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Multi-dimensional future-jazz outfit JK GROUP release a new EP, Rising on La Sape Records. The brainchild of award-winning saxophonist, Joshua Kelly (30/70 collective, PBS Young Elder of Jazz 2019), the band returns to the label with a follow up EP to the mind-bending 2021 release, What's Real?

Where What's Real? served as a platform for wild experimentation, Rising returns to a more considered and familiar format for the band, offering up 4 cohesive tracks that are deep in conception and expression, at once original and fresh. Conceived after recording an as yet unreleased body of work written whilst undergoing chemotherapy, Rising celebrates bandleader Josh's survival and eventual recovery from the intense treatment he received for lymphoma in 2020.

The band stays true to their honed format of jazz traditions melding with influences from electronica and beyond. Like the first release, The Young Ones, Rising sits comfortably in the crossover of raw, live jazz and electronic dance music, whilst also throwing an unexpected curveball to the listener expanding the palate of the bands sound to a pigment never before heard in their music. The EP takes you on an emotional journey throughout the four tracks, best listened to start-to-finish.

We have a very special new artist for you from Berlin. Dutch native Pete Bandit relocated to Berlin some years ago where we first met in 2018 when he was part of the “Times Are Ruff” collective. They contributed a track on Dirt Crew for our “Deep Love 2018” compilation.
Now recently going solo he developed his sound even more towards Detroit-ish house with dabs of techno and a bit of high tech jazz in there as well. This debut EP offers Loads of deep soulful grooves, spiritual “computer” music at it’s best!

The A-side “Wild Feelings” is such a beautiful opener to this record, with it’s lush spread out intro it paves the way with that perfect mood for what is to come, a mix of soul, funk and electronics and overall well crafted deepness. The keys on this one were contributed by the mysterious “Nelson of the East” topped with vocals by Pete himself. “It’s Happening Again” continues the story with soulful deep house textures and this one especially reminds us a lot of those early 90s Chicago/ New York House gems, the track is building towards a great breakdown key change and with its atmospheric strings and pads it’s a truly uplifting “Good Times” tune.

On the flip we have “Computer’s Creativity”. This track picks up the pace and is centered around a funky, almost slap like, bass line. Here again topped by a vocal add of Pete about “Computer’s Creativity” and with it’s cool break this one will also be a sure floor filler, guaranteed! The closing track on this record is the driving “Luv Your Body”, great percussion guides us through a loose set arrangement and make this one a perfect late hours or early mornings tune in any mix, it could go on forever!


All tracks have been mixed by Ariel Schlichter in Berlin and mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

We join the rest of the world to mourn the passing of Coolio and our
hearts go out to his family, friends, fans, and loved ones - Coolio was a ground-breaking rap icon who made an indelible mark on music, entertainment, and culture.

He leaves behind a legacy of music and art that will live on and continue to inspire for generations to come.
The 3rd studio album by Coolio, "My Soul" celebrates its 25th anniversary this year, which was initially released on August 26, 1997. "C U When U Get There: (feat. 40 Thevz, the first single from the album was featured on the soundtrack to the 1997 comedy film "Nothing to Lose." The song peaked at #12 on the US Billboard Hot 100 singles chart and #7 on the Billboard Hot Rap Tracks chart. It was also an internation success reaching the top 10 in many countries throughtout Europe.

AN INCREDIBLE LOOKING PICTURE DISC WHICH SOUNDS AS GOOD AS IT LOOKS!

Following up on the runaway success of his recent vinyl album ‘Return of The Hitman’, Marvellous Cain is back again with an eye-catching slice of vinyl adorned with perhaps the most iconic
illustration of Marv that’s ever been created!

The ‘Jungle Funk EP’ comes hot off the press, kickin off with maybe the funkiest drum and bass track of the year? ‘Love Train’ has had so much support since its promo this summer, perfect vibes
on a huge outdoor sound system. Razor sharp drumbeats underpin the soulful melodies which in turn compliment the funky bass guitar riff that are guaranteed to get you in the mood to party!

On hearing ‘Love Train’ for the first time, the insanely talented Brazilian turntable wizard DJ Marky was instantly smitten and offered to add to the release on remix duties!! So of course, we let him!!

DJ Marky seasons the track with favela flavours and adds a speaker shaking bass which will get you bumping, grinding & calling for the reload until the very last bars.

On the flip side of this gorgeous picture disc, Marvellous Cain offers up two more Drum & Bass / Jungle cuts. ‘Buss Ah Blank’ fuses modern dancefloor bass sounds with 70’s soul, a track that has been a favourite with the likes of Nicky Blackmarket, Charlotte Devaney & did serious damage when Marvellous Cain played it at Notting Hill Carnival on the mighty Rampage Soundsystem.

Finally ‘Funky To Night’ comes with a load more bass guitar licks… There’s a reason this is called the ‘Jungle Funk EP’!

All the tracks on this picture disc have receive support in clubs, and on the airwaves from the likes of Rampage & Heartless Crew. Also if you’ve seen Marvellous Cain’s social media pages then you will understand the lengths this man goes to in order to get his music heard… This will be one of the most entertaining promotional campaigns you’ve ever witnessed!!

Felix Laband’s The Soft White Hand is the masterwork of an artist who expresses himself through musical and artistic collage acting together to reinterpret his sources and to express significant elements of his own personal story.

Released by Munich-based Compost Records, the 14-track album is Laband’s first full-length offering since the critically acclaimed Deaf Safari in 2015. It is heralded by the single “Derek and Me”, and is being pressed on vinyl for distribution globally.

In The Soft White Hand Laband works with source materials that will be familiar to those who know his previous four records – Thin Shoes in June (2001), 4/4 Down the Stairs (2002), Dark Days Exit (2005) and especially Deaf Safari which reached deep into the South Africa scene and its political culture to inspire its vocal and music sampling. However, the disengagement he felt from his homeland during his latest album’s creation – an abiding sense of untethered-ness to place and space, exquisitely rendered in tracks like “Death of a Migrant” – is perceptible in Laband’s desire to illuminate instead aspects of his own life.

“For this album, my source material became almost autobiographical as opposed to African statements I’ve worked with previously,” says the artist. “I have sampled a lot from documentaries from the 80s crack epidemic in impoverished African American communities and believe my work speaks unapologetically for the lost and marginalised, for those who are the forgotten casualties of the war on drugs. In the past, I have had my issues with substance abuse, and I know first-hand about the nightmares and fears, what it feels like to be isolated and abandoned.”

Few artists have managed to air these intimate aspects of their life so luminously as Laband does in tracks like “5 Seconds Ago”, “They Call Me Shorty” and in the strange and meditative “Dreams of Loneliness”. “I’ve been building this weird, autobiographical story using other people talking. It’s kind of humorous but it is also sad and beautiful,” says Laband.

Yet, as in all of Laband’s recorded output, the delineations between emotions are never starkly drawn and The Soft White Hand is also shot through with beauty. Nature appears in recordings made in his garden in the intimate early morning hours, whether as in the calls of the Hadada Ibis and other birdsong in “Prelude” or of the vertical-tail-cocking bird in “Derek and Me”. The last is a wonderful track with Derek Gripper, the South African experimental classical guitarist of international renown, whose 2020 song “Fanta and Felix” imagines a meeting between Fanta Sacko and Laband.

Laband’s eloquence in reinterpreting classical composers such as Beethoven in “We Know Major Tom’s a Junkie” is another thrilling aspect of the new record. “I’ve been properly exploring classical music on this album,” explains Laband, “taking melodies from classical compositions and reinterpreting them”. A fresh quality comes to his work through this sonic adventuring: the tender manipulation of the mundaneness of the computer’s AI voice to reimagine and reinvent iconic lyrics and melodies in strange and unexpected configurations.

The Soft White Hand is Laband’s most cohesive body of work to date. Yet it remains, in its sheer artistic scope, impossible to describe fully. Darkness abuts the gossamer light. A song that summons the sunrise and all the hope of a new day could also be about the final dipping down of the sun that portends a troubled night ahead. Interludes are invitations to expand outwards or shift inwards. Mistakes and “weird fuckups” in the sound are cherished as convincing statements against what Laband calls the “grossness” of perfect sound in modern music.

