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"Bassland Prophecy" was a collection of Southern California musicians, including Alex Xenophon (Deep Squared), Stuart Breidenstein (formerly of Skylab 2000), Alissa Kueker (vocals), and Maxx Vaxx (Euterpre, Butterfly Garden).

The act nourished and grew the emerging LA scene and was a renegade force in live electronic improvisation. Rather than composing full tracks, Breidenstein stated over email that they built musical "ingredients" on the fly, syncing DOS and hardware sequencers mid-performance. Their unpredictable sets, from illegal raves to makeshift desert parties, resulted in electrifying, unforgettable sonic trips.

Recalling 90s LA, Breidenstein said: “Before the internet, finding a rave was an adventure. You’d get a flyer with a phone number, call it the night of the event, then drive—sometimes 100 miles or more from a map point to the actual party. The scene was raw and underground, built by music obsessives hunting for the freshest sounds.”

Two standout tracks from 1996—“Nine / Deeper” and “Blue and Purple Starship of Trust”—perfectly represent their unique genre-bending concoctions. Against all odds, the recordings survived and have been given new life, remastered and reissued on Bristol-based *Sex Tapes From Mars*. To produce the wizardry, their setup included a Juno 106, Yamaha FB-01, a Roland S330 sampler, and a Sequential Circuits Pro-One mono synth with external MIDI, and some guitar effects pedals.

“Nine / Deeper,” born from one of their many spontaneous studio sessions, became eerily intertwined with recurring appearances of the number 9 and black cats. So much was the frequency of apophenia episodes that paranoia began to take over the artists. Recorded in a makeshift living room studio, the 14-minute excursion traverses genres and tempos, beginning quick and hypnotic, and climaxing chuggy and drenched in adlibbed acid lines, culminating in a surreal and legendary live performance in Hollywood. The piece captures the raw spontaneity of their sets, crafted with vintage gear, cassette tape recordings, and, as always, a DIY ethos. Breidenstein states, “While improvised sessions often failed, when it succeeded, it was definitely a kind of infectious magic the listener would recognize.”

“The Blue and Purple Starship of Trust” is a deeply personal piece, named after when Breidenstein saw a heavenly blue morning glory on a walk around his neighborhood, and emerged from heartbreak and the following deep depression entrenching his life at the time. Recorded in a single take onto cassette tape, blending piano, guitar, and heart-rending vocals into an emotional, dreamlike journey. The track starts with a lush, cascading synth sound, bolstered up by rolling, reverbing downtempo drums. Using Sequential Circuits Pro-One throughout, the rippling synths and off-key piano licks act like pipetted droplets of water, all elements bleeding into each other in some kind of hallucinogenic swelling, reflecting Breidenstein’s fading relationship. The guitar part is a nod to Bill Withers’ “Ain’t No Sunshine,” and Breidenstein recalls just “bawling as the guitar line was recorded.”

Created in a time of artistic struggle, living in an old school bus, surviving on instant noodles while hauling their gear from venue to venue, and scraping by on gig money, these recordings act as rare artifacts of a movement that thrived on passion and perseverance, standing as a poignant testament to resilience. Though they released a handful of tracks, ranging from deep house to ambient to techno, their true legacy lay in their high-energy, genre-blurring live shows, which are powerfully encapsulated within these recordings and leave a lasting impact on underground electronic music today.

For customers of the Rush Hour shop, this item ships for its may 23rd release date. Any items ordered along with this will ship then also

After five years spent largely confined to the United States, Ron Trent is set to return to global touring in 2025. To mark the occasion, he’s partnered with Rush Hour to release Lift Off, a brand-new album of music recorded at different points over the last decade.

Arriving almost 35 years since he wowed the world with his game-changing debut, the Afterlife EP, Lift Off was inspired by Trent’s desire to ‘let the imagination speak for itself’ while exploring the diverse influences that have shaped his unique musical perspective. A departure from his previous album, 2022’s downtempo masterpiece as Warm, What Do The Stars Say To You, the 10-track set features a mixture of epic instrumentals, inspired collaborations and vocal cuts whose music was written with certain singers in mind.

While it features music that ripples with the experienced producer’s familiar aural trademarks – rich rhythms, warm chords, impeccable instrumentation, inspired arrangements, and lashings of heady hand percussion – it also consciously explores a variety of sounds and tempos, in the process blurring the lines between dance music’s past, present and future. It’s a vision, in his words, of what dance music can become.

For proof, check the five impeccable cuts on part one. There’s the tactile, Wally Badarou-inspired wonder ‘Hot Ice’, the mind-soothing chords, lilting synth-strings and samba-soaked percussion of ‘Woman of Color’, the warming deep house jazziness of ‘Jazz Funk’ and the restless, far-sighted brilliance of ‘Sexstrology’, where relaxed electric piano solos dance atop an infectious, locked-in dancefloor groove.

Best of all though is Leroy Burgess collaboration ‘Let Me See You Shining’ – an inspired musical meeting of minds that cannily fuses Trent’s signature deep house sound with the soulful, vocal-driven brilliance of the New Yorker’s iconic boogie-era work. Even by the two artists’ dizzyingly high standards, it’s a very special song.

TAMIZDAT Records, the forward-thinking, club-driven stem of MixCult Records, returns with its third vinyl release — Panacea EP TMZ003, a potent compilation of cutting-edge Tech House crafted by rising prodigies: Caputi, Osman Öz & SUBMINIMAL, Dawn Gab and Nikdo.

Designed for the dancefloor yet rich in sonic nuance, Panacea EP strikes a delicate balance between raw bassline power and refined beauty. Each track showcases an evolutive approach to club music — immersive, rhythmic, and brimming with personality. The artists push boundaries while maintaining an irresistible groove that keeps the body moving and the mind engaged.

TAMIZDAT carves its own lane within the MixCult universe, channeling dub techno aesthetics into a club-forward format that feels both current and timeless. This EP is a declaration of intent: sleek, bold, and undeniably danceable.

Whether you're spinning late-night sets or deep-diving into thoughtful listening, Panacea EP delivers on all fronts. Don’t miss out on this essential slice of modern club culture — get your hands on TMZ003 VA – Panacea EP and feel the pulse of the future.

MixCult Records unveils TAMIZDAT, which in Russian TAM means “there” (as a reference of an aboard, western location), and IZDAT means “to publish”. It was the name for banned books and magazines published "there", that is, abroad.

Limited edition.

**Gangster Music Vol.3: The Most Gangster Music Trilogy of All Time Comes to a Triumphant Close**

Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before.

Gangster Doodles himself puts it best:
"It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”

Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.

This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.

From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.

As always, the cover art is a vital piece of the puzzle. This time, Bootleg Garfield & Friends take center stage, bringing the same playful irreverence that has defined Gangster Doodles’ artwork for years. Fans are encouraged to engage, remix, and make the cover their own, staying true to the spirit of interactive creativity that has always fueled the series.

After years of meticulous curation, countless DMs, emails, and behind-the-scenes wrangling, Gangster Music Vol.3 is here to complete the trilogy in legendary fashion. Expect boundary-pushing beats, next-level lyricism, and a lineup that celebrates hip-hop in all its many forms.

“Thanks to everyone who’s actively supported and continues to tap-in. Believe & trust when I say I've got more dope stuff cookin’. STAY TUNED!! GANGSTER DOODLES 4EVER. 1LUV."

Gangster Music Vol.3 is out April 7th on All City. Stay tuned, stay tapped in, and get ready for the most gangster music experience yet.

