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"Psychedelic rock from Minneapolis psych madmen Jokers Wild! Includes all of their rare singles, plus 15 more originally unreleased mind-melting cuts - complete with slide whistle!

When looking through the amount of outta-this-world acid-tinged, garage and psychedelic rock that came out of Minneapolis during the 1960s, it wouldn’t be too far-fetched to assume that there was something in the water. Their sound was unlike any other Minneapolis ‘60s band – a true feat during that time.

Though the band began playing more local gigs during the early part of 1967, it wasn’t until May that they recorded their slide-flute-farfisa-organ infused psych wonderment, “All I See Is You "Psychedelic rock from Minneapolis psych madmen Jokers Wild! Includes all of their rare singles, plus 15 more originally unreleased mind-melting cuts - complete with slide whistle!

When looking through the amount of outta-this-world acid-tinged, garage and psychedelic rock that came out of Minneapolis during the 1960s, it wouldn’t be too far-fetched to assume that there was something in the water. Their sound was unlike any other Minneapolis ‘60s band – a true feat during that time.

Though the band began playing more local gigs during the early part of 1967, it wasn’t until May that they recorded their slide-flute-farfisa-organ infused psych wonderment, “All I See Is You / I Just Can’t Explain It.” The single was recorded at the famed Kay Bank Studios (where groups like The Trashmen, Vaqueros, Readymen, Castaways and many, many more laid down tracks) but received very little airplay. Their second single featured “Echo” as the A-side, and it’s equally as fun, bringing a ? and The Mysterians-esque farfisa beat behind a driving, delightfully fuzzy bass and guitar. Like their first single, it didn’t go anywhere. The lack of budget really hurt the band, and with too many bills to pay, they weren’t able to recoup on recording costs. Poof… it ended up sitting on the shelf.

The remnants of their unfinished album can be heard here, along with unreleased material, a cover of the Hollies’ “Have You Ever Loved Somebody,” and three of their limited release singles, “All I See Is You/I Just Can’t Explain It,” “Peace Man/Tomorrow,” and “Because I’m Free/Sunshine.” Catchy yet complex, tune out and turn on to this unsung Twin Cities garage-psych treasure and prepare to Step Outside Your Mind."

Just when you thought you had Kasper Bjørke figured out he comes back with another great musical surprise. His new album Puzzles, which will be released April 5th on hfn music, follows two recent collaborative EPs on Live at Robert Johnson and Mule Musiq as well as his second Kasper Bjørke Quartet neoclassical/ambient album Mother on Kompakt.
Puzzles is Kasper’s love letter to the sound of early 2000s New York - merged with his Scandinavian sense of producing songs that goes beyond conventional club music; combining disco tinged instrumentations mixed with elements of 80s funk, jazz and contemporary pop songwriting, creating something familiar yet, something very fresh and innovative at the same time.
The album includes collaborations with a wide range of musicians and vocalists. From California based indie-disco troubadour Woolfy (DFA, Rong, Permanent Vacation etc.) to the Icelandic dream-folk trio Systur aka Sísý Ey (who also featured on Kasper’s 2014 single Apart, where the Michael Mayer remix became a timeless club anthem), as well as other longtime collaborators and artist friends: Toby Ernest, Jacob Bellens, WhoMadeWho’s Tomas Høffding on bass, Posh Isolation affiliate Frederik Valentin on guitar and the young, rising jazz star Oilly Wallace on saxophone and flute. Essentially, the majority of Puzzles is played and recorded live, including the drums by Rasmus Littauer (School of X, MØ). Many of the songs emerged from chord progressions written during studio sessions between Kasper and Toby - which Kasper then produced into a colourful and effective album, rooted in an expressive live feeling far from programmed patterns.
Puzzles is a new step for Kasper as a producer and artist, showcasing his ability to move and flow freely between genres and expressions, however still deeply rooted in his love and affection for the classic disco groove - which is only natural after more than two decades as an active DJ.
Another piece has been added to the musical puzzle of Kasper Bjørke

Utter presents 'The Ritual EP' by Frank Rodas.

Frank Rodas is the elusive creator of 2019's 'The Sellout EP' (Optimo Music) and one of the brains behind the excellent 'Out The Flat' label. While his previous release deftly dipped into Electro, Industrial and EBM sonics, 'The Ritual EP' sees the versatile producer travel in another direction, taking the listener on an ethereal, acid-tinged Tribal voyage.

The visuals also complement the EP's cohesive deeper sound. Decadence comics co-founder Lando's immersive artwork draws us further into this imagined far-future world, with a vast flooded landscape dominating the front cover, any remnant of civilisation succumbing to nature. A large 50x70cm panoramic poster is included with every copy of the record.

'The Ritual EP' is available on recycled vinyl and digital formats.

Mastered & cut by Anne Taegert at D&M.

LP - limited re-press 2024! coloured Vinyl ! Cash Savage is one of the most respected and talented songwriters in Melbourne. With her band The Last Drinks, she has forged a reputation for gritty, raw and Australiana-tinged storytelling. One of Us is the result of a "fucking awesome, but fucking hard" 2015 for Savage, using the experience to generate a broader scope for songwriting. There's exploration of dichotomies and dualities, the songcraft emboldened by aural landscapes laid bare by The Last Drinks (Joe White, Rene Mancuso, Chris Lichti, Brett Marshall, Kat Mear).

US-based producer MACK LOENZ makes his Lone Romantic debut with the beautifully anthemic ‘Dance With Me’. Centred around its captivating vocal, ‘Dance With Me’ layers its sounds throughout. Pulsing bass, half-time kicks and rasping snares, are adorned with powerful synth chords, chops, and aquatic flourishes. The track builds, yet never peaks, always maintaining its sense of stripped elegance and mystery throughout.

Maceo Plex, fresh from the release of his critically acclaimed new album ‘’93’, makes a swift return to the label to lend his signature touch to ‘Dance With Me’. Initially drawn to the beauty of the original, the Lone Romantic boss now deftly reimagines the track, slowing the tempo, amplifying the vocal and adding a cinematic propulsion to synths that results in a spine-tingling rework.

