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The oblique and annihilating transmissions emanating from the workshop of Polar Inertia have been issued intently and surely over the last decade and more. Environment Control grants access to the biggest consignment to date, with eight tracks of mesmeric play that are fraught with clinical impulsiveness and astringent rushes.

Opening with a didactic panegyric to transmutation, Polar Inertia swiftly counter our recoil with an ominous display of pressure on 'Smothering Dreams'. The intensity is sustained—as if to suggest that there's now no way back—until the menace relents on 'Artic Horizon', its shimmering gravitational pull amounting to an idealism after the unease that delivered us here.

2023 Repress

Maston’s Darkland is a breezy collection of the material from the Tulips sessions that didn’t make it on to the original LP. Originally a digital-only release for those in the know in the autumn of 2018, after re-issuing Tulips in 2020 it made too much sense for Be With to give Darkland a vinyl release.

Like Tulips, Darkland was recorded mostly in Hoorn, in the Netherlands, between 2015-2017 during downtime from Frank’s touring duties with Jacco Gardner’s band. Bits were also done in Los Angeles on some extended trips back home.

The collection plays like an alternate view of Maston’s instant modern classic Tulips; a companion piece to the LP proper with similar mixture of shorter themes and more full length tracks. As Frank Maston explains: “I think Darkland is the shadow of Tulips in a way… what it might’ve been in a different universe. But the heart of Tulips beats in these songs as well and they evoke the same memories and feelings for me. I see my process playing out across these songs - lots of experimentation and trying out new techniques and sounds and just sort of going for it.”

Frank goes on: “It was all from the same pool of material, like 30+ ideas. I was making a lot of little demos… some would be more fleshed out and become songs and others would just be a cool riff and not go anywhere. When I started trying to form it all into an LP I went through all the sessions and ideas and collected the ones I thought were the most fleshed out and cohesive together as a whole. There were a fair amount of songs that were finished and in hindsight really should have been on Tulips (like what would’ve been the title track). And the rest of these songs are either very early versions of tunes that ended up on Tulips or some cool ideas that just ended up being dead ends. It definitely shows how wide my net was in the beginning before I narrowed the record down stylistically.”

Darkland opens with its ornate 39 second title-track before striding into “Tulips”, that full-length title-track that never was. It’s a real head-nod, percussive-rich electric piano stunner that would’ve been a comfortable standout on the album proper. But now this “downlifting” gem is given ample room to shine on this record.

The funky organ-led bass and drums workout “Immaculate Conception” will keep your neck gently snapping while MPC fiends go reaching for their sampler. And that’s gospel. “Love Theme No 3” cuts a breathtakingly stylish vibra-slapped swathe through the middle of the opening side before we’re startled by the pronounced bass and twinkling percussion of “The Owl In Daylight”. Charming digi-drums underpin the wonky synth (quiet-)banger “Innovative Patterns” which has a lovely melodic switch-up in the final third before the tempo (and hairs on your neck) rise on the faintly creepy yet imminently groovy “Osiris”. The gorgeously soft-focus “Groove Experiment No 3” closes out the first half in slow-mo wonderment.

The lushly melancholic “Raincloud” ushers in side B before the emotionally-stirring “Phonic” taps at the door, coming on like the long lost sister to Pet Sounds’ “Let’s Go Away For A While”. Next up, the swooning beauty “Love Theme No 2” keenly sways in front of you, growing ever more insistent and hypnotic. The too-short “Italian Summer” conjures the same flirtatious imagery as the title hints at whilst “Endless” is a fascinating “piano-pella” alternative version to “Rain Dance” from Tulips. “Wonder Theme” has a nostalgic, exotic 60s swing and album closer “Willow” is a hushed, campfire folk gem. The gently circular strumming is just magical.

Speaking to Aquarium Drunkard back in 2019 about the sessions that became Tulips, Frank noted: “I was really surprised by the lack of sunlight during my first winter in Holland, so I would call it Darkland which then became the name of the first demo I wrote during that time. It was also the working title of the record when I first started writing. Some are full songs that didn’t make the cut (including what would have been the title track), some are just ideas that I never finished.”

Whilst we were working on Darkland’s vinyl release Frank explained more specifically about the music that didn’t make it on to Tulips: “When I was putting together the tracklisting for Tulips I was already thinking that whatever didn’t make it onto the LP would be cool to release eventually somehow. The response to Tulips has been so passionate over the years that it’s nice to be able to offer another piece of that world. And for me personally it’s amazing to have more of my work out there in the world. Most common bit of feedback was that many of these songs should have been on Tulips. The odd friend says it’s much better than Tulips.”

Just like Tulips before it, Simon Francis’s vinyl mastering for Darkland has been cut at 45rpm so you can trip out to this as well at a woozy 33 1/3. The artwork too has been designed by Frank himself as a literal visual continuation of the Tulips cover.

We couldn’t possibly say whether Darkland is better than Tulips, and luckily we don’t have to decide.