Celebrating 40th anniversary of Yves Deruyter's musical career with this 10 x 12" Vinyl Box Set. Including tracks from F.U.S.E. vs LFO, Tronikhouse, Robert Armani, L.S.G., Edge Of Motion, Plastikman, The Prodigy, Ecstasy Club, and the master himselfYves Deruyter.



Yves Deruyter - 40 Years at the Pinnacle of the Night

Forty years. A rollercoaster of a musical career, meandering through five decades, leaving timeless marks on the collective dancefloor memory. Yves Deruyter is the exception that proves the rule. An icon behind the decks, celebrated far beyond national borders for his legendary sets, impeccable musical choices, and the anthems released under his name. The result of collective effort, where Yves, with his vision and unique touch, consistently left his mark-transforming good tracks into inescapable bombs that still resonate through time.

If you've spent forty years living to the pulse of music, the night is in your DNA. Yves Deruyter, a DJ to the core-the real deal. The man who bent the night to his will, dragging weekend vibes into the workweek like a warrior, a true master behind the turntables who made his people dance. His beats: the oxygen that generations lived on.

Yves sharpened his musical weapons in the early '90s within the iconic afterparty scene of Barocci and The Globe-places that became sanctuaries in Belgium's endless night. Here, die-hard dancefloor warriors, cutting-edge music lovers, and night owls from the four corners of the globe gathered. They willingly followed Yves' masterful mixing and his razor-sharp set construction. Clubs with a more conventional timeframe were the next step, with the iconic Cherrymoon as his home base for years-alongside endless guest DJ spots and global gigs. From there, the underground pulsed through Yves' hands and crates, reaching ever-larger crowds-without ever compromising for commercial or crossover sounds. Yves stayed true to his choices, lifting his audience to euphoric heights like a craftsman, armed with his hits, hidden gems, and freshly unearthed nuggets.

From the pounding energy of Rave City to the flippy, epic flashes of Calling Earth-tracks that not only captured the spirit of the times but conquered dancefloors worldwide. This isn't just music; it's a time capsule-a connection between generations and a reminder of the energy from a golden era.

With musical partners like Roel Butzen, Frederico Santini, M.I.K.E. Push, and more recently, Insider, Yves forged a sound that etched its place into rave and dance history. From The Rebel to The House of House, parts of Yves' musical taste have become immortal pillars of dance music heritage. In the early rave days, he topped Belgium's DJ rankings year after year, elevating every club he played to the highest echelons of popularity. The same held true for the records where his name appeared like a badge of honor.

From The Globe to the globe itself-it seemed almost written in the stars. Yves, thestar DJ, became one of the instigators of the electronic music storm that put Belgium on the global map-a storm that never subsided. Festivals like Love Parade, Mayday, I Love Techno, Nature One, and Tomorrowland saw Yves as a trusted force, effortlessly commanding crowds and turning dancefloors inside out. Forty years later, that storm still ignites partygoers, vibrates through dancefloors, and keeps entire generations moving.

Even today, Yves still holds a steady residency with Yves Deruyter and Friends at Club Moustache, where his concept always sells out. Here, both fresh talent and seasoned DJs deliver a killer blend of modern electronic dance music and timeless classics, creating an atmosphere that hooks the crowd every single time.

Because partying doesn't need an excuse. But forty years? That deserves the spotlight-not as a mere milestone, but as a showcase of timelessness. Music mutates, reinvents itself for new generations, yet retains the same impact as that very first time. Yves proves that forty is just a number, and relevance isn't about trends-it's about vision, energy, and an unmistakable touch. His sets? Indestructible. His sound? A heartbeat echoing through time.

And Yves? He doesn't live in the past. Today, Yves distills those four decades into a compilation capturing the essence of his career. Belgian beats, interpreted and refined into a sound that powered raves around the world. Ten vinyls featuring not just a fiercely curated selection that contextualizes the magic of his early days, but also new versions of three unbeatable anthems-potent hits designed to turn dancefloors upside down in wonder, without losing a shred of their soul. Yves remains a beacon in the night, a searchlight for that one perfect beat-always relevant, always chasing that magical moment.

Yves Deruyter-a name spoken in the same breath as the greats of the scene. A ten-vinyl compilation is more than a celebration; it's a well-earned trophy. As unique, indestructible, and uncompromising as the man himself.

Here is our Hot Sauce Volume 5 showcasing some seriously groovy and rare Rocksteady,
Boss and Reggay tracks mixed expertly for yet another thrilling early Reggae experience on vinyl.


Here is the much anticipated volume 5 of the HOT SAUCE compilation LPs dedicated to the Trojan related labels between 1965 and 1975.
HOT SAUCE volume 5 features outstanding original Rocksteady, Boss Reggae and early Reggae (“Reggay”) tracks including rare songs, overlooked gems, hidden treasures and a couple of hits. The record labels showcased on this fourth volume are Amalgamated, Bread, Downtown, Duke, Explosion, Grape, Harry J Records , JJ Records, Rio, Splash, Upsetter and Techniques.

The tracks here have been selected according to their musical interest firstly, their rarity, and their complementarity.
These tracks are all outstanding tracks, “killer tracks”, there is no “filler” whatsoever.

Particular attention has been paid to the way the songs are sequenced (or “mixed”) so that the album builds up nicely and gradually, generally starting
with the Rocksteady songs on the A side and the 70s songs on the B side.
The HOT SAUCE series is a musical journey across Trojan and its labels showcasing early Jamaican Reggae’s diverse musical genres and outstanding artists.
Since the early 70s’ “Tighten Up” and “Club Reggae” series, no compilations have really explored these labels in depth on vinyl.
It might be the last volume of the series as we know it so we wanted to make a splash for volume 5.
It is a nod to self-censored lewd Reggae covers from Trojan and Pama in early 70s. So don't fret,
a collectible yellow sticker has been strategically applied on the shrink-wrap to cover Miss Rocksteady's bottom!!
With its striking cover and its thrilling Reggay selection, volume 5 is bound to become another successful album in the Hot Sauce series...

This compilation features tracks released between 1978 and 1988 in Western France.

Through this compilation, we strove to highlight a little-known regional scene, characteristic of the diverse and sometimes opposing music movements of the 80s. Through this musical journey across the Brittany, Normandy, and Pays-de-la-Loire regions, we sought to showcase a resolutely indie aesthetic, sometimes conceived in some of France’s most unusual studios, such as a bunker and a caravan.

We’ve found it difficult to make attribute an established, well-defined genre to some of the tracks featured on this compilation. They draw, each in their own way, from the rock scene that dominated the 80s in France, from countercultures, from American stars who shone on the country’s radio stations and in its record stores, and even from local folk music.

While one could hear an harmony across the tracks featured on Le Grand Ouest, channeling this manifold energy onto a record required extensive research through the Brittany, Normandy, and Pays de la Loire regions’ discographies. Over the three years since the release of Le Grand Sud-Est, we have meticulously researched the references of artists, musicians, studios, labels, and publishers from each region. We sought to trace each artist to identify and listen to all their works from that period, and, when possible, collect unreleased recordings, left as demo cassettes on the artists' dusty shelves.

The synthesis of this research, presented here under the title Le Grand Ouest, hopes to remind us of the timelessness of the indie scene in our country, through the lens of the 80s Western France’s scene. Whereas Le Grand Sud-Est exhibited the funkiest sides of the Provençale and Rhône-Alpes scene, Le Grand Ouest leans towards a more mellow, introverted music, an expression of groups of friends united by the joy of playing together.