For this world-leading electronic artist, the boundaries are unfixed. He is inspired by the German Dada artist, Hannah Höch, who memorably declared: “I wish to blur the firm boundaries which we self-certain people tend to delineate around all we can achieve.” His music consequently reflects a primal artistic impulse that is also visible in Laband’s considerable visual art output as seen recently in several solo exhibitions such as that held in the No End Gallery in Johannesburg in 2019 and in the works he produced during his 2018 Nirox Foundation Artists Residency. “My music is always about collage, as is my art,’’ he affirms. “Everything I do is collage. It is a medium I find very interesting because you are taking history and distorting it and changing its meaning and turning it upside down and back to front.” In her book Recollections of My Non-Existence, Rebecca Solnit calls collage “literally a border art”; it is “an art of what happens when two things confront each other or spill onto each other”.

With The Soft White Hand, Laband is confirming his singular ability to achieve this in both art and music, melting the divisions between the two creative disciplines until they become one. He is also affirming his belief that an album of music should be more than a collection of unrelated tracks, but should unfold a fully integrated, cohesive story as in the song cycles of the great classical composers. In doing so, he claims his position as one of the most significant artists working today.

Artist Statement – Felix Laband – August 2022

When the Khmer Rouge took their captives for processing, they identified their class enemies by looking at their hands. If they were sunburned, rough and calloused, they were those of a peasant, a proletarian to be spared. But if they were soft and white, then they were those of a city-dweller, an intellectual or bourgeois, an adversary to be liquidated.

In calling this album The Soft White Hand, I was reflecting on the Cambodian genocide and how it resonates in contemporary South Africa. The apartheid era is over, and gone with it is white political domination. Yet economic and social privilege is still held in soft white hands. But those who grasp it know just how tenuous is their hold, how it singles them out, and my music reflects their subconscious fears, the stress and guilt of clinging on to what others envy and desire.

The soft white hand of the title suggests to me a further image, one that relates to all of postcolonial Africa. In my mind’s eye, I see the soft, duplicitous handshake of the smooth representatives of the superpowers making deals and promising gifts that benefit only them, and not their African dupes.
Yet, soaring above the wailing of sirens sampled from the first day of the invasion of Ukraine, my music is also about love gained and passion lost. It is about the tender caress of a soft white hand that conducts you into a place of dreams to be enfolded by nocturnal melodies.

Green Vinyl

Föllakzoid are nearly unparalleled in the hypnotic lysergic drenched neo-psychedelic experience. On their debut it is mostly a rather bulky one, determined by the downright dirty, distorted electric guitar, which is also usually accompanied by a spacey, howling and herbaceous howling one. In addition, there is fat bass and powerful drums. During the prolific post-napster musical era dominated by myspace, the Chilean musical field opened up so that many bands could broaden their creative spectrum by taking global and timeless references as an aesthetic holy grail. This experimentation had the internet and specialized forums as a search engine, which not only provided the world parameters in trends, but also allowed to find true hidden gems, bands that were adored by a few connoisseurs of the real quality left behind by the record labels. In this context, a group of university students who have known each other from school began to rehearse in the Caracol Vip underground (Santiago, Chile), in a room owned by a local heavy-metal legend, Juanzer. Equipped with tube amplifiers, Marshall and other custom made, the members of that time: Gonzalo Laguna on vocals, Juan Pablo Rodriguez on bass, Domingo García-Huidobro on guitar, Diego Lorca on drums and Francisco Zenteno on second guitar, they began to play endless jams without a strict sense of songs or directed compositional notion. The rule was to follow the noise in a journey through valleys and peaks that allowed the spontaneous appearance of textures, lyrics, phrases and some invented chords that did not resemble anything that had been heard at that time. The rehearsals were transformed into true live performances without an audience, which were only seen by a few curious, among alcohol, smoke and deafening noise, which could only end when the owner of the room (Juanzer) entered to turn off the equipment. Over time he himself stayed as an auditor, witnessing how the musicians stripped themselves in their rehearsals. Considered at that time as play or fun, the idea of forming a band with a name came with the real live performances to which they were invited, without yet having songs made, at the end of 2006. The myth of their first live performance alludes to a numerical superstition, on July 7, 2007, in a small bar in Providencia (Santiago), which also provided the band with an upward recognition for the psychedelic-punk music they were doing, with a voracious vocalist who destroyed everything on stage and a band that stood firm on the endless songs they built. The name that was invented for that occasion was the result of a nonsense about the German word feuerzeug brought to the group by their close friend Alfredo Thiermann (who would later make the cover of the first album and become keyboardist), which the members of that time took and Spanishized at will. This neologism represents the second founding myth of the band since the interest in bands like Can, Neu! and AMON DUUL II and the characteristic motorik rhythm would soon arrive, in the form of kosmische musik. By 2008 the band had already added several live performances and some songs appeared, among which were Directo al Sol and Loop (nod to the English band), which allowed a greater deployment of ambient-noise resources, almost close to the 'concrete' music. The deconstructed rock of Spacemen 3 was also present in the form of repeated sequences on the bass and drums, as the layers of shrill guitars formed the foam of the tide bursting in the darkness of space. With the ideas and general feeling of the sound that they already had, the band made the decision to record their first album with the sound engineer and Juan Pablo's brother, Ignacio 'Nes' Rodríguez, who later together with JP would form the BYM label to make the first CDs of the forthcoming debut of Föllakzoid and other bands that Nes was recording. Sheltered that winter in the studio that Nes had built in an old house in Recoleta, the band recorded the bulk of the songs on the album with a new jam that emerged in that room composed of 1 note and moments of rising intensity: Sky Input I and II appeared to complete a set of songs that came from rock but were slowly passing to a level of trance and cacophony typical of orchestrated and atonal music. With three takes per song but only one take of the jam, the album was finished with a few extra takes and overdubs, some made in the house of Nes himself, who contributed a guitar to Loop, although it does not appear in the credits, and additional takes of "Pelao" Zenteno with delay and reverse for almost all songs. The names of the songs came from the lyrics that Laguna had worked from the live versions to the studio finals, except for Loop, Sky Input and El Humo. The cover of the album, which as mentioned was made by Thiermann, represents well the spirit of those days, when creative magma looked for an outlet through the instruments without any restriction or explicit direction from any of the members of the group. The image of the tree towards the sky speaks of the roots that rise towards the immensity, the nature projected towards the stratosphere. Ideas that the neo-psychedelia of those years seemed to capture well, echoing in the Chilean bands that at that time were gathering around the BYM label. Both the creative fluency and the lack of a musical director ensured that Föllakzoid was an original band that did not impose themselves a way of doing things or sounding, collective music took shape in the most wonderful way, without characters, without a record name, without faces. Just an instant in space. 2022 GALAXY GREEN coloured vinyl

Berlin electronic duo Donna Regina recorded two songs for the 10th edition of the Snowflakes Christmas Singles Club. In ‘Weihnachten Woanders’ (‘Christmas Somewhere Else’), singer Regina Janssen reflects on how it feels to spend Christmas away from home. Somewhere else, in a strange town where nobody knows your name and no one is waiting for you. You miss the familiar sounds of Christmas, like the child that sings ‘Stille Nacht’ and you dream of being home again. It’s a feeling many people can relate to. Especially this year, a year in which so many people were forced to flee from their homes. Günter Janssen, the other half of Donna Regina and Regina’s husband, lays down a minimalistic tapestry of synths and drum rolls. A loop of street sounds, a sample taken from sound artist Paula Schopf’s 2021 album ‘Especios En Soledad’, forces its way into the song, and in the end overpowers voice and other instruments. ‘Weihnachten Woanders’ very much captures the year 2022 and the worrying times we are living in, in both lyrics and music.

‘Christmas With You’, the B-side of the single, was originally written and recorded by Polish indie band Old Time Radio for their 2009 Christmas album 'Sketches For Another Christmas Songbook'. Donna Regina again goes for a minimalistic electronic sound, but also adds a certain melancholy to the song. Partly due to the synths that in places resemble the sound of an organ, an instrument that appeared on so many Christmas recordings from the 1950s and early 1960s. The love-hate relationship many people have with Christmas is perfectly laid down in the lyrics: “We watch the cartoons / We sing out of tune / Kiss by the fireplace / Listen to those horrible songs / Do we know / It’s Christmas time at all?”.