The Decline And Fall Of Heavenly’ Gets Re-Issued On Vinyl. Skep Wax Records are re-issuing all four Heavenly albums over a two year period, and this is the third instalment, following on from ‘Heavenly vs Satan’ and ‘Le Jardin De Heavenly’. Each LP includes relevant single releases as additional tracks, a 7” booklet with lyrics, pictures, and new sleeve notes by the members of the band. Altogether, the four albums will amount to a thorough collection of the band’s recorded output. Heavenly will be playing gigs in various countries in 2024. The third Heavenly album will be re-released by Skep Wax Records on Friday 2nd February. The re-release will also include all five tracks from the Atta Girl and P.U.N.K Girl 7” singles. The Atta Girl and P.U.N.K. Girl singles were released in 1993; album The Decline and Fall of Heavenly came soon after in 1994: collectively they show a band that is rapidly expanding its scope. The album veers confidently from high speed indiepunk (Me And My Madness) to cool surf instrumental (Sacramento) and back again to the sweetest indiepop (Itchy Chin). Meanwhile, the singles, which include the band’s most celebrated tune - P.U.N.K Girl – demonstrates how much confidence Heavenly were deriving from their involvement in the nascent Riot Grrrl scene. All the anger is there, the politics are direct and crystal clear – yet the whole thing is still delivered with the sweetest pop melodies. It’s like being punched and kissed at the same time. The three releases also show how Heavenly had come to feel equally at home in the UK and in the US. The album maybe feels more British, as demonstrated by the Old World irony of the ‘Decline and Fall’ title. At Heavenly gigs in the UK, often playing with other bands on the increasingly influential Sarah Records, audiences were getting bigger, while the bands were finding a sweet spot where anti-corporate understatement and a dismissive attitude to an increasingly misogynist UK Press was no barrier to success. P.U.N.K Girl and Atta Girl on the other hand, are more gleeful, more headlong, and somehow feel more American: they are carried along by the excitement and adrenaline of having found another spiritual home - the indiepunk Riot Grrrl scene that was focussed on Olympia, WA, the HQ of Heavenly’s US label K Records. (K released P.U.N.K Girl and Atta Girl together on one 10” EP.) Amelia Fletcher and Cathy Rogers were now confidently sharing vocals, sometimes harmonising, sometimes taking it in turns, sometimes singing over each other. Peter (guitar) Mathew (drums) and Rob (bass) had become adept at changing gear from ornate pop to full-on punk, unafraid of genre rules and increasingly happy to make up their own version of what pop music should sound like. The more delicate, more decorative arrangements of Heavenly’s first two albums had been left behind. The band – or more accurately, the women in the band – were still dogged by accusations of being too fey, too ‘twee’: not ROCK enough. But, as the chorus of Atta Girl makes clear, any attempts to define Heavenly by their ‘cuteness’ now received an unambiguous response: ‘Fuck you, no way!’ The fourth and final Heavenly album ‘Operation Heavenly’ will be released later in 2024. Heavenly were: Amelia Fletcher (guitar, vocals), Cathy Rogers (guitar, vocals), Rob Pursey (bass), Peter Momtchiloff (guitar), Mathew Fletcher (drums).

repressed !

Diferit Records will focus mainly on young talented producers who will get the chance to perfect their skills, reaching step by step to a higher quality profile set by the CWR standard. Also, they will learn first hand how to sail smoothly through the ruff terrain of the musical industry, aided at all times by dedicated people. Having the necessary tools and the right amount of passion, Diferit Records prepares artists to embrace their careers in a professional manner and take them to the next level. Join the team and tomorrow you just might have the whole world cheering for you !, we support House, Tech-House, Deep-House, Minimal-Tech-House, Techno.

Der Soundtrack von Carlos Rafael Rivera zur neuen Netflix-Miniserie GRISELDA, die am 25. Januar 2024 startet. Die Kolumbianerin Griselda Blanco ('The Godmother') gründet ein eigenes Kartell und hebt die männlich dominierte Welt des Drogenbusiness aus den Angeln. Mit Sofia Vergara in der Hauptrolle.

During the dreaded lockdown of 2020, many people found themselves working from home, or with much more time spare than they had previously. Vasts amounts of music was being offered during this period as a result. I’ll be honest, the name Riffz I had no experience of at the time, unlike Msymiakos, which was a name I was already familiar with. The most compelling aspect of my curiosity before listening was that I was intrigued by the geographic blend of Poland and Norway. How would these distant locales combine to decipher their thoughts into this great sound we all know and love. Once I had listened, the word ‘no’ was nowhere within the vicinity of my vocabulary. Hear for yourself.

Ladies and Gentlemen, meet Jogo Duro, a collaboration between Ilhan
Ersahin and some outstanding Sao Paulo musicians Guizado, Ze Nigro,
Samuel Fraga, Chicao & Tony Gordin who also happen to be great friends
These are players who will be familiar to those following the careers of Ceu, Otto,
Curumin, Tulipa Ruiz and the late, great Gal Costa. This record is the result of the
amount of time Ilhan has spent in Sao Paulo over the last decade due to putting
on the Nublu Jazz Fest there every year. With all the contacts, connections and
friendships formed over the course of making an annual music festival happen,
musical cross-pollination (usually simply referred to as "jams") was inevitable but
this time it was decided to do it in a studio with tape rolling rather than on stage,
which is certainly a more productive approach than merely talking about it over
beers at a local bar!
Everything happened fairly spontaneously over three days in the studio,
everybody brought songs, ideas and creative energy and before you know it an
album was born, which will be released in November after three singles come out
over the spring and summer

James 'Bursnki' Burnham aka Constant Sound label boss and garage head Instinct is showing no signs of running out of ideas despite having put out such a high amount of high-class club weaponry in the last few years.

He goes big once more with this latest 12" which subtly features the iconic vocal cries from Moby's 'Go' but repackaged in a shuffling and banging garage groove with dark synths and wonky bass. On the flip is pure grade bassline track, 'Bassline Track.'

It'll take you back to the days when this northern take on garage was all the rage, and why not?

Van Halen did more than announce to the world the earthshaking arrival of a revolutionary guitarist. Performed by an enterprising California quartet that took its name from two of its principal members, the 1978 debut ripped headlines away from punk, injected fresh energy into a then-moribund rock 'n' roll scene, reimagined how heavy music and throwback pop could coexist, and invited everyone to experience the top-down pleasures of a beach-front Saturday night every day of the week no matter where they lived. Painstakingly restored by Mobile Fidelity Sound Lab, and the first of a multi-album series in an exciting partnership between the famous reissue label and Van Halen, Van Halen delivers feel-good thrills and hormonally charged desires like never before.

Limited to 12,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and allows fans to experience Van Halen's original blend of raw power, Hollywood flair, and vaudeville fun for generations to come. Playing with reference-setting sonics that elevate a 10-times-platinum landmark whose importance cannot be quantitatively measured, this definitive version provides a clear, clean, transparent, balanced, and turn-the-volume-up-to-11 view of an album that birthed entirely new styles. Since MoFi's unique SuperVinyl compound allows you to crank the decibels to your wildest desires without risking noise-floor interference, prepare to not only hear but feel Van Halen in your chest, no fifth-row concert seat necessary.