‘Dance With Me’ (incl. Maceo Plex Remix) by Mack Loenz is available on Lone Romantic from 21st March 2024.

One of the hardest working singer-songwriters in the game is named Katie Crutchfield. She was born in Alabama, grew up near Waxahatchee Creek. Skipped town and struck out on her own as Waxahatchee. That was over a decade ago. Crutchfield says she never knew the road would lead her here, but after six critically acclaimed albums, she"s never felt more confident in herself as an artist. While her sound has evolved from lo-fi folk to lush alt-tinged country, her voice has always remained the same. Honest and close, poetic with Southern lilting. Much like Carson McCullers"s Mick Kelly, determined in her desires and convictions, ready to tell whoever will listen. And after years of being sober and stable in Kansas City-after years of sacrificing herself to her work and the road-Crutchfield has arrived at her most potent songwriting yet. On her new album, Tigers Blood, Crutchfield emerges as a powerhouse-an ethnologist of the self-forever dedicated to revisiting her wins and losses But now she"s arriving at revelations and she ain"t holding them back.

One of the hardest working singer-songwriters in the game is named Katie Crutchfield. She was born in Alabama, grew up near Waxahatchee Creek. Skipped town and struck out on her own as Waxahatchee. That was over a decade ago. Crutchfield says she never knew the road would lead her here, but after six critically acclaimed albums, she"s never felt more confident in herself as an artist. While her sound has evolved from lo-fi folk to lush alt-tinged country, her voice has always remained the same. Honest and close, poetic with Southern lilting. Much like Carson McCullers"s Mick Kelly, determined in her desires and convictions, ready to tell whoever will listen. And after years of being sober and stable in Kansas City-after years of sacrificing herself to her work and the road-Crutchfield has arrived at her most potent songwriting yet. On her new album, Tigers Blood, Crutchfield emerges as a powerhouse-an ethnologist of the self-forever dedicated to revisiting her wins and losses But now she"s arriving at revelations and she ain"t holding them back.

The truest Freaks Of Nature, Sleep D, are following up their hot ‘n’ heavy “F.O.N” series with Vol. 2; rammed start to finish with juiced up club exhilarations - you can’t afford to miss this.

Australia’s notoriously prolific duo are celebrating all things bass, the 3 tech-tinged party starters are a force to be reckoned with, an official warning of high voltage (and speed). Welcoming back Butter Sessions alumni Ivy Barkakati & Furious Frank, the sun kissed acid anthem Ahora Sí metamorphosizes into a peak-time prog punisher Border Control where sensual whispers weave their way through a slick sexy drum maze, a darker rendition merging past, present and futuristic fantasies. Post Pump elevates tech house to immaculate status, undeniable deep groove unlocked through their signature bump and bounce; a combination of wild A side audio energies finding their home on freaky finale Bass’d In Berlin. Close your eyes, strap in and surrender control, Sleep D once again showcasing what they do best; modern dance from down under.

Plizzken are back in a big way with their eagerly anticipated second LP, Do You Really Wanna Know? These German punks' debut LP was the first full length where lead singer Sebi sang entirely in English. Since that album's release to great acclaim from the international street punk commu- nity, Sebi suffered the setback of a debilitating workplace accident, but triumphantly rose above all expecta- tions for recovery, making a hard-hit- ting new record with his long-running band Stomper 98 to boot! Returning their focus to Plizzken, Sebi and the crew are locked in and razor tight, crafting 13 brand new tracks of anthemic working class street punk that will thrill their fans while taking them by surprise. What will strike listeners immediately is a renewed focus on melody and hooks. In short, these songs are CATCHY! By the time the handclaps come in on the fourth song, "Memory Lane," you may just find yourself dancing around the room to these tunes. Likewise for the post-punk/new wave influenced groove that drives tracks like "I Don't Wanna. "Without sacrificing the realism and grit with which they face the world and sound the alarms for the working class to rise up, Plizzken sound renewed, positive, and keen to encourage everyone ready "TO FIGHT THE GOOD FIGHT," as the gang vocals on "Mad World" put it. Although they are all punk rock veterans with decades playing music, Do You Really Wanna Know? has the energy of a hungry young band who are not about to waste a new lease on life. Combining street level punk rock 'n roll with a genuine pop sensibility and a rabble-rousing spirit, executed with the chops of seasoned players, Do You Really Wanna Know? is truly a record that will have old fans dancing and singing along with fists in the air, hand in hand with what is certain to be an army of new ones.

Africamore: The Afro-Funk Side of Italy (1973-1978)

Continuing Four Flies' dedication to delving into lesser-explored periods of Italian music, Africamore takes us on a captivating journey into the intersection of Afro-funk and the Italian soundscape during the six years between 1973 and 1978 - a time when disco was looming on the horizon and the nightclub market was rapidly expanding.

Before reaching Italian shores, the infectious sound originating from African and Afro-Caribbean roots traversed both the Mediterranean and the Atlantic, landing on New York dancefloors, where DJ Dave Mancuso discovered "Soul Makossa" by Manu Dibango. In 1973, from Mancuso's Loft parties, the song's hypnotic groove spread to the rest of the globe, including in Italy, where it sparked a wave of imitations and variations.


Tribal influences thus found their way into Italian soul-funk and early-disco productions released between 1973 and 1978 – from psychedelic-tinged tunes like Jean Paul & Angelique's "Africa Sound" to the Afrobeat-inspired club banger "Kumbayero" by composer/producer Albert Verrecchia (aka Weyman Corporation); and from groundbreaking Afro-cosmic songs like Chrisma's "Amore", co-written by Vangelis and featuring the rhythms of Ghanaian-British Afro-rock band Osibisa, to mind-blowing floor-fillers like Beryl Cunningham's "Why O", a re-write of Nat King Cole's "Calypso Blues" arranged by Paolo Ormi, with percussion breaks that sound pretty much like what would later become known as techno.