The first 500 copies of the record come with an extensive booklet with unpublished photos, press clippings, and texts for each track.

As the tenth candle flickers atop the torta alla panna, Archeo Recordings play the Uno reverse card, breaking with tradition to give us a gift in celebration of its birthday: the first in a series of exquisite EPs on which the label's favourite contemporaries pay homage to past masters. Each re-polished gem is plucked either directly from the beatific back catalogue of the fine Florentine label or is at least Archeo-adjacent, perhaps a sign of future wonders to come. Like a musical version of Janus, who can be found at the heart of Bertoldo di Giovanni's frieze in the Medici villa, Archeo Recordings will continue to look forwards and backwards to provide sublime sounds for us all.
Pepe Maina officially joined the Archeo family in 2019 with the much-needed reissue of his 1979 masterpiece Scerizza (AR015), but his astounding music has been a constant companion to label head Manu for much longer. An inter-dimensional, multi-instrumental maverick, Maina weaves the frayed edges of prog rock, new age, organic jazz and global minimalism into a shimmering tapestry all of his own. The results are spread across fifty years and almost as many albums, largely self-released and always absolutely untarnished by commercial concerns.
Based in a small village in the hills of Brianza, just north of Milan, Maina translates the beauty of his surroundings into transformative tone poems, and the folkloric fusion of "The Infinite", originally released on his 2014 CD Tales From The Hill, is the perfect example of his practice. It opens with a recitation of Giacomo Leopardi's 1825s poem "L'Infinito" by famed Italian actor Vittorio Gassman. A leading figure in the romantic movement, Leopardi explores the idea of time and space within the natural world, and the peace that comes with an appreciation of the immensity of eternity. Manu, longtime digger and now a burgeoning producer, expands upon the original with tribal percussion, chirping electronics and a spheric bassline, folding Maina's elegant strings and gossamer pads into a new arrangement suited for a slow dance under the stars.
Unless you had a well-trained ear tuned to Italy's avant-jazz scene, chances are your first encounter with innovative flautist Roberto Aglieri came via the 2017 Archeo reissue of hisalmost untraceable LP Ragapadani (AR011). It's a true testament to Manu's digging credentials that he snatched this masterpiece out of the esoteric atmosphere and brought it attention it so richly deserved. A delicate union of digital synthesis and versatile flute - be it soft and silvery or
brilliant and clear - the 1987 album was a shapeshifting masterpiece, replaying scenes from Virgil, Verdi, Visconti and Pasolini with a neon glow. Quintessentially Italian, but uncanny and previously unimagined - Penthouse and Portico perhaps. Powered by a percolating prototechno sequence, cascading keys, hallucinogenic vocal snippets and a variety of tonal timbres from Roberto's reed, "Danza N. 1" long deserved the praise reserved for Jean-Luc Ponty's pinnacle, so many thanks to Manu for our collective introduction. The tall task of reinterpreting this particular paragon falls to Perugian polymath Daniele Tomassini AKA Feel Fly, whose peerless skills as both producer and musician have delighted DJs and dancers alike. Hot on the heels of his diverse and definitive remixes of Tony Esposito for AR027, Daniele delivers a radical rework of "Danza N. 1" perfect for both day rave sunshine and full moon party alike. Enhanced by snapping breaks and a rattling kick, the bassline gurgle emerges as a progressive powerhouse, laying the foundation for the trilling flute and circular keys to cast a psychedelic spell. As the slow-Goa revival picks up pace, this one is way ahead of the pack.
Archeo take us all the way back to the start of its story here - well almost. Though it bore the stamp AR001 (2015), this Radio Band reissue actually hit shelves months after Tony Esposito's "Je-Na' / Pagaia"; a false start perhaps but a true classic all the same. Radio Band were a group of DJs from Florence who all sailed the airways of Radio Fantasy in 1984 and whose one and only release was this super groovy slice of Italo-boogie. Following the example of Milanese DJs Band of Jocks but far surpassing their formulaic funk fizzle, Radio Band employed an intergalactic bassline, cosmic keys and that undeniably Italian style of rapping to deliver a sophisticated party-starter which even found its way to disco deity Ron Hardy. Back to the here and now, and if you've found yourself pumping an ecstatic fist to a supercharged Italian epic of late, chances are its from the mind of the mysterious Radiomarc. Operating on the ascendent Popcorn Groove imprint, this shadowy figure steers his country's lost classics into peaktime territories, finding a sweet spot between late Italo-disco, early Italo-house and contemporary cool. Pushing the tempo with a club-ready 4/4, setting the sequencer to stun and supplementing the original melodies with a series of synth riffs, the mystery producer send this one into orbit. Radio Band - Radio Rap - Radiomarc, the circle is complete.
Few have done more to develop cross-cultural musical exchange than Futuro Antico. A collaborative venture from musician, archeologist and ethnomusicologist Walter Maioli, keyboardist and tonal theoretician Riccardo Sinigaglia and multi-disciplinary artist and composer Gabin Dabiré, Futuro Antico formed in Milan in 1979, combining ancient international folkloric traditions with otherworldly electronics. The result is an arresting melange of Mediterranean, African and Asian instrumentation, mimicked by esoteric synth tones and hypnotic minimalism, which the group perfected on their acclaimed 1990 LP Dai Primitivi All'Elettronica. The meditative and transportive "Pan Tuning" belongs to their largely overlooked 2005 CD only release Intonazioni Archetipe, and has been amongst Manu's most loved tracks from the first moment he heard it. Who else is better placed to reshape this evocative opus into an immersive, transcendental dance floor journey than label favourites Mushrooms Project? The duo sows the original elements into a sprawling fifteen minute fusion of séance and science, at times propulsive with a ritualist rhythm of tuned percussion and crunching drum machine at others drifting off into ethereal ambience. Mushrooms Project continue to push the boundaries of the Afro-cosmic style, and this remix marks a new zenith.

This Summer The Florentian Cabaret showcases his sound once more as he explores new creative avenues with the launch of his own eponymous label. The label will give the thriving Italian talent a chance to showcase the full spectrum of his sound with no boundaries, sharing all of his refined tastes, and influences he has absorbed over the years. The “Space. Time. Gravity.” EP features four classy cuts, timeless trips inside the mind of The Florentian Cabaret.

Playful drum patterns lead the way in the title track, conversing in harmony with the nostalgic 80s synths, teasing you down an animated path of disco leaning house energy. Emotional textures crafted for the dance floor moments. “Stairs On Mars” is built upon an underground energy of time gone by, slick hi-hats drive the track in combination with a raw and rugged bass, nodding towards the heydays of rave. Distinct and progressive peak time movements steering the release into an alternative direction.
“Rocket’90 leads you down a pacey path of low end paradise, in combination with spaced infused acid tones. A transition track for when you want to switch things up, and steer the dance floor to new heights. Hypnotic as it moves, progressing into classy peak time action as the atmosphere continues to simmer. Next up we have the aptly named “Stars”, as this pulsating and driven track will take you exactly there. Nostalgic drums maintain a steady and transcending groove, conversing with the mechanical pads and synths which spiral around the heart of the track. Constructed for the rave, and the tastemakers of modern dance music!

Hardcover Book which includes a 208-page book documenting Louisville's rich Black Gospel music legacy and access to a comprehensive digital archive.

In the mid-20th century, Louisville gospel music was occasionally recorded when members of the local gospel community pressed 45rpm records and LPs, and released them through grassroots record labels such as Sensational Sounds, Grace, Blessed, and D.J.S. Over the years, a substantial body of work was produced in our city, but those recordings are in danger of being lost forever.