Regina and Donna Janssen debuted as Donna Regina in 1990 with the single 'Avec Le Temps' and released their debut album 'Lazing Away' in 1992 on Our Choice, a German sublabel of Rough Trade. In 1999, after four albums on Strange Ways Records, they signed to their current label Karaoke Kalk. Since then, they have released eight albums for the label. In 2015, Karaoke Kalk also released 'Dis Cover', a compilation of Donna Regina songs recorded by other artists like Dean & Britta, Bernard Burgalat, Mouse On Mars and many others. Donna Regina’s songs have been featured on compilations of labels like Rough Trade, Sonar Kollektiv, Klant Elektronik, Milan and Rolling Stone. Donna Regina was not Günther’s first band. In the early 1980s he was part of a Neue Deutsche Welle act with a very Christmas-related name: Heilige 3 Köninge ('Holy 3 Kings'). Their sole album, 1982's 'Zum Teufel Met Dem Kamel' has become very collectable. Günther was also featured as songwriter and musician on German singer Romie Singh's 1986 CBS album 'Masters' and later ventured into writing music for television and film. Regina Janssen also recorded as a vocalist with French musician Bertrand Burgalat, and sang several songs on his 2005 album ‘Portrait-Robot”.

The period of 1967 – 1968 when Rocksteady was in full flow, would also be a turning point for Bunny ‘Striker’ Lee, when he became a producer in his own right. Many of the great tunes during this eventful year came out of his stable and initially saw the light of day on his own imprint label ‘Lee’s’. This album has been assembled from some of those fine tunes and tells the story of reggae in what was a stellar time for both reggae and Mr Bunny Lee.

Edward ‘Bunny’ Lee later to become known as ‘Striker’ (b.23rd August 1941) got his introduction to the music business around 1962 when his future brother in law singer Derrick Morgan introduced Bunny to producer Duke Reid, who gave him a job as record plugger for his Treasure Isle label. 1966 saw Bunny Lee move on to working for producer Ken Lack who ran his own label Caltone. Bunny’s first credit as a producer was released on the label when he produced ‘Lloyd Jackson and the Groovers’ with a tune called ‘Listen To The Music’.

As we stated earlier by 1967 Bunny Lee was leading the way and his vast stable of singers, were producing hit after hit for him. Many of those artists are featured on this compilation. The Sensations ‘Long Time Me No See You Girl’, the Uniques that featured the great Slim Smith are here on some of their greatest cuts ‘Love and Devotion’ and ‘The Beatitude’, ‘Girls Like Dirt’. ‘My Conversation’ a song that would be a big hit for the Uniques would also go on to be of the most covered songs and redone over rhythms, in the history of reggae music. The great singer Pat Kelly features on ‘Somebody’s Baby’ and ‘Little Boy Blue’ all massive hits, when originally released. Bunny’s love of Jazz and the brass sections would also shine through with some of Jamaica’s finest musicians featured here with the excellent tenor sax work of Val Bennett which gave us our album title track ‘Jumping With Mr Lee’ and ‘Jumping With Val’. The Alto sax work of Lester Sterling are featured on the timeless cut ‘Bangerang’ and ‘Tribute To Scratch’. The big sound of Trombonist ‘Vin Gordon’ features on ‘Sounds and Soul’. Not forgetting the previously mentioned King of Ska Derrick Morgan on ‘Hold Your Jack’. A song that in a few years’ time would provide the backbone for Mr Max Romeo’s cross over and controversial hit ‘Wet Dream’. So yes, a fine collection of tracks from the great producer Bunny ‘Striker’ Lee. Sit back and enjoy the reggae music of 1967-1968 with of the best sounds in town.Sit back and enjoy…..

Sunking is the experimental sights and sounds of Seattle natives Bobby Granfelt & Antoine Martel, an outlet for the duo whose music is "steeped in funk, fusion, and the dreamier end of the rock spectrum," said Seattle"s The Stranger. The Stranger also went on to say that "this city needs more groups like sunking, who flit among genres such as hip-hop, jazz, and shoegaze rock while messing with the DNAs of each style they address." Both Granfelt and Martel are also members of High Pulp, a jazz collective that draws influences from punk rock, shoegaze, hip-hop, and electronic music. Also signed to ANTI-, their album "Pursuit of Ends" came out in April of this year. "High Pulp blend old-school bebop with contemporary soul and electronica vibes, as though someone convinced the ghost of Duke Ellington to reinterpret a Chemical Brothers album," said the A.V. Club.

Originally released in 1994 on Calypso Records / Irma Records in a triple vinyl promo white label version, Don Carlos's album Aqua is the
second album by the Varese-based DJ producer, already then known for his first two singles Alone and Mediterraneo, then both included in
his first album entitled Mediterraneo and released only in Compact Disc format in 1992 for the American market printed and distributed by
IRMA U.S.A., the American subsidiary of IRMA Records Italy.
The same fate will also have the Compact Disc format of the Aqua album, again printed only on the American market.
But the triple vinyl, printed in a limited edition of 500 copies in a white generic envelope, was never reissued and has become a rare record
over the years.
After almost thirty years, after countless requests for reissues, especially in the last few years in which the name and music of Don Carlos
has made a comeback, Irma Records has decided to reissue the vinyl in exactly the same original triple version.
DJ Don Carlos (born Carlo Troja) with his productions in the 90s has become one of the cult producers for DJs around the world.
His track Alone released in 1991 for Calypso was and still is one of the classics of House Music, played by all the major American and British
DJs.
At the time of its publication it was considered an underground song and therefore did not sell very much, but over the years its myth has grown
thanks to its subsequent productions as for example his second single, the EP entitled Mediterraneo, title which it will then inspired his first CD
album printed in the USA with the same title.
Several other singles followed, another album, always printed only in the USA, entitled Aqua, from which a triple promo vinyl was extracted which
today is one of the artist's most requested rarities.
In Italy his third album was released in 2002 entitled The Music In My Mind where Kim Mazelle, Michelle Weeks, Taka Boom and Kevin Bryant
were present as vocal guests. In 2009 a collection of the first two albums released in the USA titled Mediterraneo-Club Favourite Collection '90-
98 and in 2010 his fourth album entitled The Cool Deep which reproduced the sounds closest to his first productions.
Also active as a remixer for Italian and international labels, one of his most important works is the remix of Byron Stingily of the song You Make
Me Feel of which he made a worldwide hit. As a producer he also used other pseudonyms such as Montego Bay, Aquanuts, Sotterranea and
Love 2 Love Orchestra. He has played and plays in different countries such as London, New York, Miami and at various festivals, such as the
Robot and the Stickermule Festival in an evening with Apparat, Derrick May, DJ Koze, Lil 'Louis, Young Marco and Ellen Allien, LTJ Xperience

Rastafarianism came to prominence in the late 1960's/ 1970's and had a huge influence on the musical culture in Jamaica. The sentiments of the songs reflected the struggles of life, as reggae music always did but now with an added spiritual/conscious element to the lyrics. By the mid 1970's most, if not all the top flight singers were following the doctrine and growing their har to dreadlocks.
Everything was truly 'Dread'.
At the heart of this musical explosion was again Bunny 'Striker' Lee a man who was always at the heart of the action and many times in his career ahead of the musical game. As Bunny Lee's stable of singers were at this time nearly all Rasta's and with the worldwide acceptance of Bob Marley, in especially the foreign territories, this musical style was the way forward for reggae music in the mid 1970's. The visual focal point of this new turn in reggae music would be a call to all things 'Dread'. Add to the mix Bunny Lee's close working relationship with studio wizard King Tubby, again not a Rasta himself, but someone who could sonically bring what was needed to the table and enable the whole musical chemistry to fall into place.
Heavy rhythms were created to match the heavy and serious lyrics and 'Versions Galore' as they say were coming out fast and furious.
We have compiled a set of conscious tunes that not only match the 'Dread' criteria, but also are just great tunes. The great Jacob Miller's 'Zion Gates', Cornell Campbells 'Two Faced Rasta', Horace Andy's 'It's Gonna Be Dread' alongside Linval Thompson's 'Never Conquer Jah'. Two timeless cuts from the 'The Abyssinians' get a fresh outing by two great singers, firstly Don Carlos' cut to 'Satta Massaganna' and the prince of reggae himself, Dennis Brown works 'Declaration of Rights' in fine style. Johnny Clarke's 'Man like Me' and 'Dem Say Rasta' still sound as fresh today as when they were first laid down and Wayne Jarrett's 'Live On Jah' and Frankie Jones 'Satta and Praise Jah' add to this great selection. All great 'Dread' tunes that were cut or voiced at King Tubby's giving them that extra shine.
So if you are Rasta or not this is a great set of tunes to make you move and also like all of the best things in life, make you think.........

















