up airwaves nationwide including a 7-week add to Radio 1 and an unprecedented addition straight to the Super Hit list at Capital FM and Kiss Network. The audio upload on YouTube was Ed's biggest ever video launch, clocking 650k views in its first 24 hours. Already i-tunes Top 5 in 15 different countries (number 3 in the US), Top 20 in 36 countries and with all chart positions climbing, 'Sing' is well on the way to being a global smash.
On the back of 'Sing's' launch, x reached No.7 in the UK iTunes chart on pre-order alone with that success mirrored internationally with No.1 positions in the US and Canada, Top 5 in New Zealand, Sweden, Australia and Top 10 in 20 countries.
'I'm really proud of my new album and can't wait for people to hear it.' Ed says. 'It's definitely my best work.'

Jonny Drop's debut, Sub Plot, was the very first album release on the fledgling Albert's Favourites label at the beginning of 2016. The initial offering, a 7" of album favourites Mind Field and This Is The One had quickly been picked up on by the good people at BBC Radio 6 Music as well as some of Drop's personal heroes including Kenny Dope, Mr. Thing and Nightmares On Wax.

But when the infectious rhythms and warm production of the beat tape landed, its impact was greater than anyone at the label could have hoped.

Although Jonny never stopped producing beats in the following years, he was also kept busy as a drummer, playing live for Andrew Ashong, The Bongolian and Connie Constance, whose Boring Connie EP he also laid down beats for.

Then in early 2018 his band The Expansions delivered their celebrated Murmuration LP. All the while, with the support of his label family, Drop had been evolving his solo sound too.

'The Only Sound sees a huge progression in my writing direction, as I collaborated with multiple vocalists and musicians, instead of the usual 'one-man band' approach.

The development of these processes make this LP a steady departure from the beat-tape influence of my past releases, and hopefully, showcase the more original sound I've been working to achieve over the past few years.'

The new album is more atmospheric, emotional and expressive. It is filled with beautiful vocal performances, musical contributions from label partners and close friends Deoke and James O'Keefe, and inspirational London jazz composer, flautist and master saxophonist Tamar Osborn (Collocutor/On The Corner).

Voices here include Shea Soul, Grace Walker, former Myron and E soul man Eric Boss with his Lucid Paradise and Pendletons partner Ishtar, plus First Word Records producer/Golden Rules collaborator Sarah Williams White.

While there are thoughtful, down-tempo moments of electronica in abundance here, Drop brings his favourite elements of disco and soul into the picture too.

And there's no shortage of low end throughout. The Only Sound is a welcome next step from Jonny Drop, the sound of a beat maker not just finding his feet as a composer, but thriving in new territory.

Huey Morgan (BBC Radio 6 Music),

Music Is My Sanctuary premiere for All This Trouble, Bonafide Magazine premiere for Looking Glass
'A really talented musician, absolutely loving that" Lauren Laverne on This Is The One, BBC Radio 6 Music

The wonderfully monikered Golden Flamingo was one of many labels operating alongside the now legendary P&P Records imprint in late 70's to early 80's NYC. Fans of deep Disco, raw gritty Soul and rare as hen's teeth Electro and early Rap know of the cult status of it's brief but influential output and in recent years the P&P label and it's associated entities have enjoyed further popularity through the exposure of it's music by some of the world's most respected DJ's and selectors, and rightfully so. An amazingly lo-fi, endearing and overtly underground aesthetic runs through all of the labels, from the label artwork down to the music itself. This style is evident on Margo Williams' epic 'God Save And Protect All The Children', a colossally rare 12" from back in 1980.
A huge, drifting soulful Gospel number, 'God Save...' has been an oft overlooked gem in the wider P&P related catalogue. Not much info is known about Williams other than she contributed backing vocals to some classic Disco records including Inner Life's 'Inner Life II' and The Salsoul Orchestra's christmas LP as well as appearing on other P&P projects. The production on this record was handled by the absolute powerhouse duo of Peter Brown and Patrick Adams so it oozes that amazing quality that these 2 legendary studio figures brought to all of their projects - the trademark P&P sound. It's all here in this beautiful stirring plea to the lord to look after all of us set to some incredible arrangement and production. It's obvious these self-made music industry legends were at the top of their game back then and one only has to explore the rich and diverse catalogue of amazing music they've given us over the decades. Absolutely essential repress action here.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK. Housed in original 1980 release full sleeve artwork.

Pietro 'Bingo' De Lisi and Alex Carpentieri aka Italian duo System of Survival, have long been renowned for their raucous live cuts, the likes of which have firmly established their name amongst fans of discerning house and techno. Regulars at Ibiza institution, Circoloco at DC10, the boys knack for a tune has also brought them to the attention of respected label outlets such as Bpitch Control, Freak n'Chic, Moodmusic, Rawax and Get Physical. However, their latest release - released here via the emerging Deset Music - might just be their best yet. The label's inaugural release sees the boys perk up with two stunning originals and are back by remixes from none other than two Chi-town legends, Boo Williams and Ricardo Miranda.
Opening up the sounds of the release is 'Nu Soul Era'. A raucous, deep cut that displays all that's excellent about System of Survival, this one goes firmly down the rabbit hole in search of kicks. Characterised by its quite brilliant and catchy baseline, the action is dark and trippy throughout, with a firm emphasis placed on a groove that never lets its guard down throughout. A majestic start to the EP, it gets us underway with some distinction.
System of Survival's other original is 'Funky Left Funky Right'. Again, the duo expertly showcase their penchant for melodic structures, this time via a bleepy baseline that's perfectly suited to peak-time floors. Ricardo Miranda's interpretation goes deep and off-kilter, but remains true to the original's full-on characteristics. A stunning indication of the producer's eclecticism and studio mastery, it's an intoxicating take on a track that's never lacking in suspense.

Seeing us out the door is Boo Williams' remix of 'Nu Soul Era'. The 'Mortal Trance' producer can always be relied on to bring the heat in his own inimitable way, and he does so here with the sort of panache for which he's best renowned. Injecting the original with every more bounce, he wastes no time in getting down to business, setting his stall out via an acid-led, 909-flavoured remix that offers up a tantalising version of what's arrived before. An all-round stunning EP of various shapes and sizes, there's plenty here for fans of discerning house and techno to get stuck into on this one.

This Is The Second Installment Of Deep Roots Rastafarian Reggae At Studio One And Features Classic Music From Some Of The Most Important Figures In Reggae Music - Alton Ellis, The Heptones, Jackie Mittoo, The Gladiators - Alongside A Host Of Rarities And Little-known Recordings, Such As A Truly Rare Mystic Revelation Of Rastafari Seven-inch Single, Willie William's First Ever Recording 'calling' And Horace Andy's Righteous (and Equally Rare) Masterpiece 'illiteracy. Black Man's Pride 2 Extends The Legacy Of Studio One's Ground-breaking Path In Roots Reggae Which Began At The End Of The 1960s And Continued Throughout The 1970s. The Album Tells The Story Of How The Rise Of Studio One Records And The Rastafari Movement Were Interconnected, Through The Adoption Of The Rastafari Faith By Key Reggae Artists - Everyone From The Skatalites And Wailers In The 1960s, Major Singers Such As Alton Ellis And Horace Andy At The End Of The Decade, Through To Major Roots Artists Such As The Gladiators In The 1970s - And How Clement Dodd Consistently Recorded This Heavyweight Roots Music Throughout Studio One's History.
The Sleeve-notes To This Album Also Discuss The Links Between Rastafari And Studio One In Time And Place, Noting How Both The Religion And Clement Dodd's Musical Empire Had Their Roots In The Intense Period Of Pre-independence Jamaica In Kingston, Expanded In The 1960s Following The Visit Of Haile Selassie In 1966, And How Roots Music Then Came To Dominate Reggae Music In The Early 1970s. Also Discussed Is How The Outsider Stance Of Both Reggae Music And The Rastafari Movement Relate Back Many Hundreds Of Years To The Original Rebel Stance Of The Maroons, Escaped Slaves Who Set Up Self-sufficient Enclaves In The Hills Of The Jamaican Countryside.