The premium packaging and gorgeous presentation of the UD1S Van Halen pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic cover art to the meticulous finishes and, yes, of course, Eddie Van Halen's pioneering fretwork and his brother Alex's double-bass percussion.

Indeed, could a piece of music that transformed how countless guitarists approached their instrument be more fittingly named than "Eruption"? Likely not, and in just 102 seconds, Eddie Van Halen rewrote, reimagined, and reconfigured a vocabulary last significantly updated a decade earlier by fellow six-string wizard Jimi Hendrix. Akin to the Washington State legend, Eddie Van Halen developed his own techniques and tones all the while making his seismic accomplishments seem effortless. Devoid of the pretence, ego, and showiness that infected many of his imitators, the Dutch native sticks to a straightforward approach that underlines the authority, prowess, and visionary scope of his playing and then-unheard-of finger-tapping skills. Throughout Van Halen, he establishes himself as an instant idol – a savant whose otherworldly combination of breadth, poise, feel, speed, force, and melody seems beamed in from another galaxy.

As does nearly every song on the record, whose cohesiveness and dynamic put into perspective the advanced chemistry and one-for-all spirit the youthful band had out of the gates. Having paid its dues for years in bars and clubs – going as far as recording a 24-track demo for Kiss bassist Gene Simmons at Village Recorders only to be spurned by management companies that felt its music wouldn't go anywhere – Van Halen finally got a deserved break when Warner Bros. executives signed the group in 1977. The subsequent recording sessions further testify on behalf of the band's synergy and alignment. Completed in just a few weeks with producer Ted Templeman, Van Halen was primarily cut live in the studio with minimal overdubs and edits. The explosiveness, energy, and electricity remain definitive, and as heard on this UD1S set, put the group on a private stage – humming amplifiers, Frankenstrat guitar, bright spotlights, sweaty headbands, and then some.

Van Halen yielded just one hit in the form of a Top 40 single (a breathless cover of the Kinks' "You Really Got Me") but practically every song on the revered LP has become a staple. Named the 202nd Greatest Album of All Time by Rolling Stone and considered by countless experts as one of the best debuts in history, the record displays what can happen with four distinct talents gel and strive for the same purposes. In Van Halen's case, the latter almost always involved partying, freedom, sex, and, in the immortal words of singer David Lee Roth, living "life like there's no tomorrow." The celebration manifests from the opening notes of the strutting "Runnin' with the Devil" – announced with the blare of droning car horns, Michael Anthony's robust bass line, and Alex Van Halen's thumping drumming – and continues through the conclusion of the white-hot "On Fire," goosed by Eddie Van Halen's race-track-ready lines, Roth's flamboyant deliveries, and the rhythm section's cat-like pounce.

Picking out individual highlights on Van Halen is akin to trying to count all the stars in a clear nighttime desert sky: There are far too many to identify, once you see one you notice another dozen you didn't spot before, and the cluster is best enjoyed as a whole. What's evident over repeat listens is the sheer diversity, a fact that's often overlooked: The high harmonies and background funk of "Jamie's Cryin'"; the insistent cane-and-a-tophat shuffle and doo-wop shoo-bop vocal break on "I'm the One"; the throwback acoustic blues that spreads into fast-paced, single-entendre wildfire on the Roth-led standout interpretation of John Brim's "Ice Cream Man." Like the man says, on Van Halen, all the flavours are guaranteed to satisfy.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior


Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl


Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

After a two-year pause, the PIV label returns with a new release on its ‘Limited’ vinyl only sub label. This time in good company by two legends in the making: Fabe and Alexander Skancke. PIVLIM, as the sublabel is called, focusses on the more underground sound of house music. Fabe provides 3 original very unique sounding tracks, with Alexander showing off his skills on the high energy driving remix. The tracks have shown their effectiveness countless times on dancefloors around the globe, so be sure to get your copy now, as only a limited amount will be pressed on vinyl only.

DJ Support: Lauren Lo Sung, Rossi, Chris Stussy, M-High, Fabe, Alexander Skancke.

Danny Daze presents a brand new alias for Slacker 85 first solo artist EP - D33 is a long-gestating alter-ego through which the Miami DJ & producer plans to explore a more house-leaning output.

The Operator EP sees the Omnidisc label owner channeling his multi-genre, Miami bass-infused sound into a quartet of stripped-down machine jams tailored for house DJ sets, with the fidgety title track issued in two flavors, the D33 ‘Wet Mix’ and Danny Daze ‘Dry Mix’, while on the B-side the heavy kick and evil bassline of ‘Azuca’ is offset by the hypnotic Jonny From Space collab ‘C’mon’.

“D33 is an alias I’ve had floating around in my head for years. It leans more towards my house music side and allows my head to dig into simpler production of dance music. My D33 production and DJ sets purposely feel a bit more laid back. Now I have the time to give out a crazy amount of hugs in between tracks while DJing… :) ” - Danny Daze aka D33

Copenhagen punk rock/power pop band BIG MESS is a pile of hooks and energy. Taking their cues from the timeless masters of melody, loud guitars and high BPMs, their music packs an infectious punch. CLEANING UP WITH is the band's fourth full length and its first collaboration with UK-based label Specialist Subject. The album shows Big Mess at their most accomplished yet, and shows total dedication to reaching the ultimate in hit making. Imagine a singles compilation by your favourite band and you get the idea. Songwriting is key for Big Mess - as much Brill Building sparkle as hardcore punk economy, with no room for duds. Lyrically, the songs are heartfelt and occasionally stupid, with the dangers and difficulties of existence and the joys of rocking holding equal importance. Having been a band for nearly a decade, Big Mess’ playing is instinctive, effortless and relentless topped with vocals that combine a hooky sense of melody and rhythm with the right amount of desperation. This time the band adds a refreshingly shameless amount of backing vocals and harmonies that only add to the effective singalong quality Pink vinyl limited to 500 copies “BIG MESS is actually one big, relentless, overwhelming wall of hooks…non-stop, uptempo power pop/pop-punk with contagious riffs and choruses with their own choruses. This group is due a place on the shelf next to pop-punk’s catchiest tunesmiths, like JAY REATARD, the SPITS, MARKED MEN, SCREECHING WEASEL, etc. etc. Great!” - Maximum Rocknroll

Repress!