Track 14 WICKED BABYLON - LINVAL THOMPSON

Bill Nace"s Through a Room represents a seismic progression from Both, his startling 2020 debut solo LP for Drag City. Nace"s career has been defined by a relentless probing of ways to frame the complex menu of human emotions, and that the guitar has been his primary tool for exploring this terrain is of little consequence. On this new release, he also employs tapes, hurdy gurdy, doughnut pipe, quelle est belle, as well as his latest instrument of choice, taishogoto. This is also, ultimately, insignificant. What matters is the discerning spirit which animates his work. The tracks are carefully built from loops and phrases that talk to each other, subsume one another, overlapping and crashing and diving and expanding and emerging into unimagined vistas. On the whole, the record offers a fascinating and engrossing chronicle - a sequence of interrelated stories told by a temporally dislodged narrator. You think you"re here, then you"re there, and then you go through trapdoors and along tunnels, into cellars and secret rooms, and you find that actually you"re back where you started. But it"s not hard to follow. Trust me. Nothing this enticing can be hard to follow. The record was recorded and edited in Philadelphia during the uncertain summer of 2021 with engineer and co-producer Cooper Crain. Where Both was a chiseling down of spontaneous live performance, Through a Room, while obviously the work of the same artist, treats its sounds as building blocks, combining them to mesmerizing effect. What"s striking is the poise, the degree of authorial intensity. The false dichotomy of composition and improvisation is thoroughly and rightfully abolished. Bill"s interests range from post-punk to post-industrial to hip-hop to free jazz to avant-garde composition, and every area between such unhelpful labels. From the inscrutable, evocative track titles to the enticingly baffling cover art by his longtime compatriot Daniel Higgs, Nace is guided by an ineffable, internal muse, a persistently personal stormcloud of ideas that, ultimately, comprise that thing we call art. Here"s the real deal. - Matt Krefting, Holyoke, 2022

"Hey, there's this new guy around that plays like Herbie Hancock!!". When Chilean pianist Matías Pizarro arrived in Argentina fleeing Pinochet's dictatorship, word spread like wildfire in the local jazz scene.

In the two short years that Pizarro spent in Buenos Aires, he became one third of the Viejas Raíces project alongside local jazz heroes Jorge López Ruiz and Pocho Lapouble, recorded with famed Italian trumpeter Enrico Rava and released his own solo album, Pelo de Rata ("Rat's hair").

Pizarro was no beginner though. Whilst in Chile he had already participated in several music projects and worked as a producer and arranger for the IRT label, and was connected to influential bands such as Los Jaivas and Blops. He had also studied in the Berklee School of Music where he not only met and lived with the cream of an emerging new wave of musicians, but he also had the chance to attend live performances of giants such as Miles Davis or Thelonious Monk.

In the recording of Pelo de Rata Pizarro is joined by fellow Chilean Alejandro Rivera (Sacros, Grupo Sol) on quena and charango, Swedish bassist Bo Gathu on bass, Uruguayan saxophonist Finito Bingert and an impressive percussion team featuring Pocho Lapouble, "El Zurdo" Roizner and the mighty Domingo Cura. The album draws from the US jazz fusion currents of the time (think Chick Corea and Miles Davies), adding an undeniable Latin American character, all projected through Pizarro's own musical prism which displays his acute sense of harmony and a musical intimacy that reminds of those sincere, dreamy moments in Viejas Raíces.

The 8-page booklet that accompanies the vinyl edition will give you a deeper insight into the story of Matías Pizarro, with previously unseen pictures and liner notes by Argentinean journalist Humphrey Hinzillo (La Nación , Rolling Stone Argentina).

Essentia is not only the latin word for – you guessed that right – essential, but also the name of Krystal Klear’s return to Running Back. While trance might be a state of mind (according to DJ Dag), it’s also a tone theory with a very specific tool kit. Here you get the version that makes sense in the aural universe of a producer that got raised on a diet of hip hop, boogie and the foundation tunes in house music. Moderate in tempo, the result is still euphoric to say the least: melted brains, stimulated spinal cords and rave rampage included. Essentia balances the euphoric rush of its topical genre perfectly with the happy-sad moments after the rave. If that is not musical or emotional enough for your taste, you will find content in the Sunrise version. Excessive use of the well-beloved choir, breakbeats and - downs make it equally irresistible for sun-ups and love-ups.

Flip the coin for Winnies Karaoke. Stemming from the same source and session as Essentia. Named after the interactive entertainment bar in Chinatown NYC and made sometime in the early morning hours, its the quintessential Krystal Klear. Sawtooth boogie, if you will. It’s counterpoint is the Sundown mix. Techno prog for the tilted generation.
Sometimes, in the permanent search of happiness, the world of tomorrow needs the sound of yesterday made with the means and minds of today. Essential bliss.

There are only a few figures in music whose work influences and
shapes a genre as a whole. This is undoubtedly true of the Swede
Esbjörn Svensson. With his trio e.s.t., the pianist and composer
wowed audiences beyond age and genre affiliations. And his
influence on jazz as a whole reverberates to this day and already
within the second and third generation of musicians worldwide.
‘HOME.S.’ is Esbjörn Svensson’s only solo album and the sheer
existence of such a recording and its completely unexpected
discovery over a decade after its creation are nothing less than a
sensation: Since the early 1990s, Svensson focused almost his entire
creative energy and recording activities on his work with e.s.t.. Thus,
these new recordings are not only the first, but practically the only
ones that show Svensson in a setting other than that of the trio:
Intimate, concentrated and completely one with himself. The
recordings for ‘HOME.S.’ were made only a few weeks before
Esbjörn Svensson’s sudden death on June 14, 2008. Svensson
recorded the music in his Swedish home.
For almost ten years afterwards, the album rested untouched in his
wife Eva Svensson’s personal archive. Here, she tells the story
behind the discovery of the album and the music: “After Esbjörn’s
passing, I made sure all the contents of his computer were saved to
backup hard drives. And then I basically left them untouched for the
next ten years. At the point where I eventually felt ready to look into
the material, I soon realised that there was something I wanted to
look into.
“I took the hard drive and went to Gothenburg to meet with Åke
Linton, the sound engineer who had worked on all e.s.t. albums as
well as on their live shows. He was also the one who had helped me
to save the material from Esbjörn’s computer in the first place. So he
probably already knew that there was something hidden in there. But
nobody had listened to it.
“We went to his studio. And we pressed the start button. Then there
was a total silence and we couldn't speak for the entire time the music
was playing. After it finished, at first we were not able to say anything,
because we were both so touched and surprised that it was all there,
and that it was so beautiful. The tracks seemed to follow one another
like pearls on a string. After we just had sat there for a while we
agreed: This is really good. Musically, but also from a sound
perspective.”

False Heads release Frank Turner produced second album ‘Sick Moon’ via Scruff of the Neck Records.False Heads have taken the UK by storm in recent years, forming in 2016 and eventually catching the attention of key industry figures. With an incendiary live reputation like theirs, it should come as no surprise that the band have also earned the praise of multiple renowned radio stations and hosts. The iconic Iggy Pop and Steve Lamacq (BBC 6 Music), John Kennedy (Radio X), and Jack Saunders (BBC Radio 1) have all supported the band within the UK, with Planet Rock and Radio X playlisting them as well. Internationally, the likes of KINK (NL), Sirius XM (US), and RTE2 (IE) have also given False Heads airtime. Their single ‘Rabbit Hole’ has been streamed over a million times alone on Spotify and their previous album ‘It’s All There but You’re Dreaming’ nearly 4 million times across all platforms. The ten-track album was produced by Frank Turner at his home studio, with lead single Day Glow coming just weeks after Turner’s own record FTHC landed the UK Number One spot. ”If they came to my town I’d show up for that, if they come to your town you might wanna show up”-Iggy Pop. Track list.1. Day Glow. 2. Mime the End. 3.Thousand Cuts. 4.Thick Skin. 5.Cottonmouth.6.Hangman. 7.Said and Done. 8.Slipping Through. 9.Hainted Houses. 10.Doll’s Eye.