RAWAX CONTINUES THE MUSICAL JOURNEY WITH BOO WILLIAMS!
THE CHICAGO MASTER COMES AROUND WITH THE 3RD
RELEASE ON CHIWAX CLASSIC EDITION CALLED "LAST OF THE PASS".

The Album From 1978 Gets A Limited Repress! Recorded And Mixed At Harry J Recording Studio With Sylvan Morris At The Controls. The Trio Of Culture Met The Producer Team Of Jaime Hatcher And Seymour Cummings And The Backing Band High Lites Sons Of Jah To Perform And Record Songs For The Short Lived New Jersey, Usa Label April Records.

C R E D I T S
Bass: Clynton Rowe
Drums: Glen Washington
Guitar: Merrick Dyer
Keyboards: Phillip Williams
Percussion: Bernard Shaw, George Subratie
Lead Vocals: Joseph Hill
Vocals: Albert Walker, Kenneth Dayes
Backing Band: High Lites Sons Of Jah
Engineer: Sylvan Morris
Recorded And Mixed At Harry J Recording Studio.
Produced By Jaime Hatcher And Seymour Cummings

Extremely hot on the heels of 'A Library Excursion', Earl Jeffers teams up again with Don Leisure, his partner-in-beats for another EP of Darkhouse Family goodness. Following on from their highly acclaimed debut album 'The Offering' from late last year on First Word, the Cardiff duo have hand selected a group of friends, dons and legends (including DJ Spinna & Kaidi Tatham) to serve us up 'An Extra Offering'. Five remixes curated by the crew.

For the refix of 'The Accession' (which originally featured Kamaal Williams, Dave Newington and Daf Davies from Boy Azooga), label-mate Kaidi Tatham kicks off with some down-low bottom-heavy boom bap, before switching up the tempo mid-way for a blast of his inimitable jazz-funk bruk boogie.

Next up we're honoured to have not one, but TWO tracks from the Brooklyn legend, DJ Spinna. His Galactic Soul rub of 'Another World' flips the original into a deep soulful 4/4 house cut, featuring the lush vocals of Esther (and one Charlotte Church on backing vocals, pop fact fans).

Then there's DJ Spinna's Galactic Funk take on 'Just So You Know' with the marvellous Vanity Jay on vocals. This one is on the same mid-tempo tip as the original, but with that unmistakable Polyrhythm Addict flavour of big kicks, crisp snares, hench bassline and sweet spacey synths.

For the 'GAEA' remix we keep it Cardiff and introduce the man like Alfie Swan. Doubling up the tempo of the original, this adds some seriously wavy sonics and flips the groove entirely, creating a seriously innovative cocktail of riddims. One for those not shy of some jazz ethics in the dance.

And to close out this offering, Andromeda Jones lays down a ridiculously delectable broken beat mix of 'Journey To Love', this one again featuring Vanity Jay. No messing with this one, this is straight dancefloor fire, transforming the hip hop soul track into a future boogie heater. One for the ravers.

This EP illustrates once again Darkhouse Family's wide range of influences and sounds, as selectors and as music makers themselves, and is no doubt one that will stay in your box for a very long time...n

For our next Excursion, we're off to the library. In search of library records that is - you know the type, the crazy rare records used for soundtracks and such and such. We have a sick selection of synthed-up beats and pieces chopped together by one Earl Jeffers, making the most out of his international library digging card* (*not a real thing).

For those that don't know, Cardiff's Earl Jeffers is one half of Darkhouse Family, regular family at our sister label, First Word, on which they released their debut album 'The Offering' late last year. Earl is a prolific producer in his own right, also releasing over the years under the aliases Chesus and Metabeats on labels like MCDE, Fat City and Local Talk, collaborating with artists like Byron The Aquarius, Action Bronson and Kamaal Williams / Henry Wu, turning his hand ably to house, hip hop, jungle, jazz and more. All this in addition to running his own label, Mélange Records.

A dedicated digger and record collector first and foremost, Earl has provided us with a quadruple set of heavyweight stuttery sci-fi boom bap. In Earl's words: "This record was mostly inspired by my penchant for the more electronic / synthesized jams, mostly replayed from the original compositions then thrust in to 2028 and beyond...."

GROUND-BREAKING, CLASSIC BOOGIE & DISCO LP FROM 1979 NIGERIA, FEATURING 'AGBOJU LOGUN'
First official reissue of the extremely rare full-length album by Lagos-based bandleader Shina Williams. Clean copies of the original currently sell for up to £500.
The record was born in 1979 when Shina put Biddy Wright, Fred Fisher, Saliu Alabi, Prince Bola, Tutu Shoronmu, Tunde willimas and several other decorated Nigerian musicians - who played with the likes of Fela Kuti, SJOB Movement, Sonny Okoson, King Bucknor amongst others - together to record. The result is 'African Dances', a timeless fusion of afrobeat, electronics, boogie and disco.
Includes his most well-known song, 'Agboju Logun' that Williams knew was ground breaking - I want to show the whole wide world that Africa is alive with modern musicians to reckon with anywhere,'. This album version is a different mix to the two-track 12' that came out under on Earthworks, Rough Trade in 1984.
Official Mr Bongo reissue. Replica original artwork. Licensed direct from Shina Williams.

Melancholic, wistful Rhodes chords float beneath Sarah Williams White's trademark vocal harmonics before delving into a deeply moving bass led melody that gets right under the skin. Something very special to get us excited about the new Jonny Drop LP.
Backed with an exceptional, bumping remix from the ever extraordinary Julien Dyne.

Record Kicks Celebrates 15 Years In The Business With A Collection Full Of Exclusive New Singles. Available In Ltd Edition Double Clear Vinyl Lp, Cd And Digital Download. Side By Side With Similar Outfits Like Daptone, Truth And Soul, Freestyle Or Timmion, Under Its Motto "the Explosive Sound From Today's Scene" Milan-based Independent Label Record Kicks Has Been Pitching The Contemporary Funk & Soul Scene Since Day One.

With Over 200 Releases Under The Belt, Rk Has Released Bands From All Over The Globe And Earnedthe Support Of Vip Fans Such As Kenny Dope, Jamie Cullum, Craig Charles And Not Least Jay-z, Thanks To Which The Label Has Recently Received A Grammy Nomination For Hov's Use Of Hannah Williams' "late Nights And Heartbreak" As Backdrop For His "4:44". The New Instalment "record Kicks 15th" Coming Out Next May 18th On Double Clear Lp, Cd And Digital Download, Celebrates 15 Years In The Business With A Collection Full Of Exclusive New Tracks And The Very Best Of It's Roster.