Two huge Bobby Womack classics, the heart-on-a-sleeve 'How Could You Break My Heart' and the sweet soul love song, 'Give It Up' get a much deserved, official remastered reissue.

Produced and composed alongside Patrick Moten, who worked with the likes of Loleatta Holloway, Anita Baker and Rosie Gaines, 'How Could You Break My Heart' was a massive record on the modern soul scene and still a favourite across the board with the biggest selectors and DJs on the circuit.

The blend of warm woozy keys and magical piano touches, over energetic strings, powerful horns and tight percussion, are near impossible not to get swept up by and provide the perfect backing for Womack to bare all. Arguably one of the greatest soul singers to have ever done it, endless amounts of passion and raw emotion emanate from his rugged tones as he swallows the bitter pill of heartache and rejection.

On the B side the bittersweet 'Give It Up' where soaring strings and sumptuous chord progressions, marry with the full range of Womack's vocals and those expert backing harmonies. A luscious sax solo and funk bass give a sultry feel that mixes with the tenderness on show, providing a powerful metaphor for the swirling emotions that come part and parcel with this ever-relatable tale of reaching out for love.

4LP is four black vinyl discs in two gatefold jackets + two 18 x 24 folded posters in a side-load slipcase + a printed insert for full album download. This is strictly for Indies only. 2CD is two discs in a six panel wallet + a 28 page booklet + printed insert. Misfits & Mistakes: Singles, B-sides & Strays 2007–2023 is Superchunk’s fourth singles compilation, a massive, 4-LP (or 2-CD) collection covering their triumphant return from hiatus. The amount of ground covered within its gorgeous packaging is staggering: 50 songs, 16 of which are on physical media for the first time, sourced from out-of-print releases, digital singles, compilations, and more, a vital piece of the Superchunk canon. Featuring extensive liner notes by Mac McCaughan (with additional notes from Laura Ballance), Misfits & Mistakes tells the story of each release, from why they chose to cover songs by The Misfits, The Cure, Destiny’s Child, and Bananarama, to working with collaborators like Katie Crutchfield (Waxahatchee), Jane Wiedlin (The Go-Go’s), Eleanor Friedberger, Damian Abraham (Fucked Up), Norman Blake and Raymond McGinley (Teenage Fanclub), and more! Mac writes: Who knew it would take a cartoon hamburger to kick off a new period of activity for Superchunk? When we recorded “Misfits and Mistakes” for the Aqua Teen Hunger Force soundtrack at Overdub Lane in Durham, we also recorded the first version of “Learned to Surf” which gave us an on-ramp for making new music after 8 years of playing sporadic gigs. It also reminded us what we liked about playing Superchunk songs, whether they’re our own or written by our musical heroes. This collection covers a lot of ground, from heavy touring years to a pandemic where we made singles and an album at home. One difference between this comp and our first three is that this time span completely falls in the digital age; the distance from a final mix to everyone hearing it is shorter than ever. I’ve always liked artists that were prolific—throwing out singles in between albums when you least expect it. A surprise release from your favorite band is one of the few things that can still bring a little excitement to what can seem like an endless deluge of “content” (puke). Hopefully the wild swings between lo & hi fi and originals and covers on this comp still allow for some coherence and, more
importantly, convey what’s FUN about this punk rock thing.

ONLY AVAILABLE ON PREORDER!!

The first-ever LP box set gathering the entire 10 albums collection of Obscure Records produced by Brian Eno’s.
Curated by Gavin Bryars

Originally issued between 1975 and 1978, nearly 50 years on the output of Obscure remains radically forward-thinking - offering glimpses of a future yet to be fully seen - and amounts to one of the most important, influential, and creatively accomplished album series ever conceived.
Co-curated by Eno and the composers Gavin Bryars and Michael Nyman - issuing the recording debuts of Bryars, Nyman, John Adams, Christopher Hobbs, David Toop, Max Eastley, Jan Steele, Simon Jeffes / The Penguin Café Orchestra, and Harold Budd, in addition to important works by John Cage, Tom Phillips, and John White - Obscure’s collective output is a groundbreaking landmark in the histories of Minimalism, modern composition, and Experimental music, and laid much of the groundwork for the soon to emerge movement of Ambient music.

Illuminating the remarkable, and largely otherwise undocumented, creative ferment within and between the British and American scenes of experimental music during the mid to late 1970s, this collection - made in full collaboration with all of the composers or their estates - contains the entire 10 album output of Obscure, the majority of which have been out of print for years, with a number having never received a CD reissue.

Offering each of Obscure’s albums, completely remastered and housed in faithful replicas of their original covers and liner notes, as well as a 80-page book (LP dimension) for LP-BOX SET, filled with rare photos, archival material and texts by - among others - Gavin Bryars, Bradford Bailey, David Toop, Max Eastley, Richard Bernas, and Tom Recchion, this historic collection marks the first time this seminal series has received a complete LP repress.

Whatever condition your condition is in, Soul4Real have huddled together a team of the finest soul physicians to make you feel good.

We scoured all the shelves in the soul pharmacy and discovered some potions that were only just through the trial stage. Just one listen to the brilliant Aretha, Gladys, Walter Jackson and the Purify’s tracks convinced us not to wait for FDA approval, so we took the plunge and shared them with the world on vinyl for the very first time.
Recorded in 1968, Arthur Alexander‘s magnificent “I Need You Baby” reached legendary status during the tape-swapping epidemic of the late 70s/early 80s. The first traces of Alexanderitus were linked back to a tape dispensed by a north London mod by the name of Randy Cozens, which went viral. Even today, the mere mention of the title to any of those C60-swap-survivors can cause severe heart palpitations.
Down in Memphis, they tend to practice the holistic approach to heartaches. Southern folk understand it’s about the voice and its natural healing powers, especially when it’s being administered by the likes of the Soul Children and Shirley Brown, who instinctively inject the perfect amount of ache, warmth and emotion to hit just the right spot. May we prescribe at least two listens a day, taken with or without food.
Helping with recovery we have included tracks by our care team Maxine, Gil Scott-Heron and the Isleys, whose gentle grooves will help nurse you back onto the dance floor in record time.
And finally, my personal favourite, Dr Johnnie Taylor. Frankly, it beats me how someone who delivers the lines "she don’t break no records when it comes to good looks” and “she burns up the food when she cooks" to his girlfriend manages to avoid a trip to A&E. We decided such foolish bravery should be rewarded by having his picture on the album cover.