False Heads release Frank Turner produced second album ‘Sick Moon’ via Scruff of the Neck Records.False Heads have taken the UK by storm in recent years, forming in 2016 and eventually catching the attention of key industry figures. With an incendiary live reputation like theirs, it should come as no surprise that the band have also earned the praise of multiple renowned radio stations and hosts. The iconic Iggy Pop and Steve Lamacq (BBC 6 Music), John Kennedy (Radio X), and Jack Saunders (BBC Radio 1) have all supported the band within the UK, with Planet Rock and Radio X playlisting them as well. Internationally, the likes of KINK (NL), Sirius XM (US), and RTE2 (IE) have also given False Heads airtime. Their single ‘Rabbit Hole’ has been streamed over a million times alone on Spotify and their previous album ‘It’s All There but You’re Dreaming’ nearly 4 million times across all platforms. The ten-track album was produced by Frank Turner at his home studio, with lead single Day Glow coming just weeks after Turner’s own record FTHC landed the UK Number One spot. ”If they came to my town I’d show up for that, if they come to your town you might wanna show up”-Iggy Pop. Track list.1. Day Glow. 2. Mime the End. 3.Thousand Cuts. 4.Thick Skin. 5.Cottonmouth.6.Hangman. 7.Said and Done. 8.Slipping Through. 9.Hainted Houses. 10.Doll’s Eye.

Double Groovy / Trans-Pacific Express by Big Boss Man, one of two limited edition of 500 vinyl 45s to be released simultaneously of essential killer funk. The tracks from the accompanying single (Juju Funk / Return Of Baron Samedi) have already received very strong radio responses from around the world. They have both been supported by Gideon Coe and Cerys Mathews at BBC Radio 6 Music, with Nasser Bouzida discussing the rhythm influences of Return Of Baron Samedi on the Cerys show. Many specialist funk shows from Australia, Germany, France Canada and the US have also been supporting those tracks. Expect further support for this the second single Double Groovy as it is sent to radio and goes live on streaming services. This is set to be an essential 45 for funk DJs. Grab a copy of this very limited release while you can. The tracks are also set to appeal to fans of one of Big Boss Man’s biggest tracks ‘Sea Groove’, which is currently one of the UK’s biggest home-grown funk recordings on Spotify currently close to 7 million streams. This is the second single, the two sides of which will be sent to radio though Sept / October / November. These are the first new releases from Big Boss Man since their fourth album Last Man on Earth on Blow Up Records. A Side – Double Groovy B Side – Trans-Pacific Express

This show, captured on November 28, 2001, came on the heels of his hit
single, Like Humans Do and the release of the album Look Into The
Eyeball, which was another typically eclectic musical stew reflecting a
variety of styles and influences, from Philly soul to a DC Go-Go inspired
groove and his first-ever Spanish composition, Desconocido Soy
Critics at the time called it his best work in years, and his performance on the
Austin City Limits stage shows why. Joined by Austin's own eclectic tango
ensemble Tosca, Byrne takes us down many different musical roads in his ACL
debut.
Of course, besides the brilliant songwriter and performer that he is, he's also an
accomplished performance artist, photographer, web journalist, film writer /
director, composer of motion picture soundtracks, and founder of his own world
music label, Luaka Bop Records.
He also has a collection of Grammys, Oscars and Golden Globes on his mantel.
His music may be complex and poetic, but he makes no bones about his ultimate
intent: I want to move people to dance and cry at the same time."
- Terry Lickona (Producer Austin City Limits ®). 2LP pressed on Red Color Vinyl.

Double LP, Gatefold sleeve, DL card with Bonus tracks. 2CD Gatefold wallet + booklet. Remastered and re-appraised 31-track collection of Pearls Before Swine rarities from the private tape collection of the late, great Tom Rapp. Also available as an expanded 45 track double CD collection. For the first time on vinyl, this beautiful collection brings together alternate versions of Rapp originals ‘The Jeweler’, ‘Translucent Carriages’ and ‘Rocket Man’. It also includes jaw-dropping covers of Rapp’s contemporaries Cohen, Dylan and Joni Mitchell, with bonus download material featuring seven amazing live versions plus a never before released intimate show at The Other End circa 1976. A goldmine of possibilities from a prospector with a silver tongue and stories to tell. ‘The Wizard Of Is’ is a weird and wonderful trip inside its creator’s mind, from sonnets and space hymns to stories of revolution and the war. It’s an American Gothic fantasy that straddles old tyme America and the outer edges of an imagined stratosphere. “Extremely influential.” Rolling Stone. // “A more intoxicating version of folk psychedelia.” Wire magazine. // “Shimmering folk hymns.” Spin magazine. // “Unabashedly poetic.” Crawdaddy. // Track listings: VINYL Side A A1 Where Is Love? A2 Butterflies (Alternate Version) A3 Love, You Are Not Alone A4 Grace Street A5 Translucent Carriages (Alternate Version) A6 Space. Side B B1 Rocket Man (Alternate Version) B2 City Of Gold (Alternate Version) B3 For Free B4 Wizard Of Is (Alternate Version) B5 Riegal (Alternate Version) B6 Sail Away (Alternate Version) B7 Footnote/When The War Began. Side C C1 Everybody's Got Pain (Alternate Version) C2 Crawling Towards Bethlehem C3 I'm Going To The City (Alternate Version) C4 Can't Go Back C5 Prisoner Of War C6 Another Time (Alternate Version) C7 If You Don't Want To (I Don't Mind) (Alternate Version) C8 (Oh Dear) Miss Morse (Alternate Version). Side D D1 The Jeweler (Alternate Version) D2 The Lincoln Dream D3 There's No Other (Like My Baby) D4 Roadside Hotel D5 Song About A Rose (Alternate Version) D6 Mary Mary D7 Crew Man D8 Suzanne D9 Oh Sister D10 Full Fathom Five/I Shall Not Care. Bonus download tracks: 1 Translucent Carriages (Live) 2 Island Lady (Live) 3 Morning Song (Live) 4 Marshall (Live) 5 Ballad to An Amber Lady / I Saw the World (Live) 6 Prayers Of Action / Candle (Live) 7 Rocket Man (Live)……. CD. Disc One: 1 Where Is The Love? 2 Butterflies (Alternate Version) 3 Love, You Are Not Alone 4 Grace Street 5 Translucent Carriages (Alternate Version) 6 Space 7 Rocket Man (Alternate Version) 8 City Of Gold (Alternate Version) 9 For Free 10 Wizard Of Is (Alternate Version) 11 Riegal (Alternate Version) 12 Sail Away (Alternate Version) 13 Footnote / When The War Began 14 Translucent Carriages (Live) 15 Island Lady (Live) 16 Morning Song (Live) 17 Marshall (Live) 18 Ballad to An Amber Lady / I Saw the World (Live) 19 Prayers Of Action / Candle (Live) 20 Rocket Man (Live)… Disc Two: 1 Everybody's Got Pain (Alternate Version) 2 Crawling Towards Bethlehem 3 I'm Going To The City (Alternate Version) 4 Can't Go Back 5 Prisoner Of War 6 Another Time (Alternate Version) 7 If You Don't Want To (I Don't Mind) (Alternate Version) 8 (Oh Dear) Miss Morse (Alternate Version) 9 The Jeweler (Alternate Version) 10 The Lincoln Dream 11 There's No Other (Like My Baby) 12 Roadside Hotel 13 Song About A Rose (Alternate Version) 14 Mary Mary 15 Crew Man 16 Suzanne (Alternate Version) 17 Oh Sister 18 Full Fathom Five / I Shall Not Care 19 Frog In The Window (Live at The Other End, 1972) 20 There Was A Man (Live at The Other End, 1972) 21 The Jeweler (Live at The Other End, 1972) 22 Another Time (Live at The Other End, 1972) 23 Every Change Is A Release (Live at The Other End, 1972) 24 Rocket Man (Live at The Other End, 1972) 25 Love/Sex (Live at The Other End, 1972)

“A Dream In A Dream” is the debut LP by DJ Piper, also known as Felix Wagner of techno superstar duo FJAAK.
One might be surprised about this all hip-hop instrumental album looking at Felix’ all dance music focussed musical resumé. Nevertheless, he has been crafting rap beats ever since he started producing as a teen, but had his childhood friends freestyle over the tracks solely. It took until 2020 when he teamed up with Lukas and
Jonathan Nixdorff of Kommerz Records to release his first solo track “Iluminay”, which was part of “Kommerz Season 1: Anti-Virus” compilation and shared by B-Real of Cypress Hill right away.