The Album Kicks Off With Rk's Latest And Youngest Signing:
From Chicago, Heavily Inspired By The Impressions And Leroy Hutson, We Are Proud To Present You "the Devonns" With Their Super Soulful Debut Single "come Back", An Appetizer Of Their Debut Full Length Expected To Land On Rk Next Autumn. Another New Signing To The Label Is Men Of North Country's (acid Jazz Records) Side Project "the Faithful Brothers", Here With Their New Single "one More Time".

Other Exclusive Tracks Of The Comp Are "this Strange Effect", A Coverup Of The Hooverphonic's Single From 1998 Brought To You By Dutch Northern Soul Disciples The Tibbs, "love You Back" From Detroit Deep Funk Outfit Third Coast Kings, "the Sort" By The Buenos Aires Mod Reggae Kings The Crabs Corporation, "top Dog" By British Funk Combo The Hook & Slingers And Straight From Down Under "you Don't Know Me" By The Always Great Dojo Cuts.

Along With These New Exclusive Cuts, Dig On Some Label's News Singles And Heavyweight Classics Such As Dj Shadow's "this Time" Taken From Baby Charles Debut Lp, "don't Throw Your Love In The Garbage Can" By James Brown's Original Funk Diva Martha High Feat Japanese Funk Ambassadors Osaka Monaurail, "psycheground" The Brand New Afro-funk Single By Calibro 35 And Then Portuguese Tnt Dynamite Marta Ren & The Groovelvets, Toronto Soul Queen Tanika Charles, Uk Funk Ambassadors The New Mastersounds, The Diplomats Of Solid Sound And The Already Mentioned "late Nights & Heartbreak" By Hannah Williams & The Affirmations.

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

This jazz recording is considered as the 'magnum opus' of master "drummer extraordinaire'', composer, arranger, producer, and leader Norman Connor's in a career that has spanned 4 decades. This recording is what many will consider the debut of the legendary vocalist Dee Dee Bridgewater who has since gone on to a brilliant career. Connor's put together an all-star group with Herbie Hancock and Onaje Allan Gumbs on piano and Fender Rhodes, Dr. Eddie Henderson on trumpet/flugelhorn, Carlos Garnett on tenor/soprano saxes, Gary Bartz on alto/soprano saxes, Buster Williams on bass, drummer/vocalist Bill Summers and Kenneth Nash on percussion, and effective, crucial cameos by master flautist Hubert Laws. On the song, "Love From the Sun'", Connors added Nathan Rubin on violin and Terry Adams on cello.

The 'best of the best' begins with the exotic theme of Hancock's "Revelation", doubled wordlessly and beautifully by Ms. Bridgewater over Williams bouncing ostinato bass pattern with flights of fancy from Hubert Laws on flute, and superb, luminous solos from Henderson's exotic trumpet, Garnett on soprano, and Hancock on Fender Rhodes. Garnett's "Carlos II" is another great composition with remarkable solos. Connors' own "Drums Around The Worlds'" is influenced by African and latin rhythms with emotional vocals from Summers and a drum-only section that builds in intensity. One of the high points of the album is Dee Dee Bridgewater's awesome, glorious vocalizing on Richard Clay's lovely "Love From The Sun", in one of the greatest performances in her career, arranged by Gumbs. Elmer Gibson's "Kumakucha" (The Sun Has Risen) is a blazing display of uptempo musicianship by Connor's driving drums, the propulsive congas of Summers and Nash, and exciting solos from Bartz, Henderson on trumpet, and Hancock's furious piano solo. The set ends with a marvelous "Holy Waters" composed and arranged by Garnett in a scorching performance by Bridgewater on vocals, Garnett unleashing one of the greatest solos in his storied career, followed by Gumbs' astute solo.

My Highest Recommendation.

By John Braswell

As the title suggests, Rejuvenate marks a rebirth for South London musician Paul White. Abandoning sampling altogether, White wrote, played and produced all of Rejuvenate's music himself, and the result is an album of playful, psychedelic pop.

It would have been far easier for White - previously described as a 21st century DJ Shadow, often compared to Madlib and best known as Danny Brown's go-to producer - to construct an album of loop-based, hip-hop-orientated beats. Instead, taking an ambitious left turn, he worked on honing his songwriting and instrument playing abilities and embarked on creating a totally original record worthy of sitting alongside those he'd usually sample.

Rejuvenate's broad sonic palette includes cosmic rock, ambient, electronic, jazz, folk and more. Retaining a groove-heavy, psychedelic aesthetic throughout, White successfully melds these various influences in to his most cohesive, fully-realised offering yet.

Paul White is joined on this sonic trip by a trio of likeminded souls; British-Jamaican singer Denai Moore adds heartwarming, crystalline vocals to the aptly named Set The Tone and See Through, Zimbabwean musician and poet Shungudzo (aka Shun) shares nuggets of wisdom on Spare Gold and dreamy, melting vocals for Ice Cream Man. White reunites with his sister, Sarah Williams White, and the pair draw on childhood memories for Laugh With Me and All Around.

Paul White's previous output includes a treasure trove of mostly instrumental solo records, plus collaborations with Charli XCX, Jehst, Homeboy Sandman, Guilty Simpson, Jamie Woon, Obongjayar, Eric Biddines (as Golden Rules) and Open Mike Eagle. More recently, White reconnected with frequent collaborator Danny Brown, producing most of the Detroit rap maverick's mind-blowing Atrocity Exhibition album.

Stix Records is a sub-division of Favorite Recordings specialized in the exercise of producing covers with a Reggae twist. Acclaimed in 2013 with a first official single by Taggy Matcher Birdy & Nixon (STIX033), quickly followed by the first volume of Disco Reggae (STIX035) compilation, Stix is back in 2014 with a scorching Disco Reggae Vol.2.

Following the success of its first volume, the Disco Reggae series also expands with this 9 tracks compilation, composed with 8 new and exclusive versions by artists such as Taggy Matcher, 7 Samuraï, Mato, or John Milk, and the classic cover of Tainted Love' by Grandmagneto. But this time, if they still explore famous hits like Watermelon Man' by Herbie Hancock or Happy' by Pharrell Williams, they also dug within the home labels' catalog,
taking over some of the finest titles by Mr Day, Lee McDonald, Lucas Arruda or The Joubert Singers.

Again this time, their swaying renditions seem straight out of the smoky studios from Kingston or Montego Bay, while also remembering the 80s Pop-Reggae sound of artists like Grace Jones or the less famous Earons.
Everything is mastered and cut at Carvery Records (UK), known for their expertise in Caribbean and Disco music. The vinyl LP comes in a deluxe version, housed in an old-school tip-on jacket.

SMBD aka Simbad is back with his third seasonal EP on GAMM.
After a long and dark winter SMBD thought we all could need some uplifting and soulful spring music...church style!

These three gospel boogie/disco jams have been his personal DJ weapons over recent years but now they're given a sweet edit twist for your dancing pleasure. It doesn't really get more uplifting than this!