12 tracks, all great examples of real soul music, a mix of well known classics, overlooked gems, and 4 original unreleased songs.

Ennio Morricone composed and arranged scores for more than 500 film and television productions, making him one of the most influential and best-selling film composers since the late 50s. The Legend of 1900 (Italian: La leggenda del pianista sull’oceano).

The Legend of 1900 is a 1998 Italian drama film directed by Giuseppe Tornatore and starring Tim Roth, Pruitt Taylor Vince, and Mélanie Thierry. The film is inspired by Novecento, a monologue by Alessandro Baricco. The Legend Of 1900 was nominated for a variety of international award, winning several for its soundtrack, including a Golden Globe for Best Original Score - Motion Picture. This release includes the song “Lost Boys Calling” featuring Roger Waters & Eddie van Halen.

Throughout his career, Morricone received an unprecedented amount of awards, including Grammys, Golden Globes, and BAFTAs. Ennio Morricone has influenced many artists including Danger Mouse, Dire Straits, Muse, Metallica, Radiohead, Hans Zimmer, and many more.

The Legend of 1900 is available limited edition of 5000 numbered copies on smoke coloured vinyl. The package includes an insert.

The phoenix symbolizes a new beginning. The fire burns off the last vestiges of the past as the bird spreads its wings and takes flight into the future. The Polyphonic Spree harness the flames of rebirth on their 2023 full-length offering, Salvage Enterprise. Led by frontman, founder, producer, multi-instrumentalist, and visionary Tim DeLaughter, the group embark on their next season. They're reverent of their history, yet they're also ready for an even brighter tomorrow. "Across all of the music I've done, lyrically there's a sense of desperation and a moment of convincing myself I'm going to make it through regardless of how the music dresses up," notes Tim. "On this one, I struggled with the amount of vulnerability I was experiencing and was willing to share both musically and lyrically, but ultimately decided to let it play out. Now that it's done, I'm happy with the dance between the two. It's a `rising-from-theashes' record." Salvage Enterprise beckons complete immersion. Opener "Galloping Seas (Section 44)" affixes softly strummed acoustic guitar to an orchestral hum as Tim urges, "Hold on through the galloping seas." "We're all galloping through rough waters," he says. "I tried to describe the process as well as I could and encourage people to keep their heads above the storm and the waves. Ride it out. It's going to be okay. It starts off very calm and introspective, and you can envision where it's going." Flute echoes over nimbly plucked guitar during "Shadows On The Hillside (Section 48)" as keys twinkle. A glorious harmony amplifies the nostalgia of "Hop Off The Fence (Section 49)." It concludes with "Morning Sun, I Built The Stairs (Section 52)." Optimism strains through his hopeful intonation, "I learned to fly, the more that I become a new reason, I want to try," uplifted by boisterous horns and cinematic strings. It crashes into an Ennio Morricone-style crescendo bolstered even higher by operatic vocals. "There is an arc of leaving the world behind, stripping your old self away, and becoming new again," he offers. "You're shedding off this old world, and you're heading into the future. It's an epic ending. You've made it. You're going to be alright." In the end, The Polyphonic Spree are the soundtrack to that light at the end of the tunne

The phoenix symbolizes a new beginning. The fire burns off the last vestiges of the past as the bird spreads its wings and takes flight into the future. The Polyphonic Spree harness the flames of rebirth on their 2023 full-length offering, Salvage Enterprise. Led by frontman, founder, producer, multi-instrumentalist, and visionary Tim DeLaughter, the group embark on their next season. They're reverent of their history, yet they're also ready for an even brighter tomorrow. "Across all of the music I've done, lyrically there's a sense of desperation and a moment of convincing myself I'm going to make it through regardless of how the music dresses up," notes Tim. "On this one, I struggled with the amount of vulnerability I was experiencing and was willing to share both musically and lyrically, but ultimately decided to let it play out. Now that it's done, I'm happy with the dance between the two. It's a `rising-from-theashes' record." Salvage Enterprise beckons complete immersion. Opener "Galloping Seas (Section 44)" affixes softly strummed acoustic guitar to an orchestral hum as Tim urges, "Hold on through the galloping seas." "We're all galloping through rough waters," he says. "I tried to describe the process as well as I could and encourage people to keep their heads above the storm and the waves. Ride it out. It's going to be okay. It starts off very calm and introspective, and you can envision where it's going." Flute echoes over nimbly plucked guitar during "Shadows On The Hillside (Section 48)" as keys twinkle. A glorious harmony amplifies the nostalgia of "Hop Off The Fence (Section 49)." It concludes with "Morning Sun, I Built The Stairs (Section 52)." Optimism strains through his hopeful intonation, "I learned to fly, the more that I become a new reason, I want to try," uplifted by boisterous horns and cinematic strings. It crashes into an Ennio Morricone-style crescendo bolstered even higher by operatic vocals. "There is an arc of leaving the world behind, stripping your old self away, and becoming new again," he offers. "You're shedding off this old world, and you're heading into the future. It's an epic ending. You've made it. You're going to be alright." In the end, The Polyphonic Spree are the soundtrack to that light at the end of the tunne