The Louisville Story Program has been working with dozens of people in the local gospel music community to locate, digitize, and preserve hundreds of these recordings and to develop a book that documents and honors the legacies of the people and communities that produced them.

For decades, the passion, hard work, and support of countless people across dozens of Black church communities in Louisville have nurtured and sustained a rich gospel music ecosystem. This music has served as a central part of people's religious practice and as an expression of Black pride, joy, affirmation, love, dignity, determination, and hope. This legacy continues to this day.

With support from The Owsley Brown II Family Foundation and Owsley Brown III Philanthropic Foundation, LSP has partnered with members of the gospel community and a local advisory group of local gospel historians and luminaries:

To locate, clean, and digitize gospel records of local artists released by small local labels
To accompany the local Black gospel music community in developing a 4 CD box set that includes a 200+ page hardcover book with first-person documentation of their rich history
To create an accompanying double LP featuring 26 of those songs
To create and maintain a public-facing digital archive of 1,000 songs and 1,000 photographs
To celebrate the final release with a large concert at the Brown Theatre (September 28, 2024)

There is the new release by acid jazz superstar rad. available, for which I’m happy to provide, attached the tools. The recordings feature no less than Tower Of Power Horns, David Garibaldi, Roger Troutman, Ray Obiedo, Bobby Vega and Michael Spiro…

vIt was the San Francisco Bay Area where Herbie Hancock founded his Headhunters. It was the San Francisco Bay Area where Prince recruited Sheila E., Rosie Gaines and Larry Graham.

Bands and artists such as Tower Of Power, Sly & The Family Stone, Meshell Ndegeocello and Santana came from the San Francisco Bay Area, and Rose Ann Dimalanta, or rad.for short,

also originated from the San Francisco Bay Area. A Heavy Dose Of Oakland Funk – rad. did what she promised. Her 2nd album “gotta be" (1994) had all the ingredients that made the funk heartbeat

faster and the legs fidget: razor-sharp breaks, excellent hooklines, staccato clavinet and organ licks, driving bass lines, forward oriented drum grooves and a voice tofall in love with.

For these remastered two songs, she back then recruited her colleagues from the Syncopated Funk Champions League. Guitarist Ray Obiedo played in Herbie Hancock's band and

with George Duke during the "Thrust" era. The percussionistMichael Spiro worked for Ella Fitzgerald, Bobby McFerrin and Carlos Santana, Bobby Vega played the base for BoDiddley, Booker T,

Santana, Tower of Power, Etta James, Sly Stone and Jefferson Starship to name a few. Beside thefuzz guitar solo of mega funk star Roger Troutman on Come My Way, it is David Garibaldi and the

Tower of Power Horns who add the undeniable quality of this two funk classics now pressed on 7“ vinyl for the first time ever…

QUAZAR are pioneers of the first house- and techno-generation of the early 90’s. Formed in Amsterdam by producer Gert van Veen, QUAZAR debuted in 1990 with the 12 inch ‘The Seven Stars/Day-glo’, which became an underground hit all over the world, from the UK and Germany to The USA, Goa and Australia. It’s still considered as one of the ultimate classics of the original rave-scene.
‘The Seven Stars’, a wild and exciting musical voyage, full of instrumental crescendoes and rushes, is a hard hitting techno-track that set dance floors on fire with its fierce energy.
The raw persuasive power of the a side and the acid tinged 'Moon Turns The Tide' is balanced by the gentle, melodic ‘Day-glo’ - a predecessor of the later minimal style and a favourite of Ricardo Villalobos, that unexpectedly became just as popular as ‘The Seven Stars’.
During the Amsterdam Dance Event 2024 ‘The Seven Stars EP'will be rereleased on vinyl, two weeks later followed by the rerelease of the first QUAZAR album ‘Seven Stars’.
‘The Seven Stars EP' 12" presents remastered versions of the three tracks on the original record plus a 2024 QUAZAR remake of ‘The Seven Stars’, mixed by Dutch house legend Olav Basoski.
To celebrate these releases, QUAZAR, still one of the best live-acts in the Netherlands, will do a special hardware-only live-gig at DOKA/The Volkshotel in Amsterdam on Wednesday October 16 2024.

In 1969, singer and police lieutenant Pedro Gregorio López started recording a series of instrumental tracks and songs on the MAG record label in Peru, ranging from guaracha to cumbia, all cooked with musical eclecticism and simmered to appeal to a wide audience. Many of these musical ingredients combined on the 1971 album entitled "Cocinando", in reference to the similarities between Peruvian cooking and tropical music. López began his career as a singer and orchestra conductor many years earlier, when he joined the backing singers for Lucho Macedo's Sonora. After completing his police training, he adopted the stage name Martín López, in order to preserve the anonymity his job required. Between 1969 and 1971 Martín López y sus Estrellas recorded all the tracks comprised on this album, including salsa, guarachas, rumbas, chichas and boleros, proving their knowledge and mastery of the tropical music lexicon. It is not surprising since the orchestra was made up of the most talented label’s session stars: including the double bassist Joe di Roma, singer Pablo Villanueva "Melcochita", percussionists Ñiko Estrada and Coco Lagos, and trumpeter Tito Chicoma. "Cocinando" is an epic historical treasure that captures the explosive impact of the tropical music movement on Peruvian culture.

Entdecken Sie zum ersten Mal auf Vinyl, das 4. Album der großartigen Crew von Yellow Productions: Africanism All Stars. Unter der Leitung von Bob Sinclar und mit dJ Spen, Federico Scavo, Roger Sanchez, Eddie Amador, Bt&Baker, Martin Solveig, DJ Gregory...

Cobra & The Brotherhood of the Grape is a celebration of friends making music together for many years. An album conceived in the Clot neighbourhood and recorded in Barcelona, Mallorca and Buenos Aires. An "All Stars" occasion where many of the musicians who have played in STA over 20 years have come together to contribute.

The album features digital dub, dark roots and other sunny and bright tracks. Experimental and electronic, but also analog and dense in textures, and delicate in showing it.

After 20 years of the first CD, STA follows their personal path to make Dub. A special mention deserves the album's art by Tomás Spicolli, an old friend and collaborator of STA. Cobra & The Brotherhood of the Grape is the sixth LP in vinyl format within a production that also has several CDs, 7'' and cassettes.

A completely self-produced album. All original riddims. Dub for adults.

Embark on our latest vinyl journey with STUPR’s newest release, “When Falling Stars Stopped Burning,” featuring remixes by Benkhlifa and Thomas Hessler.

This collection boasts five tracks designed to ignite your senses and set your body in motion. The originals blend a Trance essence with hints of Detroit Techno, crafting a mesmerizing atmosphere from start to finish. But that’s not all – brace yourself for the powerhouse remix by Benkhlifa, delivering an unstoppable energy that commands the dance floor. And to conclude, Thomas Hessler’s remix takes you on a thrilling excursion to the heart of Motor City, Detroit, with its signature sounds and vibrant allure.

Reissue

Broken Techno / Electronica label Theoretical Rhythms is taking it to the next level with their first vinyl release. Label boss Nickel Eye is honoured with the production duties and come up with a beautiful album which can be described as an audio Sci-Fi poem. Rich textures and pads are present in all tracks giving the album trippiness bringing the listener on a cosmic excursion. Steady broken beats keep the things on a dancier side and the listener can have a dance while watching the stars listening to the album.
Space Child is an album that would work equally well at home on an individual journey as well as on the dance floor where each party goer can take their personal trip

The Issues label keeps up its fine early momentum with a new EP from Pau Roca with a remix from Crue. It is another tasteful 12" that comes on the heels of a deep outing from Dubbyman and an inaugural release featuring fresh versions of Joan Bibiloni by Kiko Navarro & Willie Graff.