Combining feel-good vibes with driving rhythms, world-style percussion, and even synths, all these productions pushed the boundaries of dance music at a time when disco had not yet taken over. In doing so, they sowed many of the seeds of the later Italian cosmic scene and its unique mixture of African elements, disco-funk and electronic music.

This was a brief but nuanced period in Italian music history, one that deserves to be rediscovered, with love.

Africamore is due out on March 22nd and will be available as a gatefold 2LP and digipak CD. Both formats come with stunning artwork by Kathrin Remest and liner notes by Pierpaolo De Sanctis and Elena Miraglia.

Embark on a sonic odyssey with "Between Poetry and Catastrophe," a 15-year labor of love by Norwegian electronic artist Ars Dada. The title draws inspiration from the poignant words "Music lives in the span between poetry and catastrophe", of the late Norwegian composer Arne Nordheim.

In this album, Ars Dada delves into the extremes—where chaos intertwines with serenity, and violence meets the poetic. Every track is a meticulously crafted journey, featuring real instrumentation such as vocals, piano, and strings, including a grand collaboration with the chamber orchestra of the Arctic Philharmonic Orchestra. From intense breakbeat chaos to delicate neoclassical string pieces, Ars Dada invites you to experience the visceral beauty of this musical tapestry.

This isn't just an album; it's an exploration of the human condition at its most extreme.

Thank you to the performers and Arctic Philharmonic

Written and recorded with support from Fund for Performing Artists

All music written, arranged and produced by Erlend Bilsbak/Ars Dada
All strings recorded in Kysten studio by Sivert Henriksen

Violin on all tracks except Fjordyp, End of September, Skyggespill, and Du Må Ikke Sove performed by Brynjar Lien Schulerud

Violin on Fjordyp, End of September, Skyggespill, and Du Må Ikke Sove performed by Sander Tingstad

Viola on all tracks except Tjernet performed by Heidi Schulerud Bilsbak

Cello on all tracks except Tjernet performed by Håvard Bilsbak

Grand Piano on Fjordyp and Skyggespill performed by Yegor Shevtsov

Alto soprano on Fjordyp, End of September, Sub Luna Saltamus, Du Må Ikke Sove, and Grief performed by Marika Schultze

All strings on Tjernet by performed by Arktisk Filharmoni (Arctic Philharmonic)

Mastered by Julien Guillot at Electric Voyage Studio

Album photo and design by Erlend Bilsbak

Long-time friend of the label Fader Cap returns to Butter Sessions with a potent four-track EP 'Blue Pool'. First appearing as Sedgwick on our 10 years of BSR compilation, Fader Cap has since released music on Craigie Knows and his own Straight 2 It Recordings.


Connecting the dots between progressive house and techno, the four tracks on 'Blue Pool' maintain an infectious energy, with pumping drums and plenty of space for contemplative synth work to keep the body moving and brain tingling. The rolling, dub-wise basslines set the foundations for intricate sound design and tripped-out sequences that provide that sweet head high we're chasing. Let your mind wander as you float away into the blue pool.

One of the most successful and enjoyable debuts in history, The Cars' self-titled album doubles as a greatest-hits collection. That's because not one song here is unrecognized or unknown. A huge reason why the Boston quintet became America's most popular new-wave band, The Cars launched eight tracks still regularly heard on radio stations everywhere. Consider the hit list: "You're All I've Got Tonight." "Good Times Roll." "Just What I Needed." "Moving in Stereo." "My Best Friend's Girl." "Don't Cha Stop." If you're a fan of pop music, this album is mandatory. Just call it the best new-wave rock album ever made.

And now, The Cars sounds better than it has in any previous incarnation. Mastered from the original analogue tapes, Mobile Fidelity's numbered-edition LP allows the music's oscillating rhythms, futuristic keyboard passages, panned stereo images, and rippling textures to be experienced like never before. The songs take on a surreal quality, the Cars manipulating the vibrant music at will to mesmerize the listeners' senses and hold them at bay. Mobile Fidelity's pressing epitomizes the sensation of "moving in stereo."

Led by Ric Ocasek and Benjamin Orr, the Cars managed to unite then-disparate styles: bubblegum pop melodies, angular art rock, progressive arrangements, and terse minimalism. Orr's low, understated singing and Ocasek's cool, detached vocals lend shades of doubt and double meaning to the lyrics, which are further counterbalanced by orchestral keyboard flourishes and electronic beats. The brilliant arrangements also benefit from a laidback cool and understated irony that remain uncommon in the over-the-top world of mainstream music. Obsessed with incorporating the latest technologies and sounds into its palette, the band spiced its tunes with delightfully quirky accents — country-tinged guitar fills, echoing Syndrums, reggae splashes, hard-rock tones, robotic pulses.

The results are the sounds of a creative landmark. At once accessible and eccentric, edgy and catchy, The Cars explodes with emotion, energy, and hooks. It's impossible not to get caught up humming and singing along to every song, an appeal that comes courtesy of Roy Thomas Baker's stellar production. The legendary producer, best known for his work with Queen, ensured that the record seamlessly packed a smooth midrange, spacious imaging, and call-and-answer choruses in one tight package. Baker's trademark touches with harmony vocals abound.

"The MoFi disc is much better than the original in every way. It's more dynamic, much more natural on top, and all three dimensions have a lot bigger space. This disc is great from start to finish, but "Moving in Stereo" will blow you away on a great system in a big room."
—Jeff Dorgay, TONEAudio

The Hardcore Vinylists are one of, if not the the biggest groups on facebook catering to Vinyl Djs spinning the classic sounds of early 90s Uk rave and new material made in the old skool style.The Hardcore Vinylists record label showcases new and emerging talent from producers connected to the group and here Zhute fresh from a previous vs Ep with Bino is back with 3breakbeat retro rave tracks with big pianos, big vocals and breakbeats firing off.