The phoenix symbolizes a new beginning. The fire burns off the last vestiges of the past as the bird spreads its wings and takes flight into the future. The Polyphonic Spree harness the flames of rebirth on their 2023 full-length offering, Salvage Enterprise. Led by frontman, founder, producer, multi-instrumentalist, and visionary Tim DeLaughter, the group embark on their next season. They're reverent of their history, yet they're also ready for an even brighter tomorrow. "Across all of the music I've done, lyrically there's a sense of desperation and a moment of convincing myself I'm going to make it through regardless of how the music dresses up," notes Tim. "On this one, I struggled with the amount of vulnerability I was experiencing and was willing to share both musically and lyrically, but ultimately decided to let it play out. Now that it's done, I'm happy with the dance between the two. It's a `rising-from-theashes' record." Salvage Enterprise beckons complete immersion. Opener "Galloping Seas (Section 44)" affixes softly strummed acoustic guitar to an orchestral hum as Tim urges, "Hold on through the galloping seas." "We're all galloping through rough waters," he says. "I tried to describe the process as well as I could and encourage people to keep their heads above the storm and the waves. Ride it out. It's going to be okay. It starts off very calm and introspective, and you can envision where it's going." Flute echoes over nimbly plucked guitar during "Shadows On The Hillside (Section 48)" as keys twinkle. A glorious harmony amplifies the nostalgia of "Hop Off The Fence (Section 49)." It concludes with "Morning Sun, I Built The Stairs (Section 52)." Optimism strains through his hopeful intonation, "I learned to fly, the more that I become a new reason, I want to try," uplifted by boisterous horns and cinematic strings. It crashes into an Ennio Morricone-style crescendo bolstered even higher by operatic vocals. "There is an arc of leaving the world behind, stripping your old self away, and becoming new again," he offers. "You're shedding off this old world, and you're heading into the future. It's an epic ending. You've made it. You're going to be alright." In the end, The Polyphonic Spree are the soundtrack to that light at the end of the tunne

Kalita are proud to present the first ever reissue of Papa Yankson’s highly sought-after 1989 disco-infused highlife masterpiece 'Party Time'! Showcasing the late Ghanaian superstar at his very best, ‘Party Time’ encapsulates the blending of deep, rhythmic West African highlife with synthesizers and electronic styles that had exploded during the decade. Now, thirty-five years after initial release, and with original copies having reached grail status on the second-hand collector’s scene, Kalita brings this phenomenal record back to life, with extensive liner notes detailing Papa Yankson’s musical career.

A recipient of the Grand Medal of Ghana for his contribution to Ghanaian music, Papa Yankson was a key member of C.K. Mann’s Carousel Seven outfit during the 1970s, releasing joint albums together on the infamous Essiebons label to great success.

However, it was at the end of the following decade that Papa released ‘Party Time’, highlighting his forward-thinking musical style with its numerous hypnotic and driving up-tempo disco-soaked highlife cuts. Originally released in a small run on the short-lived Marriot Promotion label, the album features the standouts ‘Wonma Yenko Po’ and ‘Mumumde’, each showcasing deep highlife melodies, heavy drum patterns and phenomenal horn performances from the ingenious Sammy Lartey Jr on saxophone and Nana Asare on trumpet to boot.

With original copies selling for eye-watering amounts on the rare occasion that they come up for sale, the time is ripe for Kalita to celebrate this true Ghanaian 80’s grail, accompanied by liner notes and never-before-seen contemporary photos of Papa Yankson.

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

After their first LP (now sold out) on LES DISQUES A REBOURS in 2021 their second LP, "Stories", quickly followed one year later on TOPSY- TURVY in 2022.

Now the boys have put together yet another fabulous album full of infectious powerpop-punk-tunes!

The three musicians have all played in lots of bands before the SUTTLES, such as OPERATION S, PERIPHERIQUE EST, PROTOKIDS, LES ARONDES, JON AND THE VONS, LES BRAQUEURS and share a very cool and French punk'n'roll-sound.

The music is a mix of early Punk Rock and late 70's Power Pop: think about THE NERVES, THE UNDERTONES, THE JAM, JOE JACKSON.

Everybody sings, in English, French and Spanish. The band shares a huge amount of energy, coming directly from Punk rock and mixed with a very catchy sense of pop melody.

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

repressed!

Demi Riquísimo and his Semi Delicious imprint return for their 15th edition with another versatile, club ready collection of cuts from old & new members of the label family set for a release on the 7th July.

The EP features contributions from regulars Lulah Francs, Jive Talk & label owner Demi alongside debuts from NairLess, Last Magpie, Corbi and Michelle Manetti.

The A-side kicks off with ‘All I Need’, a collaborative track from Demi & Michelle Manetti. A bouncing, progressive house number with some old school Italian flavour that sets the tone nicely for the EP. Corbi’s ‘Kraken’ is up next providing some driving, analog acid squelch to SEMID015. ‘Don't Make Me Wait’ by Lulah Francs & Nebari wraps up the Ice Cream side. Proto house style drum programming and bass are juxtaposed nicely to the psychedelic synth work and impeccable vocals from Lulah creating a unique and versatile track to close out the A-side. The B-side opens with NairLess’ ‘Swell’, a tripped out slice of balearic trance. The EP takes a slightly more heads down turn on ‘Release It’ by Last Magpie. A menacing track driven by a sharp synth line that you’re sure to hear over festival season. Jive Talk’s ‘Wizard’s Slippers’ wraps up the EP in their imitable style. Off kilter drums, unique bass and minimalism with the perfect amount of elements to pique the listener’s interest bringing SEMID015 to a close in style.

Belgium based band formed by BEAR & Cobra The Impaler guitarist James Falck, alongside his Set Things Right bandmate Kristof Du Jardin, with Strains drummer Simon Janssen & bassist Lieven Casters.

Integrity is the word of choice when describing this new project. Initially created by the former Set Things Right guitarist alongside fellow STR bandmate and current BEAR & Cobra The Impaler guitarist James Falck, the pair set out to create music close to their hearts, with the intention of spilling them in the process. Something that has proven both cathartic and painful.

Digging up certain memories and emotions that, in some cases, would normally be better off buried, resulted in the pair spending a number of years writing an exuberant amount of music together. Their close and deep friendship, combined with their previous work together in their previous band, provided their work ethic with a strong foundation for the music they had dreamed of making ever since meeting, 10 years ago.

The line-up was subsequently completed by Strains drummer Simon Janssen & bassist Lieven Casters, who bring their own influences and tastes to the table to create something intrinsically unique. This can be seen clearly, not only from a musical perspective, but also visually and aesthetically. Together they form the musical collective now known as MANKIND. An expression of catharsis, a light in the tunnel, a way out of the darkness through confrontation.