Opener 'Daradada' is a spiritual deep house cut with swirling pads and classic vocals drifting next to the jazzy keys. It's expansive and cosmic in design and one that touches the heart on many levels.

'Here Comes The Moon' is another cut that shows off Roca's mastery of astral melodies. His gorgeous chords and delicate keys rise up to the stars as warm, dynamic drums bring the weight down low and spoken words unfurl in a seductive fashion. The Crue remix of 'Daradada' then brings more drive with harder but still organic house drums and hits.

The chords take on a melancholic quality and an elastic bassline pumps the party with a playful sense of energy. Last of all is 'Get Down' which once again sinks you into a beautifully warm and heady world of soft focus chords and late-night synth work.

Repress!

DEE DEE SHARP was born Dionne LaRue in Philadelphia in 1945 and broke the Billboard Hot 100 while still a teenager with Slow Twistin'' (performed with Chubby Checker) in 1963. Follow-up hits included Mashed Potato Time' and Ride' which both earned her Gold discs. In 1967 she married Philadelphia producer Kenny Gamble who signed her to his fledgling Gamble label, co-owned by his writer/producer partner Leon Huff.
Ms. Gamble (nee Sharp) is no stranger to the UK Northern and Rare Soul scene having enjoyed over 40 years of DJ action with Comin' Home Baby', Deep Dark Secret', Standing In The Need Of Love' and in more recent times with The Bottle Or Me' and Happy 'Bout The Whole Thing'. She was also a featured vocalist on the Philadelphia International All Stars hit Let's Clean Up The Ghetto' alongside Lou Rawls, Billy Paul, Teddy Pendergrass, The O'Jays and Archie Bell. BUT, without doubt, it is her 1968 recording What Kind Of Lady' that continues to pack dance floors across the country. First played at the legendary Golden Torch in Stoke-on-Trent, almost as a new release at the time, heralding the seventies and Northern Soul's golden years. The song was penned and produced by Gamble and Huff and released in September '68 while the duo were still hot from their million-selling Cowboys To Girls' by the Intruders, released in March of the same year. What Kind Of Lady' has remained a firm club favourite and is reissued here, for the first time, coupled with the aforementioned The Bottle Or Me'.

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

Operation_PPRCLP kicks off release SUB010 asking how far will we go in the race for technological advancement, and at what cost? Have we forgotten our humanity as a result? Should we be more focused on how to expand human consciousness rather than trying to command, control and obfuscate or is this just in our habitual nature?

41 Minutes Past Midnight investigates painful emotions around losing loved ones without being able to get any closure, how do we move forward without answers in the face of unexplained, heartbreaking tragedy.

6EQUJ5 aka the Wow! signal first detected on August 5th 1977 shifts the perspective out into the constellation of Sagittarius from where the signal is thought to have originated. In 2022 we learned that 3 distant Sun-like stars within the original antenna-pointed coordinates may provide the answer but at a vast distance of 1800 light years from earth, since then, it's all gone quiet... What world reached out from the cosmos, intentionally or mistakenly...

The final track Celestial Beings asks the age old question of what other life exists across the universe, how advanced are these civilizations that may already be exploring distant galaxies with our shared sense of curiosity and when will we be able to connect collectively with such conscious entities.

Mood Child unleashes Sirus Hood and Trangaz’s ‘Ghetto Corazon’ EP, a blazing fusion of African, Latino, and Asian influences.

Label father Sirus Hood and Mood Child favourite Trangaz join forces to craft two original bangers, ‘Ghetto Corazon’ and ‘Boothy’, while Manda Moor, Mood Child's mother, spices things up with two different versions of remixes of the second track.

‘Ghetto Corazon’ is one of those tracks that ignites the dancefloor and highlights a DJ set. It’s primal, unique, tribal, and groovy. It has a Techno vibe with its high BPM and killer kick drum that has the power to tremble any dancefloor.
We can sense the Latin roots with the Spanish vocal singing "mi corazon" and the African flair with its broken swing percussion pattern.

‘Boothy’ is a playful acid-led tune enhanced by a unique hi-hat game, with vocals from Trangaz himself talking about the DJ booth adventures. The vocal depicts situations that are bound to happen in any club.

Manda Moor delivers two different remixes of ‘Boothy’: a ‘Punchy’ and a ‘Spicy’ remix. Her ‘Punchy’ rendition is vinyl only and adds a dirty punch to the original, while her ‘Spicy’ version has all the essence of the ‘Manda Moor groove’ - an addictive drum pattern with her unique style that is recognised right away. She is known for her picante sound, adding the perfect spice to this EP.

This release showcases the best of the heat from three minds with different roots. An irresistible melting pot, with early supports from all stars like the king Carl Cox and The Martinez Brothers.

Sirus Hood & Trangaz ‘Ghetto Corazon’ EP drops via Mood Child on 22nd March 2024.

Companion’s fourth full-length excursion comes from Naarm newcomer Declan. Following the release of his debut single Aqueduct on CMPN003, Declan returns to the label with an entrancing 5-track EP that gently unwinds through boundless, sun-drenched dreamscapes. Awash in the golden hues of 90s chill-out tent culture, Soul Arch embarks on a trance-inducing trip that fuses new age influences, balearic spirit and feverish, hypnotic repetitions.

The release gracefully shifts between moments of restraint and hidden depths, soaring to elevated and distant peaks. The effect is expansive, characterised by protean vocal samples, pulsing pitter-pat percussion and weightless pads as though gently breathing. Suited for late-nights beneath dust shrouded stars and the peaceful mornings after, Soul Arch is best listened from start to finish, with one eye cast towards the sunrise.

All tracks written and produced by D. McNamara
Mastered by P. Twigg
Artwork by X. Ford-Legrand
Design by G. Butterfield
Worldwide distribution by One Eye Witness
© Companion 2024

There’s something to be said for getting noticed, for standing out from the crowd. West London’s T.Williams is one of those people, having accomplished a full sweep of merited recognition over the years. Emerging onto the house scene in 2010, T.Williams instantly marked himself as a breakthrough artist with a difference; his unique take on house music turning heads.

Far from a newcomer, his path as a musical artist started in the grime scene as Dread.D. Signed at the tender age of 17 with grime anthem Invasion on Jon E Cash’s Black Ops label, Williams went on to have mass success in the grime and bass world selling thousands of singles worldwide. After a five-year reign, Williams found himself veering towards the world of house music. With a new found love for the sound and its sub-genres, T.Williams forged a signature sound influenced by his grime days, jungle, and garage. With a style that undoubtedly impacts, T.Williams’ crossover has been the catalyst for his success. Not only rife with groove and feeling but meticulously produced and engineered with deep rumbling basslines, the unapologetic bounce of grime and smooth vocals that bleed through African infused percussion work.

While in 2010 the industry took note when hit record ‘Heartbeat’ featuring vocalist Terri Walker made an impression, it was throughout 2011 that T.Williams defined himself - releasing solo works on his imprint Local Action and Pattern with remixes for Maya Jane Coles, Ben Westbeech and Skream. Not stopping at pricking the ears of fellow artists and those on the dancefloor, the end of 2011 saw Williams nominated for ‘Best Breakthrough DJ’ by DJ Mag, ‘DJ Stars of 2012’ by Time Out and featured in The Guardian.