Now, 2022, marks the right moment to share his debut album, a waltzing ode to hip-hop’s golden era. The Berlin- Spandau original merges the legacies of both Pete Rock and Dr. Dre, while funky breakbeats meet laid back SoCal “Chronic” vibes. 12 instrumental tracks and 2 skits strong, his album tells the story of a young man, who lives up to his wildest teenage dreams. Most of the track ideas came up while being on tour with FJAAK. Between international transit areas, making inspirational new friends and bizarre encounters all over the world, beat making became DJ Piper’s safe space to process all the positive madness around him. As a result, “A Dream In A Dream” breathes that raw, untamable creative energy around Felix’ extraordinary day-to-day life, while being heavily influenced by the sound of his childhood, 90s and 2000s rap.

To visualize “A Dream In A Dream” DJ Piper and Kommerz Records joined forces with Raman Djafari, a childhood friend of the artist, who illustrated music videos for Dua Lipa and Elton John (no joke!) and worked for New Release Information Adult Swim. Raman’s supernaturalistic aesthetics bring life to DJ Piper’s somewhat psychedelic, somewhat nostalgic fantasy, locating the album in an otherworldly version of Spandau, hometown to both of the artists.
As one half of FJAAK Felix became an icon of Berlin techno conquering major festival stages and mainstream audiences while heavily representing underground D.I.Y. mentality up to this very day. As an initiator of Spandau20 label and collective, Felix pushes his creative family and day 1’s regardless of commercial potentials.
The same ethos and love for culture fuels the DJ Piper project. No matter if it’s FJAAK or DJ Piper, techno or hiphop… Integrity is key!

orange vinyl

As &on&on, DJ's Noni and Worth Way have been making some serious waves over the past year, being named one of DJ Mag top artists to check out in 2022 and also featured on Disclosure's DJ Kicks compilation.

On their first release on the label, the duo boast their prowess in composing uplifting, melodic dance music which draws on myriad influences to create unique and innovative sounds. Whilst every track on Mentalphysics has fun and festivity at its core, some take their inspiration from disco ('Mid Valley'), whilst others from groovy deep house ('All Day') or breakbeat ('Delta T'). Finally, 'Melted' subtly evokes speed garage in the way the bass dips, giving the track lots of depth and 'Samo' brings things to an anthemic close with reverberating cymbals filling any space with body and movement.

Here comes a fat Toy Tonics remix package. COEO made 2 club versions of this track originally by Toy Tonics head honcho Kapote - featuring New York born, Berlin based Soul singer Kosmo Kint. Coeo's Garage version is a heavy booty shaker, quite different from their last release. This is very UK. You can hear that Coeo has been DJing a lot in the UK lately. Of course the other one rmx is a killer remix too .... You get what you know from a Coeo work.

The Kapote remix package also includes a version by Detroit original hero Dez Andres. A sneaky dancefloor slammer that will get a lot of attention.

Before he co-founded the legendary Sunday afternoon event Body & Soul with fellow New York DJs Danny Krivit and Francois Kevorkian in 1996, Joaquin "Joe" Claussell was the driving force behind Instant House, an eclectic production outift who released a series of uplifting deep house records, several of which were spun by David Mancuso at the 90s iteration of his influential Loft parties.

In 1993, Instant House released their deepest single, Lost Horizons, through Jungle Sounds Recordings. The A-side, ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’ is a seventeen-minute and twenty-second sojourn into the vibrant club sounds of early 90s NYC. Driven by a Latin-accented man-machine beat that marches into infinity, it comes backed by two shorter mixes, ‘Lost Horizons’ and ‘Lost Horizons (Percussion Bonus)’. Twenty-nine years later, Isle of Jura presents an official vinyl and digital reissue of this slow-burning deep cut.

The Instant House story begins in the late 80s at Dance Tracks, an East Village record store established by the businessman, DJ, and graphic designer Stan Hatzakis. Patronised by New York trendsetters like Frankie Knuckles and Larry Levan, Dance Tracks was considered one of the world's best underground dance music retailers.

During the winter of 1991, Stan got together with one of his best customers, Tony Confusione, to make music. A wall street guy by day and a keyboardist by night, Tony was also a serious DJ. Not long after their first recording sessions, they invited another Dance Tracks fixture, Joaquin "Joe" Claussell, to join them in Tony’s state-of-the-art home studio in Long Island. He brought a vibrant, percussive edge to the sample-based tracks Stan and Tony were cooking up. Emboldened, the three DJs began recording together as Instant House. That year, they released the Dance Trax EP.

In 1992, after Instant House had dropped two certified classics, 'Over' and 'Awade', for Jungle Sounds Records, Stan exited the group and sold Dance Tracks to Joe and his business partner, Stefan Prescott. Following Stan's departure, Joe and Tony headed into the studio for a special recording session. “I just remember how powerful the connection was while we were making that record,” explains Joe, recalling the creation of ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’. “It was a very spiritual encounter in the studio.”

While laying out the drum patterns, sound effects, and arrangement, Joe explained the vibe to Tony, who played the lush cosmic chords and an effortless keyboard saxophone line over the top. “That was Tony completely feeling himself,” Joe reflects. “He performed majestically.”

After the release of the Lost Horizons 12”, Joe received a phone call from Cisco International Corp. A plane flight later, he was sitting in their label offices in Tokyo, talking to a senior record executive who wanted to introduce Lost Horizons to Japan. “What they were primarily doing at the time was pressing classical records - we’re talking thousand dollar plus classical reissues - and they wanted to license and distribute Lost Horizons,” Joe remembers. Three years later, Joe and Tony released 'Asking Forgiveness', their final 12” as Instant House, before parting ways with full hearts.

In the context of his career as a DJ, remixer, and producer, Joe is known for long songs and compositions. As Lost Horizons illustrates, he’s carried that impulse with him since his foundational days. “When I produce, I don’t believe in the beginning or endpoint of anything,” Joe explains. “I really despise the rules. To me, that’s not true to the art of creation. I just believe there is a flow in creation. When we were making music in the 90s, we were restricted by format, but that record could have gone on forever.”

The 12” is housed in a full sleeve jacket by Bradley Pinkerton based on the original release design.

ATALAYA is new work by bassist Dezron Douglas, and it is alive. Alive in all the ways that jazz is at its best - as a pure and personal expression of Black Music filtered through time-honored traditions by a group of musicians who practice sonic coherence through musical unity. Followers of contemporary jazz might recognize Dezron for his bass work behind Pharaoh Sanders, Louis Hayes, or Ravi Coltrane. Steady International Anthem listeners might remember him from the New York side of Makaya McCraven"s Universal Beings. More recently we presented Force Majeure, his sublime duo record with harpist Brandee Younger which compiled the best of livestream performances from their Harlem apartment during the original covid lockdown. That album reflected the speed and feeling of the moment while somehow simultaneously distracting from the harsh reality of it. It also captured a very vulnerable, intimate, and real impression of Dezron on double bass, sharing his power and truth without abandon.

Alexandra Burke is truly one of the UK"s most distinguishable powerhouse voices, having sold over 5 million records in the UK. The London-born singer has also become one of the UK"s most sought-after West End leading ladies. Alexandra first rose to fame winning the fifth series of The X Factor in 2008 with an iconic duet with idol Beyoncé, to an audience of over 10 million. Debut #1 single "Hallelujah" was Christmas #1 and went on to sell over 1 million copies, a first for a British female solo artist. Debut #1 album "Overcome" spent over a year on the UK Album Chart, earning three BRIT Award nominations. In late 2010, Alexandra released "Overcome: Deluxe Edition" securing her third chart-topper with "Start Without You" and included a brand new version of fan-favourite "The Silence". To celebrate one million copies sold worldwide, Alexandra has curated her own definitive version of "Overcome". The 18 songs across the 2 LP set features the bonus tracks "Dangerous" and "It"s Over". Pressed on limited edition white vinyl, the album is packaged in a gatefold sleeve with stunning printed inner sleeves and an exclusive poster.