ALEX is a dark, haunting and brooding synthwave record that sets the night on fire, taking you from darkness all the way to the shining lights of Broadway. With hints of cyberpunk, outrun and other 80's inspired retrowave influences, ALEX has developed a true signature sound that is funky, groovy and totally rocking. X takes you on a futuristic, electronic music trip that's filled with nostalgia and suspense. Artist bio: Originating from Edinburgh Scotland, ALEX is a Scottish born electronic music producer, composer and DJ. After spreading his sound to every channel and label possible, ALEX broke through in the most significant way possible. If you get the attention of Playmaker and NewRetroWave in the Synthwave scene, you're doing something right, and ALEX's unique approach to composition and production led to his debut release with NRW, the 'Blood Club' EP. And things haven't slowed for the young producer, with two more EP's and an album since his debut, each showing another side to the artist. After the release of his Drive inspired EP 'Youth', fans of the powerful vocal tracks 'Rebel of the Night' and 'Youth' can get excited for the pair of major budget music videos ALEX has in store, with filming having taken place in Russia and New York City. ALEX grew up listening to the likes of Daft Punk, Justice, Underworld, Chromatics, Deadmau5, absorbing the sounds of Disco, House, Hip-Hop, and Rock, cherry picking his favourite elements to blend into the new retro haze of his own material. He also cites film composers, such as Disasterpiece, John Carpenter, Vangelis, Johan Johansson, and John Williams.

Leroy Tucker- known simply as L.T. on the scene-and his band the Soulful Dynamics super rare funk 45. The band was a rotating combination of McClyde Sheely, Melissa Riley, Melvin Ausbie, Eric Williams, Collier Carruthers, Lee Berry, Virgil French, Walter Atchinson, and Charles Wakefield. Despite infectious horns and L.T.'s impassioned delivery, neither "Crazy About You Baby" nor "Everybody Needs Somebody" made a dent locally or otherwise. Like all of the Solo platters, the Soulful Dynamics record was manufactured at Monarch in Los Angelas. Dick Smart fondly recalls picking up the record at the Wichita Greyhound station with an excited L.T. in tow.

First Word kicks off 2018 with the welcome return of Quiet Dawn, and a new EP, 'Human Being: The Short Story of The Reed'. A suitably ice-thawing six-track opus to compliment the change of seasons, dedicated to the winter blooming plant's desire to be human.

Parisian Will Galland first appeared on the label in late 2014, releasing his debut album 'The First Day' the following year. Collaborations on that album and subsequent mixes since have included offerings from Oddisee, Miles Bonny, Eric Lau, Bastien Keb, Sauce81 (Eglo), Mayaka McCraven and Sarah Williams White.

Evolving his music from a palette accumulated over the years of Hip Hop, Broken Beat and House, he has expanded his talents for arranging and composing, and now drafted in a wealth of musicians for this sublime new EP, his most ambitious yet. Strings glide effervescently atop of Quiet Dawn's assorted analogue synths, and an array of percussive organics combine to build the tale of The Reed. In-places, the set transcends into the kind of grooves that saunter somewhere between the land of Bonobo and Quantic, and the cinematic library record craft of Alan Hawkshaw et al. Deep, organic and epic.

"The reed from the earth and waters,
Human by the flesh and bones,
Bring by the love and others,
Now, you're not alone."

Each track of the EP tells a different chapter of the story. In the words of Quiet Dawn, "This record is about human behaviour, relationships, happiness, sadness, peace, anger, sex, love, birth, death... But as viewed by The Reed. The Reed is a plant that wants to be human, after observing them all around her. Over the course of the record, The Reed evolves and desires to feel feelings, gradually learning that becoming human is not so simple... ."

Also with artwork by Sophie Bass and Grégoire Marty, this glorious six-track vinyl and digital EP is released February 2018 on First Word Records.

As one-third of Yellow Magic Orchestra and an Academy Award-winning composer for his work on the soundtrack for The Last Emperor, synth pop innovator Ryuichi Sakamoto is among the most groundbreaking artists to have emerged since the late 70s. A musician's musician, Ryuichi Sakamoto has created intriguing musical unions with artists such as David Sylvian, Iggy Pop, Tony Williams, Bootsy Collins, Jaques Morelenbaum and many others.

Following the massively successful release of the electronic masterpiece async in 2017, Ryuichi Sakamoto's first studio album in eight years, Milan is proud to announce the remix compilation async remodels: a dozen remixes of async's tracks by a who's-who of experimental giants - everyone from Icelandic composer Jóhann Jóhannsson (Arrival, Sicario) to Oneohtrix Point Never (composer of Good Time) to Arca (producer of Björk's numerous releases) have gotten their hands dirty remixing Sakamoto's work. Even reworks by the Canadian synthpop duo Electric Youth and Austin-based synthwave legends S U R V I V E are included. With such a well of talent reinterpreting such a personal album, this is one release Sakamoto fans can't afford to miss.

The current resurgence of jazz in all its' forms has certainly been impossible to ignore in recent times - from the chart-bound, mainstream crooning of Gregory Porter, to the left field 'jazz not jazz' soundscapes of Kamasi Washington, Moses Boyd, Nubya Garcia and Snarky Puppy proves this is a worldwide phenomenon. One artist who has been been ploughing this furrow in the southern hemisphere for longer than most is Lance Ferguson. As the driving force behind The Bamboos, Cookin' On 3 Burners, Lanu, and the Black Feeling series, these are the varied and versatile projects on which he has built an enviable reputation.

Menagerie 'They Shall Inherit' saw the light of day in 2012 (Tru Thoughts Records) and established the fact that jazz of the contemporary type could reach back to it's essential roots and present itself, refreshed and vital for a contemporary audience.

Lance himself explains: "The Arrow Of Time' draws its inspiration conceptually from the themes of space exploration, human evolution and the future of humankind. It's pretty big stuff to be underpinning an album of modal Jazz tunes - but the main message is one of hope, and I hope that comes across in the music"

Late 2017 saw the 2 track album sampler 'Evolution/Arrow Of Time' create a genuine buzz of anticipation, being playlisted on Jazz FM, and also supported by Jamie Cullum (BBC Radio 2) and both Don Letts & Gilles Peterson on their BBC 6 Music shows - having as it does the spirit of deep jazz, but combining an accessible sound that reached way beyond the usual jazz hungry audience - due in one part to Evolution's immensely catchy hooks, with the voice of Fallon Williams focusing the listeners attention on the philosophical themes Lance highlighted above. Now the album, laid out in its' entirety can be experienced, attempting to encapsulate the music with the written word feels like a somewhat futile exercise, so it is best to consider Lance Fergusons' final thoughts about its inspiration, influences and ongoing appeal.

"The sound of record labels like Strata East, Tribe and Black Jazz has been a massive influence on Menagerie. To me that sound is timeless, exciting and just as vibrant as a musical format in 2018 - and the proof is that we're hearing more and more young musicians embracing it"

Bugsy hails from Milan where he is resident and co-host of the brilliant Take It Easy club night which brings many of the finest house DJ's to the city and remains packed week in and week out. With his featured producers Astroloop at his side Bugsy has come up with a quality debut loaded with fat, low-slung deep beats and Detroit-inspired grooves for Freerange entitled the Svegsy EP. The lead track sets the mood with mid-tempo loping beats that have 'Freerange' written all over them. We can't get enough of the simple yet satisfying warm-up vibe which oozes from this track. Understated, warm and relaxed yet with a bump and grunt which calls you to the dancefloor.
A2 is a track entitled New Vision where we find a straighter groove underpinned by a restless, pulsing, analogue bass and shifting block chords. With it's heads down attitude and simple, rolling arrangement this is Jimpster's personal favourite for banging on a big system. Flip over for the aptly titled Ghost Song. Here we get off-kilter vocals and fleeting glimpses of a melody which then disappear into the ether. All in all a slightly surreal yet groove-heavy track which has a charm of it's own.
Rounding off the EP we have Chicago house legend Boo Williams on the remix of Ghost Song, where he takes a minimal approach with a hint of acid but keeping his soulful touch. Enjoy!