Two relationships came to the forefront in 2012 that propelled Williams to greater heights. The first was his weekly show on legendary London station, Rinse FM and the second, Williams’ relationship with label PMR through his remix of Javeon McCarthy’s ‘Lost Time’. The remix was named Record of the Week by BBC Radio 1 and supported by tastemakers Annie Mac and Fearne Cotton. From here T. signed to the label exclusively releasing his debut EP for the label in September 2012, and in the process receiving further support from BBC Radio 1. Further remixes of Mikky Ekko, Wretch 32 and Lianne La Havas followed suit, as well as his biggest to date - Disclosure’s ‘Latch’. Powering dancefloors across the globe, T. went on to play three US tours, numerous festival stages, and deliver a second EP on PMR titled ‘Feelings Within’. The EP once again spanned a number of bases, from club bangers to heartfelt vocal driven tracks alike. Gaining his own monthly residency show with BBC Radio 1, 2013 ended with T. having played over 100 shows across four continents.

2017 marked the launch and release of the first collaborative EP with UK producer Julio Bashmore, via their joint independent Conch Records, a label aiming to push out more underground cross-genre music with heavy rotation from the likes of Moxie and Shy One. With an ever-expanding global tour schedule and further solo releases on the legendary NYC house label Strictly Rhythm turning heads, T.’s upward trajectory has never showed signs of slowing down. Selected to soundtrack the social media campaign for boxer Anthony Joshua in 2019 and now using his technical prowess as a musician to educate the next generation of rising stars at London’s respected Point Blank Music School has cemented his status as one of the UK music scene’s key players.

Fate is a funny old thing. One day in 2011, DJ/producer Tom Trago found himself sharing a train journey with Steven Van Lummel, a DIY musician, artist and co-founder of PIP, an underground nightclub and cultural hub in The Hague. Over the course of a rambling, open-ended conversation, the idea of making music together came up; a few weeks later, Trago travelled to van Lummel’s place – a former industrial unit that was now home to a rotating cast of artists and musicians – and didn’t leave for a month.

Cossetted away from the outside world in van Lummel’s loft, with multi-instrumentalists Janneke Nijhuijs and Wieger Hoogendorp joining them to create a musical four-piece, MEGA WEGA was born. Over the course of four weeks, the quartet embarked on an almost continuous creative session punctuated only by impromptu parties and mixing sessions. Life-long bonds were made and over 70 tracks recorded before the mundanity of day-to-day life came calling.

For one reason or another, the project never saw the light of day, with tracks sat gathering dust on hard drives for the best part of a decade. During the madness and loneliness of the COVID-19 pandemic, Trago rediscovered the tracks. Delighted by what he heard, a collective decision was made to add finishing touches and release the resultant album on van Lummel’s PIP Records imprint. Further instruments and vocals were added over two days at Hoogendorp’s studio, before mutual friend Tom Ruig got on board to mix the album.

So, what can you expect from Haunted, Mega Wega’s debut album? First and foremost, it’s the sound of pure creative expression – the distillation of a freewheeling, no-holds-barred, spontaneous musical journey variously inspired by the do-it-yourself ethos of musical counterculture, shared inspirations and influences, epic jam sessions, distant stars (Wega, sometimes known as Fidis or ‘the harp star’, is one of the brightest in the night sky), imaginary journeys across dusty deserts, and the comradeship of four new friends.

Enchanting and alluring, it’s an album that gleefully denies lazy categorization and ploughs its own eclectic, atmospheric musical furrow in vivid sonic detail. It’s a collective exploration of heady musical eclecticism unified by saucer-eyed vocals, low-slung bass, loose-limbed beats, sweaty percussion workouts and hazy electric piano motifs.

Haunted begins with the woozy and hallucinatory slow-burn soundscape of ‘Get Things Done’ – an effects laden shuffle akin to lying flat on your back tripping under an intense desert sun – and ends with the creepy, mind-mangling post-punk funk of ‘Brain Carpaccio’; in between, you’ll find spaced-out, low-tempo lo-fi soul (‘Move Around’, ‘Haunted’), tactile synth-powered boogie revivalism (‘Make Me Work’), deep and off-kilter opioid jazz (‘Copenhagen’), intoxicating psychedelia (‘Last Night on Earth’), piano-laden dream-pop epics (‘Shake Or Fall’), and Latin-infused, percussion-powered hedonism (‘Chopping Heads’).

Born out of spontaneous collaboration and immersive, almost endless recording sessions, Haunted is an album shot through with imagination and boundless energy, captured for posterity by four friends and collaborators at the top of their game.

Downtempo techno stars The Connection Machine return with stunning re-release, featuring unreleased tracks and Legowelt remix of classic Echoes From Tau Ceti.

Four years after the re-release of their debut The Dream Tec Album on U-TRAX, the Dutch downtempo techno duo The Connection Machine returns with a second highly anticipated re-release. BlackHole+ contains remastered versions of most of the tracks on their original The Black Hole EP, released on U-TRAX in 1995, plus five tracks from their highly sought-after EPs on Tabernacle Records: Lost Connection and Lost Machine (with electro outfit Lost Trax on the flipside).

The original Black Hole EP had black labels and all details of the release were added as a computer-spoken track on the b-side. For this re-release, this track was removed and a Legowelt remix was added of the still immensely popular track Echoes From Tau Ceti.

The CD, cassette and digital versions will bring even more goodness in the form of two brand new tracks (Theorems, Theorems and Together), bringing the total number of tracks to eleven. As usual with U-TRAX releases, the cassette version boast yet another previously unreleased bonus track, Thinking Machine 23, plus the original 13 minute version of 8 Minutes.

Olo Yegussa presents its first release with a record that comes from a
distant tribal exploration. Through four long tracks, a mystical
atmosphere arises. Semifull Soft presents us a unique universe tinged
with the spirit’s voice that has enchanted his nights. Composed
between Lyon and Reunion Island, “Tribe Corridor” is a sensitive blend of sounds resonating between bewitching dub, electronica and a radically slow, travelling trance. A universal eclecticism that will
immerse every listener in a world oscillating between sensitivity and
brutality. the Olofones’s kingdom : “The slow and rigorous walk that
embraces all the Olofones through rivers, plateaux and mountains in
search of dreamlike destination. A few beings close off the line, far
behind, it would seem like they are the most talkative and curious.
They are always the ones found at the back. While some are looking at
the horizon and remain far ahead, others have their glance towards the crests . A complementarity that can only be created through time, just like a meticulus plait weaving several souls. A daily ritual gives rhythm to this eternal trip. The first to arrive raises a flame, « la phorie », each place will reveal its particularity, its curve, its elegance. Still in our days, she allows our « Pas Latents » to find back the path in the heart of this wide mountain corridor, with its delicate relief. We can hear on both sides the adjacents forests, their steps and their songs resonating.
Upon their arrival, the recognition is a custom for this brief instant, in
constant development. The Lanterns are the first explorators. They
build a moving background, looking after a neutric zone for the night.
Time metamorphoses. And it is now the moment for « Les Pas Latents
» to share tales and stories taken for their own adventures. Their
voices rise up , the stars shine, the earth trembles of strange
sensations. A common vibration. The souls intertwine, the «
chaosmose » operes. Sometimes the « âmoniale » wave curves and
gets linked around the central heat, luminescence and clarity. A few
words escape from the rhythm and leave slumber and reverie take
control of the spirits.”