Da Buze Bruvaz and Lord Beatjitzu come together for a truly hard hitting, no holds barred, HipHop grudge match with the tough as nails BoLO Yeung Barbarian Bicepz EP. The long-time collaborators, known for dropping at a prolific pace individually, found time to combine and give their prospective audiences a true gift. Expect nothing but explosive neck-snapping beats and hard-body drunken rhyming.

This is truly a companion piece for the Lord Beatjitzu produced Bruce Li in Japan LP. Here we find Da Buze Bruvaz Him LO and Clever One, deconstructing a few of those tracks while also bringing heat to some exclusive gems from the vaults of the reclusive production wizard. You may want to take a few steps back before entering drunken dragon styles presented on this one.

Bruce Li meets Da Buze Bruvaz and every track contained within qualifies as a lethal weapon! Protect your Necks, Arms, Heads and Chests! PLAY on 45 rpm!

Tape

Welcome to Carsharing Tapes. Welcome to the future.

With "DIURNAL TIDES: First Wave" we're proud to present not only the first release of our new imprint for classic electronic music mixtape culture but also the first ever official gathering of two long standing figures which both have been relentlessly and continuously contributing to the German underground scene for more than two decades now.

And these two are: baze.djunkiii and THE D3VI7.

baze.djunkiii, Hamburg-born and based, officially entered the electronic music scene as a DJ back in 1997 from an angle of being an enthusiastic raver, launched his very own label Intrauterin Recordings in 1999 and - apart from becoming an 24/7 networker, knowledge hub, music blogger etc. - evolved into one of the most versatile underground DJs and purveyor of original DJ culture around whose journey on the decks has taken him all over Germany as well as to Greece and the United States and to countless hours of air time on a plethora of underground radio stations as well.

THE D3VI7, on the other hand, remains an elusive figure. Deeply rooted in electronic music production and the hell'ish jungle of circuit board wiring as well as DAW madness THE D3VI7 is a moniker created by one of the most active, yet probably most underrated figures on the release circuit, a nom de guerre which serves the sole purpose of being able to operate anonymously without any confirmation bias being attached to other musical guises which might, or might have not, been used previously and in earlier stages of a long lasting involvement in music. And btw - this is the first time ever THE D3VI7 agreed to provide an official DJ mix for a mixtape release.

With baze.djunkiii's mix opening the roughly hour long journey of "DIURNAL TIDES: First Wave" on the A-side we're getting a prime example of what original DJ culture is all about as he's taking us on a fascinating journey from deepest underground Electro to screaming, spiralling Acid madness and beyond, digging up most underground vinyl cuts and making proper use of his extensive collection of rare 7" releases - a format that has been criminally overlooked by many DJs but provides a treasure trove of goodness as this mix easily proves.

Turning the tape THE D3VI7 does what THE D3VI7 does best on the flip: Being a force. A dark one. Forging a pounding, most relentless stream of hammering Techno tunes to take out unsuspecting punters on heaving dancefloors one by one THE D3VI7 provides a high octane selection of peak time excess that either thrills or kills - an ode to the power of raw and unpolished Techno madness in its purest form. A power that cannot be contested. Ever.

Deluxe gloss laminated gatefold reissue with bonus 7” The Silly Egg E.P . Pressed on half & half colour vinyl (Red/Turquoise) with a white vinyl 7”. Includes printed inner sleeve.
East London’s The Gymslips, Paula Richards, Suzanne Scott and Karen Yarnell, barged their way onto the post punk scene in 1981. They openly embraced drinking, Pie & Mash, monkey boots and double denim right from the start. Often credited with being the first female Oi! band, but they brought so much more to the table with their punky 60s influenced girl pop.
Formed in 1980, The Gymslips started playing live the following year, and opened for Dolly Mixture on a 1981 UK tour. The band referred to themselves as “Renees” a late 60s term for mod girls, the same subculture that named boys “Ronees”. Drummer Karen Yarnell told the NME that a “Renee was a girl who got as much shagging done as a bloke while also matching him for pint drinking, fag smoking, nose-picking, farting and the wearing of skinhead style double denim”.
They recorded 5 sessions for the John Peel show, after signing to Abstract Records their first single was a cover of Suzi Quatros 48 Crash, which was released in 1982. The following year they released Their sole album Rocking With The Renees along with 2 further singles “Big Sister” & “Robot Man”
After Karen Yarnell left to join Serious Drinking, this ended The Gymslips Mk 1. Although they were to return 2 years later with a new line up to release their final single “Evil Eye”

A private press rarity that few know of, ‘Song of Island’ was the third album from pianist Yasuhiro Kohno’s trio, recorded live at the jazz club and live house (gig venue) ‘Again’ in August 1985. Pressed up in small numbers, ‘Song for Island’ was issued on the private ASCAP Records, set up by pianist and band leader Yasuhiro Kohno. The album is a follow up to Kohno-san’s previous two albums, ‘Peace’ and ‘Roma in the Rain’, released on the cult Aketa’s Disk label. However, unlike the ‘Peace’ and ‘Roma in the Rain’ albums, ‘Song of Island’ has never been reissued before – until now. The title track was included on J Jazz volume 3. This is a very special album that captures a special time in Japanese jazz, when exemplary acoustic jazz was still being performed and recorded by dedicated and talented artists at the height of mid-80s synth pop. ‘Song of Island’ features four original compositions by Yasuhiro Kohno plus a distinctive take on a jazz standard. Yasuhiro Kohno was born in Nara, southern Japan, in 1953 and made his professional debut as a member of Japanese rocker Eikichi Yazawa's band before going on to accompany actor/singer Masatoshi Nakamura. As well as recording and performing under his own name, Kohno has also played with American musicians such as Richard Davis and Mal Waldron and continues to perform regularly in Japan. ‘Song of Island’ will be issued as a full reproduction of the original work, with inserts, translated original sleeve notes, plus new sleeve notes, photos, and interview with Yasuhiro Kohno by Tony Higgins.

2022 LIMITED RELEASE "POP UP" VINYL Amon Amarth's ninth full-length album, Deceiver of the Gods, will be released in North America on June 25th, 2013. The album was recorded at Backstage Studios in Derbyshire, UK between January and March 2013. Acclaimed producer Andy Sneap (Opeth, Megadeth, Killswitch Engage) produced, mixed, and mastered Deceiver of the Gods. Cover art was, once again, completed by Tom Thiel, and is revealed across three panels, the center of which is the cover of the album. Fans will also recognize a guest appearance on this album: Messiah Marcolin (ex-Candlemass) provides guest vocals for the eighth song, Hel.

Drummer and composer Edward Vesala, the most internationally renowned jazz musician from Finland, was very keen on percussion instruments. Oddly enough, this broad and enduring interest is hardly evident on his albums. Whether playing on his own albums or contributing to other musicians’ work, Vesala played a standard drum kit most of the time. He hardly used external percussionists on his own albums either. And most of all: his music was almost never percussive, at least in the traditional manner. Perhaps even stranger is the fact that he barely played any drum solos on his own albums. That’s why I’m Here (Blue Master Special, SPEL 311, 1974), recorded in Helsinki in 1973, is such a rarity. Of course, being a limited release has also made it an expensive treasure among collectors. Additionally, I’m Here is Vesala’s only solo album and only percussive album, and one of the few where he can be said to play drum solos, albeit in his own idiosyncratic way..

"Ramblin' Soul was inspired by the new appreciation I had for the freedom to travel around the country and perform," explains lifelong wanderer Melissa Carper of her forthcoming album. Carper was relieved and energized to be back on the road, on a familiar pilgrimage from Texas to Arkansas and back to meet and collaborate with musician friends. "I had taken for granted the ability to interact with audiences and friends and how much it feeds my soul and my creative process," she adds. Feeling inspired by time on the road and time with other creative minds, she penned the title track on the way back home, and the Ramblin' Soul seeds were planted. From its conception and throughout the recording process, Ramblin' Soul seemed to take on a life of its own. "It wasn't what I had first planned," Carper recalls. "A couple of the songs we recorded I'm now saving for a future album, and there are some brand new songs I decided to add, including one that was written during the week of recording. Thematically, I had a handful of songs about rambling around and living a free life that I wanted to weave through the album. I also knew I wanted Ramblin' Soul to have a different feel than my previous release, Daddy's Country Gold, with more upbeat and diverse styles and grooves," she says. Ramblin' Soul features a co-write with friend Gina Gallina, a song penned by friend and frequent collaborator Brennen Leigh, a reimagined classic from folk pioneer Odetta and 10 Carper originals--venturing into her blues, early rock 'n roll, and soul influences, blended with her signature flavors of country, western swing, and jazz. There is something for everyone on Ramblin' Soul.