On Everything Harmony, the fourth full-length studio release from New York's The Lemon Twigs, the prodigiously talented brothers Brian and Michael D'Addario offer 13 original servings of beauty that showcase an emotional depth and musical sophistication far beyond their years as a band, let alone as young men. Everything Harmony successfully blends the brothers' distinct personalities while giving voice to their eclectic influences. Opening the album with the unassuming acoustic folk of plaintive "When Winter Comes Around," which echoes the sophisticated grandeur of classic Simon & Garfunkel recordings, they immediately switch things up to the sunny classic pop motif of "In My Head." "Corner of My Eye" channels an Art Garfunkel-like vocal melody over a moody, vibraphone-tinged backing track suggesting the chamber pop of Brian Wilson. While they had no grand concept for Everything Harmony, both the D'Addarios felt a "palpable mood of defeat" prevailed while writing and recording it. "New To Me" was inspired by their shared experience with loved ones suffering from Alzheimer's, "What You Were Doing" is dressed in the tortured jangle of vintage Big Star, while "Born To Be Lonely," written after watching John Cassavetes' Opening Night, deals with what Brian calls "the fragility that often comes with age." Everything Harmony is a unified song cycle born of shared blood and common purpose. With two musical heads being better than one, there's no shortage of ideas to draw on. Their only impediments are time and the challenge of keeping up with their own prolific musical inspiration. "We share an intuition and tend to be influenced by one another," says Brian, "so the lyrical ideas on this record tend to complement each other. Writing has never been the issue for us. It's completing, editing and compiling that takes the time. We're trapped in a web of songs!"

When Mick Mars stepped back from touring with Motley Crue - the band he co-founded more than 40 years ago - following their massive summer 2022 Stadium Tour, it seemed like the end of an era.

It was really the beginning of a new one...

The legendary guitarist, whose riffs, solos and overall devastatingly heavy sound powered the L.A. icons through four decades of world-conquering, multi-platinum sonic mayhem is, as he demonstrates on his debut solo effort, still a serious force to be reckoned with. Only now, listeners are reckoning with more Mars than ever before. "When it comes to my playing, there's the Motley side and the Mars side," the guitarist says. "Either way, I always have a very clear vision of what I want to do."

On the aptly- titled 'The Other Side of Mars', fans get that vision in its full, multifarious glory. To be sure, there are plenty of characteristically riff- tastic, tough-as-nails hard-rock anthems (the rampaging "Loyal to the Lie," the deep-in- the-pocket groove-rocker "Ain't Going Back," the hooky and melodic "Right Side of Wrong") to be heard on the record. But 'The Other Side of Mars' also shows the 71- year- old guitarist heading into new and uncharted territory, tearing through caustic, modern metal ("Broken On the Inside"), conjuring gothic- tinged soundscapes ("Undone"), digging into anguished, slow- burning power balladry ("Killing Breed") and unspooling bluesy, cinematic instrumental workouts (the album- closing guitar showcase, "L.A. Noir"). The music throughout the 10- track collection, meanwhile, is otherwise studded with slide guitars, violins, violas, keyboards, glitchy freak-outs and all manner of sonic surprises

Descr
Bomb VA from DOBRO label

"We Started Nothing is the debut studio album by English indie pop duo The Ting Tings. Jules & Katie's combination of dance, indie pop and new wave proved to be one of the hottest things in 2008. The result being the album peaking at #1 in the UK Albums Chart. We Started Nothing spawned no less than six hit singles, including ""That's Not My Name"", which reached #1 on the UK Singles Chart. Eventually, the band, the album and several singles and videos were nominated for a variety of NME, MTV, Grammy Award and Brit Awards. The Ting Tings won the MTV Award for Best UK Act and ""Shut Up and Let Me Go"" won the award for Best UK Video. We Started Nothing is available on black vinyl and contains an insert."

With "Onaida", Natascha Rogers shares a liberating folk spell that draws inspirations from Yoruba spirits, Afro-Latin rhythms and her Native American ancestry. Born in the Netherlands to a Dutch mother and a father with Amerindian origins, Natascha Rogers dares to be intimate and unveils a highly spiritual chiaroscuro record, raising purity, care and reconciliation to the level of the art, through folk enchantments. Sensitive to the ancestral call of the drums, she travelled the Black Atlantic for several years and received the teachings of the greatest Mandingo and Afro-Cuban master percussionists. As a distinguished percussionist and vocalist, she has graced the stage and has accompanied artists around the world, but for Onaida she set out on her own, retreating to a studio to escape the noise, rush and fast information cycles of our modern world. This album marks a rebirth for Natascha Rogers, as it symbolizes her return to the piano, her first instrument. Channelling these inspirations for Onaida, Natascha Rogers, has created a space of her own, where themes of humanity, spirituality, nature and womanhood are centre stage while also paying tribute to her ancestors. Sung in English, Spanish, or Yoruba, the album is a tapestry of intimate ballads and universal prayers, drawing inspiration from dreams, Amerindian poetry (Joy Harjo), and Cuban santería with ritualistic batá drum pulsations. On the powerful folk-tinged song "The West", she invited gifted singer-songwriter Piers Faccini. Onaida is a true initiatory experience, a second birth for Natascha Rogers who finds balance and accuracy with this singular opus. Natascha Rogers headed to the quiet commune of Pommerit-le-Vicomte, to write this new release, accompanied by sound engineer Joachim Olaya and published on acclaimed French imprint No Format!

Fast rising UK soul-pop star Olivia Dean today announces her long-awaited debut album ‘Messy’, due for release on Friday 30th June 2023 via EMI Records. Featuring the singles ‘Danger’ and ‘UFO’, Messy cements Dean as one of the most original and versatile voices in UK pop. Crafting classic yet conversational hooks with genre-fluid tinges, she’s honed a way of exploring universal themes of love, loss and everything in between with razor-sharp but open-hearted storytelling. “The self-love ballad is tricky, but the Londoner balances defiance with genuine romance, the psychedelic soul evoking tweeting birds and dappled sun rays.” - The Guardian “With a talent and musicality that sound both natural and effortless, she’s got to be a hot tip” - Sunday Times Culture "A gorgeous collection of soul-laced songs... that are anchored by Dean’s remarkable voice." - NME

BEN plg's music is an accurate reflection of reality, with no smoke and mirrors: harsh but tinged with luminous notes of hope. Those little nothings that imprint themselves on our memories, those "diamonds in the retina". The man from Lille has delivered an intense, intimate, authentic and universal debut album. Faut pas oublier de dire je t'aime. With contributions from Niro, Georgio, B.B. Jacques and Loud.