Mella Dee Presents RYAN, a new project from one of the UK’s most prolific electronic producers. Exploring a darker, experimental side of the mastermind behind ‘Techno Disco Tool’, the new project sees RYAN take things underground with new track ‘Static Movement’. Alongside the track, RYAN has announced his forthcoming EP Connected Experiences, a 4-track collection of essential club tools due for release on August 11 via DJ and Body Movements co-founder Saoirse’s imprint trUst. The landmark release will be the first time the label head has featured another artist's music and is testament to the direction of Mella Dee’s new musical project, RYAN.

Already doing damage in the club circuit with support from the likes of Ben UFO, Shanti Celeste, Midland and more, ‘Static Movement’ sees RYAN. go back to basics with a drum machine and analog synths, ending with an infinite groove. Speaking on the track, RYAN. explains: “Trust the process. My name is RYAN. This is a collection of music I wrote for the purpose of dancing. Those moments we can all get lost together and connect through experience. trUst is a label built on love and connection. I just want to thank Saoirse for the trust she has shown and the love she gives.”

Label boss Saoirse adds: “This is the first time I've invited another artist to release on trUst and I'm so delighted it's from my close friend the absolute don from Doncaster - Mella Dee. Tracks I've been playing in every set over the past year with Static Movement being one of my most ID'd tunes ever. Once I heard it I knew this had to be the first track released on the label from someone else. Ryan is one of the best producers I know, completely and wholly committed to the dancefloor and I'm thrilled I will be releasing the first of his new project under 'Ryan'. I had complete trust in him to deliver a solid EP.”

Real name Ryan Aitchison, Mella Dee reached international notoriety with his anthemic 2017 single ‘Techno Disco Tool’, reaching number 1 in BBC Radio 1’s Dance Music Chart as well as one of Annie Mac’s ‘Tracks of the Decade’ (and was even played during her final show on Radio 1). A year later, the Warehouse Music label head won ‘Best Breakthrough Label’ at the DJ Mag ‘Best of British’ awards and he was also named one of Mixmag’s ‘Stars of the Year’, cementing himself as one of the most sought after names in dance music. Since then Mella Dee has delivered his debut Essential Mix for the legendary BBC Radio 1 series, curated a mix for Resident Advisor’s prestigious Podcast series, performed a debut Boiler Room set to rapturous acclaim, toured North America multiple times and joined the elusive Circoloco family for a summer of shows at DC10 and their momentous festival in Thailand. Ryan has also curated tours for his own Warehouse Music label, taking over illustrious venues all over Europe including his hometown at the infamous Doncaster Warehouse.

This is the second time out for the Wormholes on AllChival following on from their You Never See the Stars When it Rains anthology release. This one is a previously unreleased album recorded in a concise burst of seven nights in Dublin’s Sun Studios in the spring of 1996. It was originally envisaged as being The Wormholes’ second album, the follow up to their 1994 debut Chicks Dig Scars. Unfortunately the end result of the sessions - Parijuana - would not only be ignored by their label of the time (Roadrunner Records) - but would also just as quickly be dismissed by the band themselves.

Eamonn Crudden, the manager of the band, had manged to extract some money from Roadrunner to record demos of new tracks as soon as the release cycle for their debut was over. The budget was so tight that it covered studio time but was not even enough to buy the master tapes. With things going south with the label – a classic 90’s tale of the A&R man who championed their cause heading off elsewhere the minute they signed - the intention was to go in and aim to record an album rather than demos - with the intention of releasing it on another independent label to keep the momentum around the band going.

However by this stage the Wormholes were totally wrapped up in listening to Can, Faust and generally exploring music based on casual recording, improvisations and extemporization. For them the album was too ‘rock’ and – having been dropped by Roadrunner - they no longer felt under any obligation to release it. To them it was time for a fresh start. Their next recordings would not be ‘for’ anyone but themselves. Today bassist Anto Carroll admits that “at times we were our own worst enemies” and with the benefit of hindsight both he and guitarist Graham Blackmore wish they had gone ahead and released this album at the time. However, back then, they thought they could do better and they did go on to make inventive and unique sounding versions of some of these songs with Stan Erraught producing just a short time later. These recordings were eventually released by Dead Elvis in 1999 - along with a couple of ‘adjusted’ tracks from the Sun Studios sessions - on Parijuana: 4 Years in Captivity.

It’s highly unlikely that listeners today will share the band’s view that the abum was too ‘clean’. This version of Parijuana is dirty, raw, messy with plenty of experimentation and extemporisation. The songwriting is as strong as that on their Chicks Dig Scars debut. The music is played with a new confidence and swagger, very much the sound of a band rooted in a wave of US ‘lo-fi’ finding their own sound. It’s the missing link between their conventional Pavement/Sebadoh influenced debut to the more drawn out, free roaming and extemporised second album proper Scorpio The Album.

Ed Sheeran’s brand-new album Autumn Variations will be available for pre-order on the 24th August at 5pm before a worldwide release on the 29th September. It will be available to stream on all platforms as well as purchase physically as a CD or various limited Vinyl editions.

Ed Sheeran is an era-defining artist who has sold over 52 million albums and 150 million singles across the world. Through his fusion of thought-provoking songwriting, universal pop and multi-genre influence, his rich tapestry is not only perfectly suited to his audience but it’s something that transcends generations.

Since surfacing on the UK circuit in 2010 with his ‘No.5 Collaborations Project’ – an eight-track EP featuring his favourite grime artists of the time – the Suffolk-raised recording artist has resonated with fans across the world through his peerless songcraft and versatility. And now, with six consecutive UK No.1 albums to his name – ‘+’ (2011), ‘x’ (2014), ‘÷’ (2017), ‘No.6 Collaborations Project’ (2019), ‘=’ (2021) and ‘-‘ (2023) – Sheeran continues to reaffirm his status as one of the most in-demand pop stars on the planet.

Prior to the release of ‘=’ (October 2021) – an album that’s now surpassed five million global sales - Sheeran secured two UK No.1 singles in the UK with ‘Bad Habits’ and ‘Shivers’, which sat atop the UK’s Official Singles Chart for a combined total of 15 weeks. Moreover, the LP saw him take home 2 x EMA’s for ‘Best Artist’ and ‘Best Song’; an American Music Award for ‘Favourite Male Pop Artist’; British GQ’s ‘Solo Artist of the Year’; 4 x Los40 Awards; a BRIT Award for ‘Songwriter of the Year’ alongside a nomination for ‘Song of the Year’ at the 2022 GRAMMY’s.

Sheeran’s most recent album, Subtract, secured Ed his sixth No.1 album. Produced by Aaron Dessner, the album was anchored in his love of singer/songwriter compositions and written against a backdrop of personal grief and hope. Ed’s most critically-acclaimed album to date, it housed the heart wrenching UK No.1 single ‘Eyes Closed’ – a song about his late friend, Jamal Edwards.

But it’s not just his recorded music that’s seen the former Glastonbury headliner become one of the sought-after artists of the 21st century. Possessing a mystical ability to turn 90,000 capacity venues into the pub back-rooms that he first started playing in, Ed made history in 2015 after becoming the first-ever artist to play Wembley Stadium solo - without a band, just with his guitar and loop pedal - over three, consecutive sold out nights. Move forward to the summer of 2019 and Ed would re-enter history books after the completion of his mammoth two-year Divide tour, officially becoming the most-attended tour of all time after it culminated with special homecoming shows in Ipswich, Suffolk. Beginning last summer, Ed is currently travelling the world on his ‘+ - = ÷ x Tour’ (pronounced ‘The Mathematics Tour’), which saw him return to Wembley Stadium for a five-night run last June.