"On Just Because, Claire captures all of the joy, confusion, anxiety, and wonder of growing up through 13 tracks set to a soundtrack of gleeful guitars, lo-fi production, and chantable choruses—all under the California sun. Throughout 2022, she wrote and recorded the album with producers Afterhrs, Paul Phamous, Stint, Elie Rizk, and her most frequent collaborator, executive producer, and dad Ragnar Rosinkranz. On the album, she states, “Just Because is a collection of songs I wrote about my life as an 18 year old. It’s a window into my world as I’m growing up and navigating life. Enjoy stepping into my lil movie.” Over a soundtrack of alternative pop spiked with just the right amount of punk and electronics, Claire Rosinkranz asserts herself as a true Gen-Z storyteller whose vision instantly captivates. Since releasing her breakout Gold-Certified debut “Backyard Boy,” the buzzing artist has built a diehard fanbase worldwide, racked up over 1 billion global streams and counting, received a US Gold Certification, won the MTV Trending Award for “Best Breakthrough Song” at the 2021 MTV VMAs, garnered a “Social Star” nomination at the 2022 iHeartRadio Music Awards, toured with Alec Benjamin and sold out headline shows across North America, and performed at a slew of legendary music festivals, including Lollapalooza, Austin City Limits, Life Is Beautiful, and more.
"

Following his acclaimed first album, French pianist
Dexter Goldberg is back, leading a completely
renewed trio, formed with two young French jazz
wizards, double bassist Clément Daldosso (known
for his stints with the Paris Jazz Sessions and
Giovanni Mirabassi New Quartet) and drummer
Raphaël Pannier (currently a sideman with Biréli
Lagrène and Thomas Enhco), who has just
returned from New York.
 Summoning the genuine spirit of childhood and the
pleasure of interplay, Goldberg puts his trio into
perspective, moving from homage to the great
masters - in particular, Ahmad Jamal, who
encouraged him just before passing - to the joyful
building of moving musical forms.
 Dazzling cover illustration by cartoonist Thomas
Baas.
 “Dexter affirms with just the right amount of
strength and delicacy his personality, that of an
authentic jazzman of the 21st century.” - Jazz
Magazine

Basel based experimental techno producer and amenthia label coowner Agonis steps up on Midgar. The release is inspired by the
astronomical phenomenon of gamma rays, the most energetic form of
electromagnetic radiation. Gamma ray bursts are associated with the
core collapse of massive stars leading to the formation of a black hole
or a neutron star, which releases a tremendous amount of energy,
outshining entire galaxies for brief seconds.

The 2007's Blackbird marked the creative launch of Alter Bridge, the follow-up project to Rock radio's favorite Creed. After Creed's demise Mark Tremonti, Scott Phillips and Brian Marshall teamed up with singer Myles Kennedy, and formed Alter Bridge as an outlet for their creative energy.

Kennedy contributed a considerable amount to the overall songwriting process of Blackbird, which resulted in a heavy, groovy and aggressive album. Alternating acoustic interludes and hard-hitting choruses, the band's new found songwriting freedom resulted in a fresh start for this Florida based Rock band.

The D-side contains a beautiful etched artwork - must be seen to believe!

This 10th Anniversary Edition is limited to 1.000 numbered copies on red vinyl.

Slaughter Beach, Dog’s new album ‘Crying, Laughing, Waving, Smiling’ finds Jacob Ewald hitting his songwriting stride. A decade into steadily releasing records through Slaughter Beach, Dog and Modern Baseball, Ewald spent hundreds of hours over the past few years to listen purposefully, diving deep into the worlds of Randy Newman, Tom Waits, Neil Young and many other “classic guys” that he hadn’t spent ample time with. Ewald also spent a similar amount of hours meticulously assembling a band fit for these new songs, and I am very happy to report that he found what he was looking for.

The result is ‘Crying, Laughing, Waving, Smiling’ - a timeless record, and Slaughter Beach, Dog’s finest - self produced and capturing Ewald and the band at the height of their powers. Ewald’s eye for detail is on display, ‘Crying, Laughing, Waving, Smiling’ is filled with gorgeous imagery and vivid worlds are built within each song. Out on longtime label home Lame-O Records, this album will bring

longtime Ewald fans, his newfound TikTok audience, and more discerning adult contemporary listeners deeper into the world of Slaughter Beach, Dog.

Ladies and Gentlemen, meet Jogo Duro, a collaboration between Ilhan
Ersahin and some outstanding Sao Paulo musicians Guizado, Ze Nigro,
Samuel Fraga, Chicao & Tony Gordin who also happen to be great friends
These are players who will be familiar to those following the careers of Ceu, Otto,
Curumin, Tulipa Ruiz and the late, great Gal Costa. This record is the result of the
amount of time Ilhan has spent in Sao Paulo over the last decade due to putting
on the Nublu Jazz Fest there every year. With all the contacts, connections and
friendships formed over the course of making an annual music festival happen,
musical cross-pollination (usually simply referred to as "jams") was inevitable but
this time it was decided to do it in a studio with tape rolling rather than on stage,
which is certainly a more productive approach than merely talking about it over
beers at a local bar!
Everything happened fairly spontaneously over three days in the studio,
everybody brought songs, ideas and creative energy and before you know it an
album was born, which will be released in November after three singles come out
over the spring and summer.

Ladies and Gentlemen, meet Jogo Duro, a collaboration between Ilhan
Ersahin and some outstanding Sao Paulo musicians Guizado, Ze Nigro,
Samuel Fraga, Chicao & Tony Gordin who also happen to be great friends
These are players who will be familiar to those following the careers of Ceu, Otto,
Curumin, Tulipa Ruiz and the late, great Gal Costa. This record is the result of the
amount of time Ilhan has spent in Sao Paulo over the last decade due to putting
on the Nublu Jazz Fest there every year. With all the contacts, connections and
friendships formed over the course of making an annual music festival happen,
musical cross-pollination (usually simply referred to as "jams") was inevitable but
this time it was decided to do it in a studio with tape rolling rather than on stage,
which is certainly a more productive approach than merely talking about it over
beers at a local bar!
Everything happened fairly spontaneously over three days in the studio,
everybody brought songs, ideas and creative energy and before you know it an
album was born, which will be released in November after three singles come out
over the spring and summer.