Cam Cameron appears to be another one of those performers from an infinite list of Black American artists that cut a solitary 45 single and then disappear into obscurity never to be seen or heard from again. Couple this with the passing of any of the relevant protagonists from the time along with any of the surviving ones ever diminishing memories and the job of collating events and artists back stories from over 50 years ago becomes that much harder.

Cam Cameron appears to be one of those artists (although our investigations are ongoing). Therefore, from the information currently gleaned, the artist Cam Cameron was none other than Alvin Cameron the writer of the featured song “You Say”, with Cam being a kind of nickname. The string arrangements on both “They Say” and “I’m A Lonely Man” were provided by the late John Andrew Cameron a hugely respected arranger, producer and songwriter within the Chicago music scene of the 1960’s and early 70’s, more often credited as Johnny Cameron. Johnny’s credits can be found on many recordings of the time often working with fellow Chicago music scene producer Clarence Johnson, some of the highlights from this liaison being the song “I Really Love You” recorded by both Jimmy Burns (Erica) and Bobby James (Karol) and the girl group, ‘The Lovelites’, on their acclaimed album “With Love From The Lovelites” (Uni). Johnny’s involvement with the Scott Brothers goes as far back as 1965 when he provided the musical arrangements on The Howard Scott penned song “I’ve Got To Get Over” recorded by Syl Johnson for the TMP-Ting label. Although they share the same surname, Alvin (Cam) Cameron is believed to be of no relation to Johnny Cameron.



“You Say” would gain a release on the independent Capri label owned by Sephus Howard Scott who together with brother Walter Scott composed the 45’s flipside “I’m A Lonely Man”. Howard also featured as one of the songs producers alongside the mysterious Edgar Mullins (a name which has been found on a couple of other tape boxes, the investigations continue).

Musical accompaniment was provided by The Scott Brothers Band, with both songs being recorded at RCA Victor’s Chicago number 2 Recording Studio at 445 North Lake Shore Drive, in the Navy Pier section. on the 10th of August 1967 and released on Capri Records during the month of February 1968.



Cameron’s “You Say” was another 45 that was first introduced to UK Soul Collectors via those much lamented and fondly remembered soul packs, always regarded as a quality collector’s 45 the only regular turntable action remembered was provided by Northampton’s very own discerning DJ Cliff Steele at venues such as ‘Detroit Academicals’, ‘Bretby Country Club’ and later ‘Albrighton’ during the leaner days of the UK Rare Soul Scene?! Hopefully a wider appreciation of both sides of this soulful Windy City 45 beckons! The second release in Soul Junction’s Capri series.

It's the pair you've all been waiting for! FINALLY!

Alan Tew's driving jazz-rock, sleuth-funk masterpiece, Drama Suite Part I is finally reissued to sate your appetites for arguably the very best library two-parter in existence. If you don’t know, get to know. Originally released in 1976 but wonderfully timeless, Drama Suite Part I is at the top of every library funk collectors' list. It's easy to see why...

Racing out the gate, the gritty crime funk of "The Detectives" makes for a thrilling, wild ride. A dramatic action theme, it's packed with strident playing and bags of attitude. There follows 10 (ten!) drama-tinged, horn-heavy, wah-wah-laced, conga-enhanced, synth-riddled links for neat segues and maximum funk fever. "Helicop" is another fast paced and energetic dramatic action background with great breaks and horns. "The Big One (Prelude)" has an ace bassline and creeps along superbly to create expectation and contains an amazing rolling piano loop that just stops you dead in your tracks. It's all building to "The Big One", a driving, dramatic, full-band action with fantastic funk breaks, heavy horns and *that* piano refrain. It was sampled by Jay-Z, and you can't really blame him, can you? The brief, tense "Headlights" and (even briefer) burner "The Burn" add some - you guessed it - deep drama over insistent rhythms to close out Side A.

Flip over for "The Detectives (Slow Version)", a relaxed, thoughtful version featuring synths. You might recognise it as being sampled by Domo Genesis and Evidence for "Tallulah" from their brilliant collaboration a few years ago. "The Detectives (Interlude)" is another slow, pensive version featuring electric piano and a trombone solo in the centre section. There follows 6 further links, Detectives versions essentially, with guitars, electric pianos, flugelhorns - all very cool and relaxed rhythms. The strutting majesty of big-time highlight "The Build Up" is next. It's a medium-slow drama background with occasional light statements of The Detectives theme peppered throughout. Nice. The fantastically-titled "Snout" is a slow, tense background theme which features a repetitive guitar figure with alto flutes over the top. The tense, stabby funk of "The Prowler" rounds out proceedings, with nervous figures over a slow, insistent cymbal beat.

As with all of our KPM re-issues, the audio for Drama Suite Part I comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity. We're not quite sure what else to say about this landmark record, other than, GET IT!

After a decade-long hiatus, Bristol-based shoegaze ensemble, The Fauns, have reemerged from their secret bunker with eagerly anticipated third album, 'How Lost' set for release Jan 19th, 2024 via Invada.

The Fauns’ journey began in 2007, self-releasing their eponymous debut album in 2009, followed by the 2013 release of "Lights." These two works garnered warm acclaim from both critics and fervent shoegaze-loving fanbase alike - arriving into an atmosphere rekindled by the return of My Bloody Valentine.

This latest album bridges The Fauns' transformation from their earlier incarnation to their current evolution. The tracks traverse a spectrum of styles, ranging from intricate, guitar-driven sci-fi fantasies to industrial-tinged new wave compositions. The hallmark shoegaze elements are now stretched over gritty pulsating electro beats.

Moreover, the album marks a shift in lyrical themes and attitude. Poignant tracks coexist with narratives of vodka-infused nights in dimly lit clubs, reflecting a departure from introspection. "This album is less about the melancholy associated with the genre and more about getting our audience dancing.”