Ed Sheeran, who was awarded an MBE for his services to music and charity in 2017, is the proud recipient of 1 x IFPI Award (best-selling global artist of 2017); 4 x Grammys; 4 x Ivor Novello’s; 7 x BRIT Awards (including two consecutive wins for ‘Global Success’ in 2018 and 2019); 7 x Billboard Awards + more. Moreover, to this day, his blockbusting third studio album ‘÷’ remains the fastest-selling album, ever, by a male artist in the UK, while the LP’s lead single, ‘Shape of You’, maintains its status as the most-streamed song in Spotify’s history.

At the end of 2019, Sheeran was presented with the Official Chart Company’s first-ever ‘No.1 Artist of the Decade’ award following a host of accomplishments in his native UK including the most No.1’s across the UK’s Official Singles and Albums chart from the years 2010-2019. Most recently, Ed scored two more feats with the OCC after becoming the first British Solo Artist to claim 52 weeks – an entire year – at No.1 on the Official UK Singles Chart, with only Elvis Presley and The Beatles achieving more overall weeks at the top, as well as becoming the first-ever artist with four albums spending an entire year or more in the UK Top 10.

Discover the emblematic first album of the Africanism All Stars collective led by Bob Sinclar and featuring, among others, Matin Solveig,DJ Gregory,Lego and Eddie Amador... Includes the hits : " Tourment d"Amour ", " Block Party " and " Edony (Clap Your Hands

David Byrne & Fatboy Slim’s acclaimed 2010 album Here Lies Love receives its first-ever vinyl release to coincide with a new production opening on Broadway this summer. Here Lies Love is a double-disc song cycle – improbably poignant, decidedly surreal, surprisingly thought provoking – about the rise and fall of the Philippines' notorious Imelda Marcos. It was conceived by David Byrne; composed by Byrne and DJ/recording artist Fatboy Slim, AKA Norman Cook; and performed by a dream cast drawn from the worlds of indie rock, alt country, R&B and pop. Byrne's taste in collaborators is as imaginative as it is impeccable, including Cyndi Lauper (who recounts, to lighthearted disco beats, Imelda's courtship with Ferdinand Marcos), Steve Earle (as the power-hungry Ferdinand), Dap-Kings vocalist Sharon Jones (recalling Imelda's introduction into New York society) and Natalie Merchant (as spurned Imelda confidante Estrella, anticipating the onset of martial law). Along with vocals turns from such stars as Tori Amos and the B-52's Kate Pierson, Byrne works with rising indie rockers St. Vincent and My Brightest Diamond; New York chanteuses Nellie McKay and Martha Wainwright; and dance-music divas Róisín Murphy and Santigold. Byrne himself appears as the voice of imperialistic America on ‘American Troglodyte’, a send-up that wouldn't have seemed out of places in Talking Heads' True Stories.



Byrne originally envisioned this as a musical theatre piece, to be mounted in disco and nightclub settings, reflecting the globe-trotting Marcos' taste for such velvet-roped spots as Studio 54 and Regine's. In 2006, he performed work-in-progress versions to enthusiastic audiences at New York City's Carnegie Hall and the Adelaide Festival in Australia. While plans for a US theatrical production continued to evolve, he delivered this unique recording. The award-winning theatrical production eventually premiered at The Public Theater in New York in 2013, travelled to London’s National Theater for a sold-out run (2014–15), and was remounted at the Seattle Repertory Theater (2017).



Here Lies Love has an effervescent disco feel, redolent of Fatboy Slim's own dance-floor anthems, with warm undercurrents of the Latin rhythms that have percolated through Byrne's recent solo work. The sunny arrangements act in counterpoint to the reality of the Marcos' increasingly repressive regime, reflecting the imagined inner life of the glamour-obsessed Imelda. Explains Byrne, "For me, the darker side of the excesses are, for the most part, a matter of record. A lot of the audience is going to come with that knowledge already. What's more of a challenge is to get inside the head of the person who was behind all of that, and understand what made them tick." Byrne offers no judgment and avoids the obvious – there is no mention of Imelda's infamous shoe collection.



Many of Byrne's lyrics are, astonishingly enough, constructed from actual Imelda quotes, including the project's title, the words that Imelda, now returned to the Philippines from US-assisted exile in Hawaii, would like to have inscribed on her gravestone. In addition to his new liner note, Byrne illustrates the story with archival photos. In a detailed preface, he reveals what drew him to this subject and the bumpy route he took to launch the project and, ultimately, record this album. The booklet is indeed a page-turner, just as Here Lies Love is a wonderfully old-school album that rewards start-to-finish listening. Once again, Byrne – beloved as musician, thinker and bicyclist-about-town – reveals the breadth and singularity of his vision.



The new production of Here Lies Love will premiere at the Broadway Theatre in New York City. Performances begin June 17, ahead of an official opening night on July 20. Tony Award winner Alex Timbers (direction) and Olivier Award nominee Annie-B Parson (choreography) reunite with Byrne (concept, music, and lyrics) and Fatboy Slim (music) to bring Here Lies Love to Broadway, continuing a ten-plus year collaboration on the project. Tom Gandey and J Pardo contribute additional music. Here Lies Love is produced on Broadway by Hal Luftig, Patrick Catullo, Diana DiMenna for Plate Spinner Productions, Clint Ramos, and Jose Antonio Vargas. The staging at the Broadway Theatre will transform the venue’s traditional proscenium floor space into a dance club environment, where audiences will stand and move with the actors. A wide variety of standing and seating options will be available throughout the theatre’s reconstructed space. The producers of Here Lies Love said, “As a team of binational American producers – Filipinos among us – we are thrilled to bring Here Lies Love to Broadway! We welcome everyone to experience this singularly exuberant piece of theatre. The history of the Philippines is inseparable from the history of the United States, and as both evolve, we cannot think of a more appropriate time to stage this show. See you on the dance floor!”



David Byrne’s recent works include the launch of Reasons to be Cheerful, an online magazine focused on solutions-oriented stories about problems being solved all over the world (2019); Joan of Arc: Into the Fire, a theatrical exploration of the historical heroine that premiered at the Public Theater in New York (2017); The Institute Presents: NEUROSOCIETY, a series of interactive environments created in conjunction with PACE Arts + Technology that question human perception and bias (2016); Contemporary Color, an event inspired by the American folk tradition of color guard and performed at Brooklyn’s Barclays Center and Toronto’s Air Canada Centre (2015); Here Lies Love; Love This Giant, a studio album and worldwide tour created with St. Vincent (2012); and How Music Works, a book about the history, experience, and social aspects of music (2012).



Byrne curated Southbank Centre’s annual Meltdown festival in London in 2015. A co-founder of the group Talking Heads (1976–88), he has released eight studio albums as a solo artist and worked on multiple other projects, including collaborations with Brian Eno, Twyla Tharp, Robert Wilson, and Jonathan Demme, among others. He also founded the highly respected record label Luaka Bop. Recognition of Byrne’s various works include Obies, Drama Desk, Lortel, and Evening Standard awards for Here Lies Love; an Oscar, Grammy, and Golden Globe for the soundtrack to Bernardo Bertolucci’s The Last Emperor; and induction into the Rock and Roll Hall of Fame with Talking Heads. Byrne’s work as a visual artist has been published and exhibited since his college days, including photography, filmmaking, and writing. He lives in New York City. In addition to 2019’s cast album for American Utopia on Broadway, Nonesuch has released eight other David Byrne records since 2003, including 2018’s American Utopia studio album and two versions of his musical Here Lies Love.



















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