Ninth instalment of Redscale. Grad_u with a masterpiece of dub techno. Vinyl only.

"Holdback", an unexpected twist of events for followers of Redscale, is actually a bold step forward in terms of pace and light. The enticing chords work like a magnet, and the potential of the lady on the mic is no lower than that one of a siren. The personal weapons of grad_u, the most powerful of which are the embracing loops, are of course out there, indicating the
producer's inner spirit and roots.

Picking up where "Holdback" left off, "Outwards from Laniakea" is a statement more rugged, yet as absolute as the message on side A. It's an invitation to put that jacket back to the
cloakroom, switch off that phone and let yourself go, again and again. It's, once again, a compelling statement against conformity.

***

Early support by DJ Deep, Cari Lekebusch, Jonas Kopp, Shlømo, Josh Wink, John Osborn, Echoplex, Don Williams, Wata Igarashi, Regal, Mark Broom, Marcus Intalex / Trevino, Ryan James Ford, Francois X, Albert van Abbe and many more... .

FUSE bosses Enzo Siragusa and Seb Zito have been invited by the highly respected Rawax to bring a taste of their beloved London rave culture roots to the labels first release of 2017.
Since their launch in 2011, Rawax's catalogue has beamed with nothing less than the finest, and Enzo and Seb are a welcomed addition to their already colourful and diverse roster. Barac, Boo Williams, Fred P, Paul Johnson, Ricardo Villalobos, Ron Trent and Unbroken Dub are just a small portion of an incredible list of artists that have released via the labels original monarch and many offshoots thus far.

With 'Woonie Trax' Enzo and Seb perfectly resurrect the sounds of early UK rave culture into the present by digging out the early gems of their record boxes as inspiration.

'Barring the kicks, I think almost everything came from sampling old garage, hardcore and jungle records from the 90's. For those in the know, the clues are in the names of the tracks'. - Enzo Siragusa

Whilst 'Shades of Riddim, 'Lil Ley', and 'Blue Notes' all lend themselves to the early UK sound, each track has its own individual quirk making the EP a diverse representation of the days Enzo and Seb fell in love with rave.

Lovin' Mighty Fire' is Howard Williams' third Japanese music compilation for the Ace Records house of labels - this time, for BGP International. Assembled in between his job as a record distributor and his monthly Japan Blues show for NTS radio, the first two have taken a look at the late 50s for a blast of Japanese rockabilly ( Nippon Rock'n'Roll' CDWIKD 313), then the 60s and 70s for a romp in Japanese surf music ( Nippon Guitars CDWIKD 297). Following his retrospective of jazz singer Maki Asakawa for Honest Jon's, this new outing searches for the soul music of Japan, from the early 70s to the early 80s.

Japan has long been known as the final destination for many a collectible soul record. Yet, who suspected that some fine soul grooves were recorded for the domestic market, from ballads, to funk and disco Strangely enough, some of the busiest writers and producers in this field came from a late 60s rock band, Happy End, but on listening to their collaborations, their rhythmic, soulful feel is immediately apparent.

The bluesy funk of Lily, the soul-diva brilliance of Minako Yoshida - represented here in both slow-grind mode and epic disco, the maverick genius of Haruomi Hosono, the lively songstress Yasuko Agawa, and the sultry steaminess of Mari Natsuki, and more. This album finally plants a Japanese flag firmly on the global map of soul.

Cookin' On 3 Burners are Australia's foremost organ trio joining the dots between funk, soul, boogaloo & jazz. Long time partners Lance Ferguson (guitar), Ivan Khatchoyan (drums) and Jake Mason (organ) have taken their home brew of soulful Hammond get down everywhere from jazz festivals to after hours bars and clubs. Their top notch reputation led to them supporting Sharon Jones & The Dap Kings in Sydney, jamming live with Breakestra and becoming THE in demand band south of the equator. With a musical CV that includes names like Joe Bataan, Alice Russell, Mark de Clive-Lowe and The Quantic Soul Orchestra, as well as the world beating outfit The Bamboos, it's not surprising this latest CO3B album has generated huge interest even prior to its' release. Their first Freestyle album 'Baked, Broiled or Fried' featured the group in a hardcore funk groove but on 'Soul Messin' sees the sound, feel and influences widened further with some quite magical results. Versatile singer Kylie Auldist (Tru Thoughts Recordings) opens proceedings on the deep funk groove of 'Push It Up' but it is the Freestyle 45 'This Girl' (FSR7057) that provides the mellow, beautiful and incredibly catchy vocal highlight of the entire collection, shimmering horns ride over this laid back, future deep soul classic. We don't yet know what Gary Numan will make of CO3B's version of his 80's synth pop hit 'Cars' (CD only) but Jake Masons organ playing (including simultaneously supplying the super funky bass lines via his Hammond foot pedals and left hand) takes this track in a direction no one was expecting! Drummer and top notch singer Fallon Williams provides his gritty, searing voice on 'Hole In My Pocket' and 'Seen Through Your Disguise' sounding very much like US soul legend Robert Moore and the band display their versatility whilst doffing their caps in the direction of The Meters on the numbers 'Dog Wash' and 'Piranha' The down tempo, moody album closer 'The Proving Grounds' (CD only) once again shows the groups expanding musical textures and rounds off 'Soul Messin' the bands most varied and accomplished recording so far.

Recent Mark Lamar Live Session on Radio 1

"This Girl" has been Freestyle's top selling single of 09 so far !

Vinylmania: As classic disco came bounding through the late '70s and into the electronically orientated sounds of the '80s, New York was one of the undisputed frontiers for the latest developments in dance music culture, nightclubs and the art of DJing. At the center of this seminal time for vinyl culture was a store called Vinylmania, set up by Charlie Grappone in the heart of Greenwich Village, Manhattan, just as the culture of 12-inch singles and promo copies was taking hold. From supplying Levan, Tony Humphries and many more with the latest imports to championing the emergence of house music in the mid-'80s, Grappone and his staff played a significant role in New York's own dance music story. Through the '90s and up until closing in 2007, Vinylmania was a store that catered to DJs from across the complex mixture of racial, social and sexual demographics that made up New York and its legendary nightlife. Man Friday: As the NYC Peech Boys came to an end, Man Friday became Larry Levan's newest production project. Fronted by Kofi Morny and Brodie Williams, their dubut single 'Love Honey, Love heartache' was released by Vinyl Mania in 1986 with Larry Levan at the helm of the mix. Love Money: In the spirit of most dance music borrowing elements from other sources, 'Love Honey' was heaviliy inpired by another Paradise Garage & Loft classic from 1980 and its remix in 1981 by UK Outfit Funk Masters / TW Funkmasters. A dubbed out track big in the Jazz-Funk scene in the UK, it became a hit among underground Deejays in Both NYC & Chicago. Love Honey: No matter what list you look at. 'Love Honey' is always attached to Larry Levan's tenure at the Paradise Garage. All the elements of a Garage Track are here; Dub Echoes, Synth Basslines, Percussions that linger, FX -that one can only dream of hearing on a Richard Long System- and an Organ, because after all, they say the Garage was like going to Church. Remember when you'd buy a record after hearing it at the Club We miss that. As a result, We are proud to Introduce Get On Down Sound with the aim to bring back our favorite Dance 12's to a new generation of Vinyl-DJs. Re-mastered for optimal club use, these are official re-issues of some of Dance Music's most influential cuts.