GLBDOM sub-label GLBDOM Classic is dedicated to nostalgic house sounds inspired by the great styles of Chicago, Detroit and New York vibes, with hints of Italo-Dream house and even the Balearics. We get all that here on this new split EP from French house producer Sunny Galaxy and Englishman Dan T.

Sunny opens up with some happy, piano-laced party starters, well-swung garage-house grooves and steamy basement jams, then Dan T offers a B-side trio headed up by the gloriously vocal laced 'Wrong Time.' 'My Desire' cuts up the groove with some nice raw percussion and 'Want To Love You' is a sultry and jazz-tinged number for lovers.

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

Prince Fatty's 'Mercedes Benz' with Shniece and Horseman is a rub-a-dub version of a 1970s hit from Janice Joplin that now gets a very special and very limited edition pressing courtesy of Lovedub Limited. The A-side kicks off with the spine-tingling and epic original vocal before disappearing into a world of reverb.

At that point the dubby low end arrives and brings a different vibe to the stunning vocals but one that really makes a mark next to new bars from Horseman, police sirens and funky riffs. It's a tough sound system groove that is backed with a fine version and has been a firm fixture of Prince Fatty's record box for a while now.

Trailblazing instrumental synth pop experiments created to soundtrack Japan’s booming 1980s cartoon and comic industries. The brightly futuristic instrumentals on this collection reflect the mindset of composers and musicians who believed in a technological future where everything was possible.

In the late 1980s Japan experienced a brief but heady period where societal changes combined with new-found wealth to open up a world of possibilities. A huge influx of cash - artificially created by slashed interest rates after an agreement with the US to weaken the dollar relative to the yen - resulted in the inflation of real estate and stock market at a rapid pace. While the economic bubble it created was unprecedented and impossible to sustain, for a while money was in plentiful supply.

The musical genre City Pop reflected the aspirations of the country’s booming leisure class. Video games flourished with Nintendo's 1983 launch of their Family Computer (or FamiCom). Studio Ghibli was founded 1985 to later became one of the most famous and respected animation studios in the world, and Anime and Manga were established as major forms of entertainment for all generations of the Japanese public.

Music was no mere footnote to the anime and manga boom: the two forms of media often went hand in hand, and not simply through the presence of background melodies. With generous budgets available, even two-dimensional static manga comics could be released with an accompanying soundtrack of original music known as an ‘Image Album’.

Composer and arranger Kazuhiko Izu was one such beneficiary of this open budget approach. Written to accompany artist Katsuhiro Otomo’s manga comic Domu, the composer and arranger took advantage of the world-leading (and wallet-busting) Japanese synthesiser technology available at King Records’ fully equipped studio. Featured on this compilation, A3: Act 2 Scene 26 reflected the story’s sci fi themes with a blazingly futuristic yet warmly funky slice of synth pop that presents a joyful celebration of synthesisers and their seemingly endless possibilities.

Kan Ogasawara was another composer who made early mastery of the litany of synthesisers, drum machines and sequencers that had become available. Two tracks written to accompany the 1985 period manga Yume No Ishibumi are featured here; Honowo’s experimental electronic textures add spice to a jaunty electro pop melody that recalls the Rah band’s 1983 hit Messages From Stars; the jazz-tinged Utage rounds out Ogasawara’s shimmering synth textures with beautifully crafted backing from legendary musicians Yuji Toriyama (guitar), Pecker (percussion) and Jun Fukamachi (piano).

Before becoming one of the pioneers of Japanese Kankyo Ongaku (Ambient Music), Takashi Kokubo worked on the proto techno track Kiki (Jungle At Night). It was put together for the 1984 anime film Shonen Keniya (Kenya Boy) using some of the most expensive music technologies available at the time. This Africa-Inspired dance track offers a contemporary parallel to the early techno music that young Detroit based producers were then creating using cheap Japanese Roland drum machines and synthesisers.

This is the first compilation of Japanese anime and manga soundtracks curated by Kay Suzuki and Rintaro Sekizuka from Vinyl Delivery Service (a Tokyo based online record shop which also operates in East London's renowned wine and hifi shop Idle Moments). With a cover by artist Kazuki Takakura and two pages of liner notes, this vinyl only compilation of music never before released outside of Japan, captures a vital aural snapshot of an era whose forward-thinking sounds went hand in hand with cutting edge technology.

A1 - Healing Properties
Opening his Spatial account with Healing Properties, Eusabia immediately throws down the gauntlet showcasing an inimitable versatility with breakbeats, permeated with a jungle flex so rarely captured in the atmospheric D&B landscape. Pivoting effortlessly as the track progresses from drumloop to thunderous drumloop with a simmering haunted atmosphere and deep, weighty basslines to yearning filtered vocal samples, this track has it all.

A2 - The Space Between
Smooth jungly synthwork seizes the foreground before crisp breaks begin to reveal our direction through The Space Between, jittery key stabs and familiar old school FX create a unique sci-fi style backdrop as the breaks drive the vibe forward, switching and weaving in style, constantly mixing it up to ram the point home that you cannot fully appreciate a Eusabia track until every second has been consumed - many times over, as The Space Between demands.

AA1 - Scope of Understanding
A more contemplative piece, Scope of Understanding strips things back with a synthwave-esque vibe tinged with intrigue and allure. Soon the breakbeats leap into gear and develop with an incredible level of refined detail, expertly edited, chopped and cut to a darkly undertone of sub bass and subtle micro melodies. Scope of Understanding will leave you in awe of the quickfire ideas Eusabia can conjure in the space of 6 minutes.

AA2 - Self Reflection
A smooth atmospheric introduction ushers in a thumping drum tools workout, somehow perfectly in sync with the calm harmonies dancing around in the composition. Certainly a track to enjoy both on the discerning dancefloor and while driving home with rain lashing at the windscreen at 2am, Self Reflection's synths and breaks conclude the EP in style leaving a long lasting memory of a Spatial debut you will not forget.

Words by Chris Hayes.