TELE MUSIC is a label of Éditions Musicales Sforzando now owned by BMG Production Music. It is entirely devoted to the music library, that is to say, music for sound illustration used in audiovisual productions. Created in 1966 by Roger Tokarz,
just before advertising was allowed on French television, Editions Sforzando specialized from the outset in sound illustration for radio and television.
This collection, soberly entitled “Volume 2”, is the sequel to “Volume 1”, produced with equal care, passion and fervour by Lord Funk & DJ L.C. In the mid-90s, Tele Music vinyl was sold at ridiculously low prices. Often disparaged by collectors and record shops, considered by some as lift music or vulgarly called “music by the meter”, the music store was only of interest to fans of instrumental music! But in the 2000's, it had a second life and saw its prices soar on Discogs, thanks to sampling and digging in Hip-Hop mainly. This advent of the library is an era that Lord Funk, curator of this compilation, experienced when he brought several music library collections to New York City (NYC) to his A1 Records stronghold in 1997.
In this 2nd volume, Lord Funk & DJ L.C. have chosen a range of music from 1969 to 1983, from psychedelic jazz to electro funk via rnb, soul and jazz-funk. Most of the titles in this collection were recorded in the magic place that was the famous CBE recording studio set up by Georges Chatelain, Janine Bisson and Bernard Estardy. Bernard, nicknamed the giant, was a sound genius and a mixing perfectionist. Georges Chatelain was an electronic engineer. Together, they brought a sound,
a colour, a trademark. Bernard Estardy was also considered as one of the greatest French sound engineers and an energetic organist for Nino Ferrer or Nancy Holloway. We warmly thank Julie Estardy for her total and unreserved involvement in these reissue and compilation projects.
The combination of all these prodigies has given TELE MUSIC a phenomenal and unique sound colour in the service of a sound repertoire that is now part of the French heritage.

Vinyl come packaged in a custom printed plastic casing, gatefold jacket, full color printed sleeves, metallic silver color double vinyl, 8-page LP lyric booklet, and free digital download card. While Southsiders is a celebration of the group's fortitude, it is also a deeply introspective, and sometimes conflicted, work. "It's a natural progression from the last record,The Family Sign, which was about growing my family," says Slug, now a father to three, who finds himself contemplating mortality. "I'm starting to think, 'What is post-family man? What am I supposed to rap about now?' I'm sticking to my roots, rapping about what I'm doing, what I think about. This record is, much like the other ones, a very detailed look at my life."

Wenn ,Black Stabat Mater" das Album ist, mit dem sich das HEDVIG MOLLESTAD TRIO auf neues Terrain wagt, dann ist ,Evil In Oslo" die Zusammenfassung der früheren Jahre, obwohl es tatsächlich auch eine klare Verbindung zwischen beiden Alben gibt. Während die neun Performances hier von den ersten drei Studioalben stammen, sind die meisten längere Workouts, die HEDVIG als selbstbewusste und talentierte Gitarristin zeigen. Aufgenommen in den Osloer Clubs ,John Dee" und ,Buckley's" ist ,Evil In Oslo" ein kraftvolles Livealbum, das sich auf ein hohes Level an musikalischem Können stützt und eine perfekte Balance zwischen Freiheit und Disziplin eingeht. Diese qualitativ hochwertigen Aufnahmen fangen sowohl die pure Energie als auch die kleinsten Details auf ganz großartige Art und Weise ein. Mit Linernotes von Richard Williams. ENG Reissued! If "Black Stabat Master" can be seen as moving into new terrains, then "Evil In Oslo" can serve as a summing up of the previous years, although there is also a clear link between the albums. While the nine live performances presented here all come from their first three studio albums, most are lenghty workouts again showing Hedvig as a very confident and accomplished solo guitarist. Recorded at Oslo clubs John Dee and Buckley's, "Evil In Oslo" is simply a kick ass live album (never thought we'd ever use that expression, but there you go), with a very high level of musicianship and a perfect balance between freedom and discipline. The hi-res recordings capture both the energy level and all the details in a marvellous way! Liner notes by Richard Williams.

Limited Clear Vinyl edition, 500 copies! Lateef at Cranbrook (also reissued as Yusef Lateef) is a. live album by multi-instrumentalist Yusef Lateef recorded in 1958 at the Cranbrook Academy of Art and originally released on the Argo label. Saxophonist, flautist, oboist and all-round reeds maestro Yusef Lateef was a renowned cross-pollinator of Eastern modes with the more traditional harmonic repertoire of American jazz. During the course of his covetable career he worked side-by-side with Dizzy Gillespie, Charles Mingus and Miles Davis among others.

New pressing of the old RSD LP , now on black vinyl. An essential vinyl release of the Throwing Muses’ mainstay’s 2016’s CD and essay book that featured stories from “her life's most perception-altering junctures” (NPR). “As memoirs, her albums are so intensely personal... as art, they’re arguments for the value of unapologetic individuality” Pitchfork. “This music reminds you how alone you are; it consoles you through its insolubility, comforts you by jabbing you in the chest and letting you know how complex the struggle is, how inaccessible we are to each other but just how universal our pain can be.” The Wire. This sonically rich and fragmented record references to Hersh’s past material and sees her perform on guitar, bass, drums, piano, horns and cello. There’s a mysticism and sense of life wonderment throughout ‘Wyatt At The Coyote Palace’ that also has death as a central theme rather than the contemplation of death itself it’s reaching the end of something and beginning a new life. Tracklist: Side A. 1 Bright 2 Bubble Net 3 In Stitches 4 Secret Codes 5 Green Screen 6 Hemmingway's Tell. Side B. 7 Detox 8 Wonderland 9 Day 3 10 Diving Bell 11 Killing Two Birds 12 Guadalupe. Side C. 13 American Copper 14 August 15 Some Dumb Runaway 16 From the Plane 17 Sun Blown 18 Elysian Fields. Side D. 19 Soma Gone Slapstick 20 Cooties 21 Christmas Underground 22 Between Piety and Desire 23 Shaky Blue Can 24 Shotgun

Deca’s streak of entrancing releases continues with Smoking Gun, an album that deftly blends psychedelic, raw production with sharp insights and clever lyricism. But it’s also much more than that. Smoking Gun is a sonic representation of an artist grappling with living in America, a country with a network of broken systems that leaves Deca questioning when and if it may turn around. To say this all makes for a compelling listen would be a vast understatement, because the New York City-based rapper/producer knows the key to presenting this material. He does it in a way that’s both refreshing and new, but never isolating or simply too oddball. There’s a left-field quality to his work, but Deca knows exactly what he’s doing. To prove that point, he enlisted fellow outside-the-box thinkers like Blu and Homeboy Sandman to appear on some of the album’s standout cuts. “Shelter,” which features Blu, is a jazzy, dusty piece of thoughtful hip-hop with crazy flows and lyrics to match. It’s so good you’ll wish these two would record an entire project together, and the same goes for Boy Sand’s appearance on “Dawn Wind.” Backed by Deca’s own low-key funky production, both he and Homeboy Sandman go verse for verse, each offering their own take on how to liberate yourself from the machine that aims to surveil and control both our outer world and inner peace. Other tracks embody a similar energy, including the justifiably cynical “St. America (feat. DJ Stan Solo)” and stunning “Tuning.” The latter track may just be the most impressive piece on Smoking Gun, thanks in part to the mind-melting beat-switch. It’s a thrilling musical journey that furthers Deca’s narrative about mankind’s ethical plight, and the problems we collectively face. TRACKLIST: 1. Smoking Gun (Intro) 2. St. America (feat. DJ Stan Solo) 3. Tuning 4. Blight 5. Flight Path (feat. Ichiban, DJ AWHAT!) 6. Hive of Industry 7. Crab Apples 8. Shelter (feat. Blu) 9. Tunnel Under 10. Dawn Wind (feat. Homeboy Sandman) 11. War Heads 12. The Eagle's Descent