After spending much of the '70s humping his congos around New York as a session musician, Nigerian Aleke Kanonu pulled in some favours to record an album of his own. The result was Aleke, a criminally obscure Afrobeat/Funk/Jazz masterpiece featuring Buddy Williams on drums, George Davis on guitar and a cameo from Wynton Marsalis on flugelhorn. There are only four tracks on the album but they are all killers. N'Gwode sounds like Fela Kuti and Manu Dibangu hanging out with Bobby Womack, probably somewhere across 110th Street. 'Keep New York Clean' struts like Shaft after a successful bust. And 'Mothers Day' keeps things sweet and soulful, before Wynton Marsalis brings back the groove with his flugelhorn on 'Home Sweet Home'. Until recently you would have had to take out a second mortgage to get hold of Akele. And sold a kidney for the Happiness/Nwanne, Nwanne, Nwanne 12'' Kanonu released a year later. Thankfully PMG has re-issued the LP and the EP, with the CD version containing both. - Peter Moore,

Thomas Blanchot, 40 years old percussionist and drummer, started his production structure Mato Production in 2001, where he collaborated and directed for many projects.

Composer, music publisher and producer of music for TV, advertising, films and records, he also began a career as reggae producer since 2006, under the name "MATO". Since then he's released music through various projects concepts, coming out through labels such as Makasound, EDR Records or Big Singles. In the meantime he developed a real trademark: taking over classics French, Hip-Hop, or Pop song, into roots reggae-dub new versions.

Besides since 2010, Mato has built a solid reputation thanks to his hot remixes of Hip-Hop classics on Stix Records. And in 2014, he presented Homework Dub, giving his own vision of the multiplatinum classic album by Daft Punk, quickly acclaimed internationally as a true performance.

Today, Mato is back with another target for his special skills as a tailor of reggae music, this time focusing on classic musical themes from original soundtracks. Imagine if Lalo Schiffrin, Nino Rota, Gorgio Moroder, Ennio Morricone or John Williams had been blunted at Lee 'Scratch' Perry's Black Ark studio... there you go, this is Hollywoo Dub!!

Ibifornia, the new album of Cassius, will be released the 24th June. The French duet composed of Zdar & Boombass is back with its filth album. Take a piece of Ibiza ("Ibi") and another one of California ("fornia"), and you'll get all what you need to dance and dream beneath the sun of Ibifornia. For this new record, the 2 acolytes have once again managed to surround themselves with talented artists such as their old partner in crime, Pharell Williams, a totally transformed Cat Power, the great Mike D (Beastie Boys), and the over-playful guitarist Matthieu Chedid, among other names. Action", the first single that features Pharell Williams and Cat Power will be out in EP vinyl as a first teasing support, one month before the release of the album. It features as an exclusiveness the long version of the song Action", and 2 remixes that have already taken us elsewhere, as we're getting ready for the next sound jetlag...rendez-vous at Ibifornia's!

This is the new digitally remastered 2015 expanded edition of Soul Jazz Records' biggest ever selling release, 100% Dynamite! Ska, Soul, Rocksteady and Funk in Jamaica.
Since the album's original release nearly twenty years ago, 100% Dynamite has become a cornerstone of reggae: eighteen killer tracks that show the influence that American Jazz, Funk and Soul music had on Jamaican Reggae.
The proximity of the West Indies to the USA meant that many Jamaican musicians were influenced by American styles of music whilst at the same time defining new styles of their own such as Ska, Rocksteady and Dub.
100% Dynamite features some serious Jamaican funk by Jackie Mittoo, The Upsetters and Toots & The Maytals, the cream of Jamaica's jazz musicians such as Tommy McCook, Cedric Brooks and Lennie Hibbert. Also included here are heavyweight Reggae versions to Soul classics by Marlena Shaw's 'Woman of the Ghetto', Aretha Franklin's 'Rocksteady', Syl Johnson's 'Is It Because I'm Black', William DeVaughan's seminal 'Be Thankful' and more.
100% Dynamite also features revolutionary tunes such as Johnny Osbourne's 'We Need Love', Sound Dimension's 'Drum Song' and Lloyd Robinson's 'Cuss Cuss', songs that helped define a unique sound for Jamaican music in the sixties and seventies. These influences went both ways - check Brentford All Stars massive 'Greedy G', the basis for Boogie Down Productions' 'Jack of Spades', or Willie Williams' 'Armageddon Time', later covered by The Clash.
This new expanded edition features seminal tracks from the greatest Jamaican producers - Clement Dodd, Lee Perry, Winston Riley (Techniques) and many more.
The album is available as CD, heavyweight double vinyl (+download), plus digital.

Killekill catalogue number 025 is a jubilee release:
It's KILLEKILL MEGAHITS II !!
But it's not only a jubilee release. It's also milestone and turning point in the Killekill history, because with this release Killekill closes one chapter, and opens up another.
We are constantly getting too many demos full with good music in way too many different styles to squeeze them onto one label. So finally we have come to the point where we will start a line of new labels with different profiles to give ourselves the opportunity to feature even more daring artists and release whatever we like in the most suitable outfit for it.
So far, there is this compilation, which has been carefully compiled for your pleasure. Label regulars such as Cassegrain & Tin Man, Furfriend, Alex Cortex or Eomac have delivered high quality stuff of all kinds, but we are also introducing a lot of artists who will feature on the coming labels:
Umwelt with his epic and dramatic electro, who will release an album with us later in 2016, Dez Williams with his genre-crossing sound which works on every dance floor plus Power Vacuum's Bintus who delivers his portion of electro/acid madness on Record 1.
Record 2 features the legendary Detroit Grand Pubahs, who present their electro outfit Techmarine Bottom Feeders, The Fool's Stone, which is a new project by Hard Ton, electro legend Adriano Canzian and italian queer artist Brigida plus London's underground hero Jerome Hill, who lets it jack and roll with his Memory Machine.
On Record 3 Kamikaze Space Programme surprises with some bell-driven percussive techno and what can we say It is with great pride that we include the acid techno epos by none other than the legendary 'Prince of Techno' Blake Baxter.
This compilation is a trip through a big musical universe. Enjoy!

Pomalo, means 'take it easy' in Croatian Dalmatia region's slang, is the latest addition to the Burek/Barba family.

A 12" by CL Dawkins titled 'Affirmation Of Love' comes as a wonderful postcard from Detroit. Written and produced by Alex Israel, remixed by Amp Fiddler, and with a vocal contribution by Lavell Williams, the record features three different generations of Detroit artists.

Alex Israel, here debuting his CL Dawkins moniker, is a mechanical engineer and synth aficionado with a deep respect for soul music.
Since 2011, Alex has released a string of successful releases under his real name on labels such as Creme Organization, Stilove4music, Night Gallery and W.T. Records.

In tune with the mood and title of the label, Alex delivers two mid-tempo jams which are hard to ignore. 'Affirmation Of Love' is a soulful tune that works equally as the last song of the night, in your living room, or at a boat party.
Mr. Williams, whose vocals envelop the song, is vice president of the Detroit Sound Conservancy, an organisation deeply involved with Detroit's musical heritage education.

CL's second tune on the record is 'Blue Falconry', an instrumental with a subtle synth line reminiscent of Alex's previous work threading through the whole length.