Busta Rhymes bereitet sich auf die Veröffentlichung seines 11. Studioalbums vor, das erste seit "Extinction Level Event 2: The Wrath Of God", das 2020 erschien. Das Projekt trägt den witzigen Titel "BlockBusta". Er stellt sicher, dass das Album seinem Titel gerecht wird und einen echten Blockbuster abliefert. Dazu hat die Rap-Legende drei weitere Legenden als ausführende Produzenten für das Projekt gewonnen. Pharrell, Timbaland und Swizz Beatz, drei der legendärsten Produzenten der Rap-Geschichte, sind alle an Bord, um mit Busta zusammenzuarbeiten.

Producer, DJ, Facilitator & Publisher (Balraj) Samrai (of Swing Ting/SEEN Magazine) steps out for their first full length release "Work & Roti" along with a host of talented collaborators on new label Sangha Industries.

The album title came from a phone conversation with Samrai's mum who features on the opener reflecting on first generation Punjabis heading to the UK only going to work and eating roti, not getting a chance to travel until their senior years. In addition the project explores the complexity of migrant experiences - healing, self-love/care, reciprocity and connections to the earth. A theme throughout is the inclusion of South Asian percussion and rhythms such as Tabla, Dholak, Kanjira, Dhol and Mridangam overtly at times as well as covertly which grounds the record.

Samrai is joined by host of talented collaborators across the 8 tracks - SCAPA, Vindya, Vikaash Sankadecha, Pops Roberts, Shanique Marie, LINTD, Gavsborg, Joey B, Fox, Raheel Khan, Thai Chi Rosè, Chesqua and Deepikaa Sreenivasan who all enrich the project with vocals, additional production and instrumentation. Although at times dealing with difficult subjects (Help Me, Oil Money, Dirty Dirty) there's a sense of joy, playfulness (Fresh) and release across the set (Yellow Crocus, Create Your Own Bless) culminating in closer (Breathe) when you feel the sunlight pushing through despite the clouds above…

Producer, DJ, Facilitator & Publisher (Balraj) Samrai (of Swing Ting/SEEN Magazine) steps out for their first full length release "Work & Roti" along with a host of talented collaborators on new label Sangha Industries.

The album title came from a phone conversation with Samrai's mum who features on the opener reflecting on first generation Punjabis heading to the UK only going to work and eating roti, not getting a chance to travel until their senior years. In addition the project explores the complexity of migrant experiences - healing, self-love/care, reciprocity and connections to the earth. A theme throughout is the inclusion of South Asian percussion and rhythms such as Tabla, Dholak, Kanjira, Dhol and Mridangam overtly at times as well as covertly which grounds the record.

Samrai is joined by host of talented collaborators across the 8 tracks - SCAPA, Vindya, Vikaash Sankadecha, Pops Roberts, Shanique Marie, LINTD, Gavsborg, Joey B, Fox, Raheel Khan, Thai Chi Rosè, Chesqua and Deepikaa Sreenivasan who all enrich the project with vocals, additional production and instrumentation. Although at times dealing with difficult subjects (Help Me, Oil Money, Dirty Dirty) there's a sense of joy, playfulness (Fresh) and release across the set (Yellow Crocus, Create Your Own Bless) culminating in closer (Breathe) when you feel the sunlight pushing through despite the clouds above…

Eclectic graffiti artist, DJ and producer Dj Marrrtin unveils his new album opus "Cyclothymix".
Following the success of his album "La Pie Bavarde", a duet with Tino, mc from Dayton, U.S.A., Marrrtin delivers a moody, intense, indeed psycho-musicographic psychomusicographic. He promises us a finely mixed set, at the heart of his inspirations: Hip Hop, Funk, Sound Illustration, Jazz...
Opening with "Awakening", straight out of a Dilla beat tape, followed by the Brazilian with the very Brazilian "Estrellas", an up-tempo theme sublimated by the gentle voice of Carla Vallet, who also infuses her suave voice on the track "Darjeeling", a bewitching call to let go. In his global wanderings, he takes us to New York with the track "L.O.V.E."an ode to love, featuring the Temple's guardian, A.G. of the mythical collective DITC and his protégée Hii Siddity, from the duo The Girll Codee. "Taraxacum" plunges us into a languorous atmosphere, sublimated by sublimated by the flute of Antoine Laloux from The Selenites Band. Then comes "Ben", a boom bap - melancholy jazz production, where the grain of vinyl mingles with the roughness of the Akai S950 sampler. Marrrtin's musical drifting and whirling is a tribute to breakdance culture to breakdance and hiphop culture with "Inspiration Medley", a nod to anthems such as SWAT, backed by the keyboards of his Funky Bijou teammate, Deheb. A duo whose famous classics are played for the biggest world Breakdance Battles. Sample culture, drum breaks, Abstract Hip Hop, for the tracks "True" and "Time for Love", in which a guru preaches pan-love in the time of the Apocalypse. "Indian Groove", an Indian echo of Marrrtin's many travels, which leaves us and saturates us with dopamine. "Cosmic Consciousness Without Transition", in the spirit of a mood-changing we plunge into the strange, scandalized prescription, guardian of the garden of love.
To close this essential album, "Headhunter", a dark Jazz Funk track with dusty soundtrack tinges, brings us to a close.
of dusty seventies soundtrack, with saturated clavinet responding to obsessive
melodies of Medline's flute.
Ultimately, "Cyclothymix" is conceived by Marrrtin as a mirror to our changing moodsand seasons.

Yosh debuts on Hot Haus Recs with a 4 track EP brimming with "UKG-Tinged-Break-Beat-Seduction". With a CV boasting releases on Dr Banana, Shall Not Fade, Lobster Theremin & Holding Hands - Yosh has a well crafted ‘knack' for absorbing the current vibe of the UK dance floor for both headz and feetz."