Bristol's soul jazz kings The Jazz Defenders release a new vinyl 45 single this autumn as a taster for their third album, which is destined for release in spring 2024. Once again, they are bringing together their love of 1960's soul jazz and golden era 90's hip-hop, just as they did on a couple of tracks on their last album "King Phoenix" (Haggis Records 2022). This new single sees them reunited with London MC/rapper Doc Brown, who guested on the track "Perfectly Imperfect", and his flow sits so naturally over the Jazz Defenders' music and beats, you'd think he's a permanent band member.

The A-side "Rolling On A High" is a real old school boom bap style party hip-hop jam. Big beats, rolling bassline (acoustic double bass), Ramsey Lewis soul jazz piano vamps, funky Hammond organ and some punchy horn section business, all topped off with Doc Brown bouncing bars back and forth with that laid back vibe he always brings to the mic. A guaranteed dance-floor bomb, whether you're a breaker, a jazz dancer or simply a Saturday night disco shuffler. The B-side "Looking Back" takes the tempo right down. An 'end of the night' number when the lights in the club are low, the last drinks are being drained and you're thinking and reminiscing about times gone by. The good times and bad, successes and mistakes. And made even more poignant and reflective halfway through when the mellow strings come into the song (once again excellently arranged by pianist/bandleader George Cooper). If "Rolling On A High" is the fire then "Looking Back" is definitely the ice. Proof that the Jazz Defenders can rock the party and grab the dancers but also dig deep with emotive tunes that draw in the discerning listener.

The Jazz Defenders, led by keyboard maestro George Cooper from The Haggis Horns, have been building a reputation as a great musical unit since their debut Blue Note/hard bop-inspired album "Scheming" appeared on Haggis Records back in 2019, which received a huge amount of praise from critics, and subsequently went on to spend 5 weeks in the top ten of the American jazz charts In 2021, their double A-side vinyl single "The Big Man/Love's Vestige" got them the breakthrough they deserved. It garnered heavy support on radio from top folks like Craig Charles (BBC6 Music), Helen Mayhew (Jazz FM), Jamie Cullum (BBC Radio 2), and Worldwide FM resident DJ's Ashley Beedle and Colin Curtis. They further enhanced their reputation as a rocking band with album number two "King Phoenix" and by electrifying audiences at sold out live shows across the UK, including the legendary Ronnie Scott's Jazz Club in London.

Album number three is well on its way but for now, check out this tasty limited edition 45 single on Haggis Records. The JDs and Doc Brown...the perfect combination, still keeping that sweet jazz/hip-hop love affair alive today.

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodic-funk instrumental - short but oh, so sweet. It's followed by the supreme tear-jerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

Restless Mashaits are based around the core of Jil and Stuf, who released a sizeable amount of nu- roots classics throughout the 90s and 2000's.

* Recently becoming active again, the Mashaits crew come with two prime-cut instrumentals - `Rasta the First’ & `Restless Mashaits’ - in a traditional roots steppers style with horns ablaze, with both tracks complimented by dub mixes courtesy of Russ D of The Disciples.

Amy Dabbs might be one of the hardest working artists in the game right now. Making it in the current electronic music landscape is not an easy thing, which might be why this talented artist is so heavily invested in her musical output. With releases on Aus Music, Shall not Fade and her own Dabbs traxx, a monthly residency on Rinse FM and a tour schedule that seems to get busier by the minute, we’re happy to see her hard work is paying off. Add to that some support by artists such as Special Request, The Blessed Madonna, Jaguar and Cinthie and you know this Berlin-based artist is right where she belongs: in the spotlight.

With a love for all things high energy – including, but not limited to house music and breaks – Amy knows how to set fire to a dancefloor (or record for that matter). Her music has been described by Resident Advisor as “Elegant and soulful drum & bass, that’ll still catch the ears of house heads.” So here you go, house heads: Amy Dabbs on Heist. The ‘Only breaks can love your heart’ EP is packed with feelgood energy and comes with a Dam Swindle remix that has the duo laying down some pleasantly unexpected breakbeats on an altogether rush-inducing record.

Right from the start, you know you’ve got an anthem on your hands with ‘Everything alright’. The gorgeous vocals by Aika Mal give you that right amount of emotive, ravey energy and come wrapped in a package of solid breaks and mesmerizing chords. With a hint of acid and a couple of meticulously crafted breakdowns you’ll be singing along with this track before you know it.

The Dam Swindle remix drops the tempo a little bit, but with its 140 bpm, warm broken beat and UK bass, the duo delivers a curveball of a track with a lot of crossover appeal. They went for a more stripped back approach that combines introverted percussion with bouncy keys that complement the vocals perfectly for an altogether irresistible remix.

‘Crush’ is a signature Amy Dabbs tracks, with driving 909 percussion, female vocal chops, ethereal pads and classic strings. It’s a warmhearted affair laced with Amy’s feelgood DNA. On the flip you’ll find ‘Eleven eleven twenty two’; a classic deep house track with subtle hints of UKG in its sampling and bass. The pads and leads are moody and the skippy percussion gives this track the kind of energy you’d welcome when pulling an all-nighter.

Rounding off the EP, we’ve got the ep title track ‘Only breaks can love your heart’; another showcase of Amy’s knack to make house aficionados dance to drum and bass. There’s a certain contrast in pace – raging drums versus dreamy chords that makes you feel at ease listening to a fast-paced track like this. The vocals are equally hazy with a subtle 90’s and 00’s RnB feel. Bassface guaranteed on this one!

Oh look! We are very proud to have the legend that is Ron Wells AKA Jack Smooth aka Electronic Experienced on the label. Very limited amounts (we are talking less than 5!) of the testpress of PARA019 will be available to the public this coming Bandcamp Friday, 4th March 2023 at 12:00 (UCT+1) alongside the Parallax Superbundle and more!