Finally, Amp Fiddler contributes his take on the vocal cut. Fiddler's career connects the worlds of George Clinton, Sly and Robbie, Prince, and Brand New Heavies to artists like Moodymann, J Dilla, Theo Parrish, and A Tribe Called Quest.
A one-man musical hub, and an artist whose impressive biography would take up more space than we have here, spins the title with a dancefloor edge while retaining all the things we love about the original, a soulful Detroit house take that leaves a lasting impression...

You can call them a »supergroup«, but Moderat understands that it's the »group« aspect that makes them interesting.

Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) have been working together as a trio almost as long as their two separate projects have existed. We've seen their collaboration grow from »laptop boy-band,« (as Ring playfully puts it) in 2003—with computers synched using software Ring himself had written, because at the time, »there was just no live performance software around.«

Ring confesses that Moderat wasn't »really meant to be a recording act ,« with Bronsert agreeing that, »it was really just about fun.« This maybe explains the six-year break that followed Moderat's first EP before they finally returned in 2009 with their selftitled debut album. Intent on creating something that contrasted with their own projects, the group started the cycle which blossoms on their second album, aptly titled II, culminating now in the trilogy's completion, III. Whereas I was the combination of two separate entities, II brought the members closer together, and in III, the final chapter in the trilogy, Moderat sounds like one band.

Both Szary and Ring will tell you that Moderat moved progressively from making tracks towards a more traditional writing approach of making songs - a process more fully realized on III. That's partly why the vocals have become more prominent. Mostly, you hear Ring singing (there are no guests this time), as he so often does as Apparat, but listen closely to »Ghostmother« to hear Bronsert and Szary backing him up. Stepping out of their comfort zone is the kind of thing that helped create their interplay between pop and electronics; doing it right won them the Resident Advisor Best Live Act honor as early as 2009, and they continue to gain popularity while remaining independent and underground.

Szary describes the idea behind Moderat as, »imagin(ing) yourself sitting in the cinema and watching a movie with an incredible soundtrack.« This is true with Moderat in general, but III in particular pairs an emotional pull with sensual imagery, creating dynamic sound and depth with lyrics such as »the calming scent of lavender fills the air,« or »burning bridges light my way.« You'd have
to ask them whether they're intending to manipulate the listener in the same way that John Williams or Hans Zimmer might with traditional orchestras.

One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. They update the songwriting tradition with an intriguing palette, borne of careful attention and skill, informed by their »experiences with sounds of nearly 25 years of suband club culture.«
Let's not forget that these three were brought together by Berlin's now legendary rave scene. With this as their common foundation as individuals, III signifies Moderat's maturation in modern pop — an achievement shared under their collective belt.

Bronsert explains that, »the new album isn't based on jams. We went into the studio and knew exactly what we needed to do.« This is reflected in the sophisticated themes explored in the music. Take »Ghostmother,« which ponders inner peace, acceptance, fear of the unknown and how facing that fear often reveals something not so scary. Or »Running,« which is about being part of a mass that constantly needs to move to function, but doesn't have the power to decide the direction of motion. Or how about the wisdom of »Reminder,« which recognizes the world for its flaws and our role we've each played in that, but choosing to act differently and light the way to something better.

Given that, it's a bit of an understatement when Bronsert says, »I'd say our music has definitely matured.« Successful in their own endeavors, now they've mastered the »group«. It doesn't mean the end of Moderat, but it does mean they'll have to find something else to excel in.

RAAM is back with a killer EP where he moves deeper into his gritty and heavy soundscape.  
RAAM 004 is solid release with influences from both Detroit and Chicago. Alvar is a straight up chord driven banger, with classic 909 drum patterns.
On the flip you will find Unfold, which is a warm, spaced out Chicago track, reminiscent of Boo Williams.
Brink has that magic disco flair; woofing basses and sparkling pads create a shimmering atmosphere. This track is perfect to play whenever, wherever.

Auntie Flo returns with his 'Theory of Flo' LP masterpiece, his
first release on H+P in over 3 years!
Following his critically acclaimed 'Future Rhythm Machine' LP,
'Theory of Flo' is a bold step ahead from FRM, as it takes us on
the trip of a lifetime, spanning continents, genres, languages and
cultures to create a wholly unique listening experience, and one
which is only possible in 2015.
Teaming up with long term collaborator, Esa Williams, the album
also features collaborations with the incredible Ghanaian singer,
Anbuley (who last appeared on the Autonomous Africa hit
'Daabi'), Shingai Showina (of The Noisettes / Matthew Herbert /
Dennis Ferrer fame) and has experienced a lengthy recording
process between Havana, London and Glasgow - with outstand-
ing results.
'Theory of Flo' lands this November, in the meantime, his 'So In
Love' smasher and the spellbinding 'Waiting For A (Woman)' drop
on limited 10'..

2015 sees the return of Welsh psychedelicists White Noise Sound with their second album 'Like a Pyramid of Fire'.After honing their craft across the UK and through Europe - with the likes of Super Furry Animals, The Warlocks, Spectrum, Mark Gardener (Ride) and members of Spacemen 3, Spiritualized and The Brian Jonestown Massacre - WNS completed their debut album in 2010 with the assistance of Pete Kember (Spacemen 3 / Spectrum / E.A.R) and magician Cian Ciaran (Super Furry Animals). Released by cult California based label Alive Records (whose back-catalogue includes releases from The Black Keys, Beachwood Sparks, Iggy Pop and James Williamson and The Soledad Brothers) in 2010 (US) / 2011 (UK), the eponymous debut was greeted with widespread critical acclaim and WNS toured through Europe in its support. 'Like a Pyramid of Fire' sees the band take their trademark wall of sound - at once relentlessly pulsating and blissed-out - and conjure from it a sonic palette with range and depth. WNS worked closely with producer / DJ Phil Kieran and again with Cian Ciaran and the result is a metronomic and hypnotic onslaught of melody, groove and exploration which goes beyond the standard tropes of psychedelia.

White Noise Sound will be playing a special London show as part of the Convergence Festival on Monday 16th March 2005 (with label mates Eat Lights Become Lights and guest DJs Andrew Weatherall and Ben Osborne)

Supporting Jesus & Marychain in Cardiff on 22nd February.2015 sees the return of Welsh psychedelicists White Noise Sound. This single is taken from their second album 'Like a Pyramid of Fire' out in April 2015.After honing their craft across the UK and through Europe - with the likes of Super Furry Animals, The Warlocks, Spectrum, Mark Gardener (Ride) and members of Spacemen 3, Spiritualized and The Brian Jonestown Massacre - WNS completed their debut album in 2010 with the assistance of Pete Kember (Spacemen 3 / Spectrum / E.A.R) and magician Cian Ciaran (Super Furry Animals). Released by cult California based label Alive Records (whose back-catalogue includes releases from The Black Keys, Beachwood Sparks, Iggy Pop and James Williamson and The Soledad Brothers) in 2010 (US) / 2011 (UK), the eponymous debut was greeted with widespread critical acclaim and WNS toured through Europe in its support. 'Like a Pyramid of Fire' sees the band take their trademark wall of sound - at once relentlessly pulsating and blissed-out - and conjure from it a sonic palette with range and depth. WNS worked closely with producer / DJ Phil Kieran and again with Cian Ciaran and the result is a metronomic and hypnotic onslaught of melody, groove and exploration which goes beyond the standard tropes of psychedelia.
White Noise Sound will be playing a special London show as part of the Convergence Festival on Monday 16th March 2005 (with label mates Eat Lights Become Lights and guest DJs Andrew Weatherall and Ben Osborne)