Hank Wangford, pioneer and Godfather of British alternative Country
music and Americana, joins forces with Noel Dashwood, Britain's premier
dobro player for a unique duo album of original songs A fresh take on
classic Country and Americana it is Studio recorded live with Hank on
guitar and ukulele and Noel on bass ukulele and dobro and harmonica
Dobro is a guitar played horizontally with a slide bar in the Hawaiian style, a
foretaste of the classic Country sound of pedal steel and lap steel guitar. They
sing spine tingling harmonies together on Hank's songs and the one non-original
Image of Me, Conway Twitty's first Country hit which Hank learned from his
mentor and inspiration the late Gram Parsons.
With Noel's lyrical dobro they celebrate the much-ignored influence of Hawaiian
music on American popular music and most especially Country music. Noel tips
his hat to the dobro of Pete Kirby - Bashful Brother Oswald of Roy Acuff's seminal
Smoky Mountain Boys - in much of his playing. Two sides to this album - first
Toetappers is up- tempo with songs about Oil and the current fossil fuel crisis,
Jump In A River about lockdowns, spiritual and societal and Simple Pleasures,
something we all crave. The second side Heartbreakers is sadder ballads about
cheating, lies, lost love, jilted wedding, drinking and broken Promises Promises.
And Something In The Air asks is there a god?
The whole album is a heartfelt tribute to the classic roots of Country that Hank
was pulled into by his friend Gram.

The Innocence Mission's best selling album in nearly two decades will
now be available for the first time on vinyl - Jazz-tinged and dreamy, this offering from the Innocence Mission collects standards and traditional songs that singer Karen Peris has sung to her children as lullabies since they were born - The album features new album art (created by Karen Peris) and a new version of the song "Edelweiss" that is available only on this LP

'Ultrasound', the fifth release under the Banger Factory umbrella, is a further stride forward toward founder and trumpeter Mark Kavuma's vision of bringing together seemingly disparate elements from within the bubbling London jazz scene, uniting sounds, and players from across generations and creating a unique, exciting, and fresh sound all its own Marking the start of a new partnership with alto sax player Theo Erskine strengthening the imprints artistic reach and sparkling ever more creative ideas, Ultrasound is the product of hours and days spent practicing together during the pandemic - hours and days that turned into time spent plotting and planning future musical collaborations and projects when getting together in person became impossible. The recording itself captures the zeitgeist (spirit) of a unique moment in time when musicians starved of creative, collaborative music- making during the pandemic, were able to meet again and record, each track suffused with palpable joy, yet tinged with reflection. 'The Day After Tomorrow' promises respite from a hangover, 'The Return of Johnny Bravo' characterises a re-emergence in a whirlwind of excitement . 'June' describes the glinting skyline of a world- reopened and 'The Loneliest' explores how peace is drawn from inward sources in the loneliest of times. Personnel: Theo Erskin- tenor saxophone, Mark Kavuma - trumpet, Noah Stoneman - piano, Michael Shrimpling - double bass, Shane Forbes - drums

Whisky soaked, nocturnal, brooding. Aging’s album »Troubles? I Got A Bartender« was a noteworthy, film-noir infused suite that quietly slipped out on cassette in 2015 by a then budding Manchester avant-jazz ensemble, led by David McLean.

In 2020, amidst the pandemic’s tempest and winter's gloom, the idea manifested of showcasing McLean’s slow burning, wistful soirée in a new light via a curated effort by Berlin’s Vaagner label, which invited a series of hand-picked artist to rework selected compositions from the album, rendering its mournful, smoke-tinged resonances into new shapes.

Its result is »Reworks (Rewoven)«, and it presents 6 new interpretations by 5 artists. These range from ruminating, tape smudged ambient works interlaced with sublime acoustic strums by fellow Manchester musicians The Humble Bee and Tape Loop Orchestra, to poignant steel guitar renditions by Nashville based Kelby Clark. Furthermore, Barcelona based Dania and London based Laila Sakini, each present pieces that draw the listener into opaque realms harbored by swooning reverie and eerie, glistening prophecy.

Carefully assembled across two sides of vinyl, McLean’s penchant for hard-boiled detective novels, vintage Japanese crime flicks and film noir iconography have a continued lurking presence in the reworks, yet the new pieces each add a modern facet to the original’s cinematic narrative, its morose and sulky mood now opening into new avenues of interpretation. And whilst some artists have chosen to dive further into the themes of contentious ambivalence and pensive solitude, others have sought to slightly lift the haze, stirring up melodies tinged with a sense of hope, hinting at times, towards instants of poise and vivacity.

In the end this leaves us with a new body of work that manages to feel poignant in its complexity whilst remaining dissonant and elusive in its renditions, hinting at a modern day existence even more opaque, intricate and convoluted than the film noir classics of old might have pictured the world.

Swim is super happy to welcome their first 12” record into the world, and Mark Lando is up for his second release! The first side is a body affair, with acid-tinged techno dominating both cuts. Formation is a fun, muscular take on the format, while Scope zones in on his industrial forays. The other side gives time to heady, joyous gear, sporting two tracks spreading far in style and tempo. The title track is nimble and fast on its feet, a rhythmic workout indebted to bass music as much as to new age experiments. Rounding things out, In This Light harks back to the heydays of atmospheric trance excursions, leaving in its wake a warm note of care.

We are delighted to unveil TrueMendous' sophomore album ‘Great. On
Purpose’. Sporting 15-tracks of evolutionary music, ‘Great. On Purpose’ is without question True's most ambitious body of work to date.

Since sharing the unrelenting lead single 'Talkk' Feat. Mysdiggi,
and after a double serving on follow up 'Really Wanna Love' x
'Still Don't Wanna', the album is a rollercoaster ride. Just listen
to standout single 'Yourself or The World?' featuring the almighty
Skinnyman if you're in need of anymore proof.

Featuring a heavyweight lineup of guest appearances from the
aforementioned Skinnyman and Mysdiggi, but also including Janel
Antoneshia, Vaddy, Princess, Ashley Allen, and DJ Sammy B-Side,
complemented by Illinformed, GhostTown, Pitch 92, Forest DLG,
Muckaniks, Mark Fear and Bear on production duties - ‘Great. On Purpose’ is STACKED from top-to-tail.

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