THE company focused on realeasing original obscure dance classic and everything's that sounds fine to their ears !What a special one we have here on Skylax Classic! Damien Zala, the man who put out the superb album 'Lonely Happiness' on Rowtag Records in late 2012, who gets heavy support from the great Theo Parrish, dishes up six special tracks for our next release. Before diving in, it is well worth noting that a selection of Damien's album tracks had remixes by the likes of house icons such as DJ Jus-Ed, Rick Wade and Boo Williams! If those names register even the slightest blip on your radar, which they should, then this record might be the treasure you've been searching for. Damien's sampling technique has a certain air of grandeur to it. 'Shake Vibration' makes this apparent right from the start with intricate layers of vocals, guitar licks and keys. 'All My Respect' and 'Come Around' both follow suit whilst 'Dizzie' picks up the B side with a bit more energy and frenzy compared to what has come before it. The record rounds out with two tracks taking things a bit deeper. 'Stay Where You Are' drives forward with filtered pad chords that accompany jazzy sax and vocal cuts while conversely, 'Z To The Jz' brings in a moodier vibe with its jazz samples and smoky drums.
Do not miss the chance to get such a gem of a record from Damien Zala!, C L A S S I C ! A must to have in every djs collection. Essential Item No Digital .

Driving weirdo techno, warm melodic acid and daring sound experiments - Killekill welcomes a new duo on board: SKEW & SATIRIST are Max Cooper and Gareth Williams who met in the Not- tingham, UK club scene in the early 00s, living together for a number of years, leading to an effec- tive collaboration.
Max learnt production from sitting and watching Gareth in the studio, Max helped show Gareth the way with his DJing. Both became successful in their solo projects, Max as a regular guest
on stages all over the world, Gareth starting a music technology business with partners such as Richie Hawtin, John Acquaviva or Daniel Miller.
Over the years the musical collaboration between the two friends has continued in the background and they've finally found the time to bring it to fruition and start this project for their darker, more extreme and twisted techno which has been lying dormant over the years.

With a self-proclaimed goal to showcase newcomers as well as established artists, Melodymathics hands out their 'second punch' with a killer track by Detroit veteran Gari Romalis. Gari is at the forefront of the Detroit techno scene, working close with Terrence
Parker, Mike Banks, Cliff Thomas and labels such as Tresor, Transmat, Soma and many more. His productions clearly show that his 30 years experience Dj'ing made him realize what works on the dancefloor. 'The Web' on Melodymathics Ltd.002 is a sublime example of soulful keys combined with funky rhythm, resulting in the ultimate Dj tool.

Our new talent 'Barce' was discovered in Spain and sets the tone with his 'SP' track for a possible lifetime relationship with Melodymathics. Barce's music speaks parts of his life and relfects a musical image of his soul. 'SP' brings deepness to another level in this release, with a manipulated organ chord - hypnotizing you throughout the whole chord -
and a story being told on top with various snares, dope basslines and sample work.

The traditional endless grooves, provided byThe Melodymann, are a nice addition for any Dj who wants that little extra..

Dj Feedback

SEAN DEASON (Matrix records)

Very nice! Smooth deep and funky as hell! Great work!

ROBERT OWENS

Great EP, would be nice to play.

SAMUEL JAMES (Elektrosouls Recordings)

One of the deepest releases of the year. Melodymathics is definitely a label to keep an eye on !

JULES WELLS ( KMS, Submerge records)

Great, I love it !!

RENNIE FOSTER (Transmat / Rebirth )

Sick

BEN SOLAR

Great Stuff

FABRICE LIG

Great EP, so deep !

TITONTON DUVANTE

All tracks are solid! Really like the way the Gari Romalis track builds. The Barce track is

cool in the second half. Expect some deck time for this one..

DONNA BLACK

This is DOPE!

SEBASTIAN SAN

Good stuff, Deep as i like it !

DIMITRI ANDREAS

Nice smooth and deep, Like it !

LA WILLIAMS (Peacefrog, DJAX)

PUREEEEEEE DETROITTTTTT ! Richard Pryor sample classic

PAT LEZIZMO

Vraiment Bien !

SATORE (Hizou Deeply Rooted House)

Really nice Ep!

AUBREY

really good .. like it.. deep moody stuff !!

PETE HOWL

Deep & smooth, great package! love it

ANAXANDER

'wow, strong EP, proper dancefloor killers'

BERNY GARDIN

Interesting, can feel lot of infuences, style!

ANDREW DUKE

Veteran artist Gari Romalis brings the heat as expected; both Barce's original and the

remix from The Melodymann hit the spot. With these 3 tracks all in my bag, Melodymathics

Ltd keeps bringing the goods.

DEEP MOVEMENTS LABEL

Instant support, will play for sure !

OLIVER KAPP (Indulge, Raygun Records)

Very nice old school vibe..... love it

Der Titel des siebten Studioalbums der kalifornischen Punkrocker bezieht sich auf Mike Ness" doppelte musikalische Heimat. Der Songwriter und Sänger von Social Distortion huldigt auf "Hard Times And Nursery Rhymes" sowohl dem düsteren Amerika eines Hank Williams wie auch dem bluesigen Herumstolzieren der Rolling Stones etwa während der "Exile-On-Mainstreet"-Ära. Altbekannte Einflüsse, die hier jedoch in den Vordergrund treten: "Hard Times And Nursery Rhymes" ist das rockigste und gleichzeitig beseelteste Album der Gruppe, die weltweit über vier Millionen Alben verkaufte. Dennoch finden Fans den typischen Punkrock-Roar in jedem Stück wieder: vom Opener "California (Hustle and Flow)" bis zum düster-rockenden Hank-Williams-Cover "Alone and Forsaken". Aber auch Springsteen- und Tom-Petty-Fans dürften diesen Sound mögen. "Hard Times And Nursery Rhymes" ist das erste Album der Band nach "Sex, Love And Rock "n" Roll" aus dem Jahr 2004. Für Fans von Gaslight Anthem, Rancid, Bad Religion, Tom Petty, Bruce Springsteen und Tiger Army. Die 2LP hat zwei Bonus-Tracks.

Kaspi & Stride is a new project from Justin Tripp, best known as one half of the Georgia equation. Leanings has its origins in rigorous yet laid back studio sessions, dual personal practice sensibilities that seem to get at Tripp’s creative ethos as well as any descriptors might. The material here was born out of collaborative studio sessions with multi-instrumentalist Jimy Seitang (Conga Square/Stygian Stride) - the “Stride” of K&S. The music from these sessions has been reworked and recontextualized by Tripp to form the eight tracks found on the record. These compositions are heady and diverse, anchored by infectious drum patterns and intricate electronics, capably occupying a somewhat hard to define space between “club ready” and “home listening.”

“Vishing” throbs with a wide-eyed intensity, infused with the type of deceptively rudimentary synth stabs and bass swells that wouldn’t be out of place on an early Hype Williams record. With contributions from Mary Lattimore and Jon Leland, “Kaptoxa” charts a more ethereal, if no less dizzying, course. Indeed, this is an album that navigates dense, tactile passages and airy, celestial planes with aplomb, making a case for Tripp’s prowess as both composer and arranger with equal priority. The most important thing is to keep moving.