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Double Goodbyes' is the sound of Ivan Ave making the music that moves him, without necessarily putting his usual rap-hat on.
But as the album title suggests, a lot of times we find ourselves bumping into the exact things, people and habits that we thought we had left behind. His hip-hop roots shine through once again, in a weird blend of RnB, AOR and synth sounds. Sasac is the main co-creator on the record, alongside top shelf RNB and hiphop artists such as Kiefer, Mndsgn, Byron The Aquarius, Devin Morrison and more.

Limited to 250 units.
DJ Support: Rebekah, AnD, Manu Le Malin, D. Carbone, Parrish Smith, Ayarcana...

»KAMILHAN; il y a péril en la demeure« is the conclusion of a 5-part cycle of works by artist Grischa Lichtenberger which was initiated with the album »LA DEMEURE; il y a péril en la demeure« in 2015 and continued with the triple EP release »Spielraum, Allgegenwart, Strahlung« in 2016. In addition to the concept of „demeure“, ones residence as a symbol for the joy and artistic possibilities one can find in isolation, Lichtenberger places a further emphasis on the expression of the voice, represented by the word „Kamilhan“. „Kamilhan“ is a non-existent word, an expression that Ernst Bloch once mentioned in an anecdote about his childhood. Fascinated by its sound but without knowing its meaning, it remained vivid in his memory in its purely „material“ form. Lichtenberger also refers to this childish perception of language. Words that we do not know, but repeat in our thoughts until they become insignificant. Lyrics in a foreign language that we do not understand and still sing along and imitate. With computer-generated voices, Lichtenberger tries to reproduce these experiences. In his tracks we hear syllables and phrases that are similar to words and that seem familiar to us, but whose meaning remains a secret. As on the previous album, the tracks on »KAMILHAN« are constantly torn apart and reassembled. Borrowings from hip-hop and even pop are unmistakable, desired, and yet delusive. Rhythms that are repeatedly broken in order to re-organize themselves into new temporal patterns. Melodies that are pierced by precisely these intricate rhythms. Voices that lack any empathy due to their artificiality. Lichtenberger himself describes these tracks as „crooked ballads“, which, by deliberately following classic pop song structures, try to sell us the absurd as the normal, and in turn smuggle some hope of recognition into the absurd. »KAMILHAN; il y a péril en la demeure« will be released on May 08, 2020 on CD and as a limited double vinyl edition including a handmade and signed silkscreen print.

While it’s undeniable that Eric B & Rakim crafted and concocted classic after classic back in the Golden Era of the late 80’s and early 90’s, very few of their records could ever be classified as ‘dancefloor fillers’. But that’s exactly what ‘I Know You Got Soul’ was.

The duo’s third single was released at a time when their debut LP, 1987’s ‘Paid in Full’ was already being hailed as a gamechanger. Rakim’s smooth but sombre flow had introduced new phrases to the hip-hop lexicon, while the barrage of James Brown samples had declared open season on the Godfather of Soul’s back catalogue.

There were already stirrings of a backlash from the more frequently sampled artists at the time this came out, and the fact that it took not just its main hook but also its title from Bobby Byrd’s James Brown-produced 1971 single was almost like rubbing salt in the wound. The hip-hop fans and the dancefloor didn’t care – this played all summer long in 1987, elevating the group to a Soul Train performance.

Only months after this dropped, the UK collective M|A|R|R|S turned Rakim’s “Pump up the volume” line into the basis of their own hit. Pop will eat itself.

The original 7” was released in a no-frills generic sleeve – this re-release comes with a brand new cover utilising some of Dan Lish’s trademark artwork.

Curtis Electronix delivers his second release. 4 originals from one of the most remarkable and reliable artists in the game, Rotterdam dungeon master DJ Overdose. The A side drops two club ready electro tracks molded with his unique cyberfunk style, punchy analog drums, heavy dystopian basslines and gently spaced out melodies. On the flip side things turn into a murky slow tempo affair. Industrial solid drums and distorted sonic grounds will turn your captivating journey into a dark machine odyssey.

Interdimensional Transmissions' techno sublabel Eye Teeth relaunches with a fresh series of releases featuring the solo and related works of Israel Vines -- a fresh KGIV 12", an EP of remixes, and his debut LP. The triptych begins with the stellar "Regulatory Capture EP" -- a collaborative effort from Vines and Chicago artist Kit Geary presenting their third release under the KGIV guise. Here we find them exploring new ways to own and expand the current style of techno and breakbeat fusion in the title track "Regulatory Capture", while the chthonic "Morgan" twists distorted vocals and synth lines over a bass heavy foundation built to put the sound systems through their paces. "Blue Octavo" extends their evolving ideas into melodic territory, closing the EP out in a deep and refreshing fashion. Don't sleep -- this release is pure power.

Jamaican artist Asha B, features on observational Roots Reggae and Grounation style vocals, with Dubs mixed by Alien Dread. The tracks were recorded at Asha B’s studio, late 2018. The vocal tracks were produced by Asha B and the vocal tracks & Dubs have been re-mixed by Alien Dread…

Asha B has been a regular session musician, not only in Jamaica, but also when he moved to the UK and has worked with most of the ‘Reggae Greats’, in particular, Jackie Mittoo, IJahMan-on tour & studio work and also studio work for many others, both JA & UK. Asha B has had several single releases to date, and also an album: Hard 2 Smile (Quartz Music - 2005).

Caserta proudly welcomes Marvin to the BB family! Featuring support from BBOO3 featured artist Diana, Marvin features 2 distinct mixes.

A post disco ode to the late great Kashif with big drums and Moog bass make up the the A Side, will have people scratching their heads like “Who the hell is Casey?

While swinging garage 909’s and layered synths come
together for the house dub on the flip!

On Miniatures, Swiss composer and producer Samuel Reinhard looks to indeterminate techniques of mid-century experimental composers to produce a sonic path forward that’s as refined as it is evocative. While Miniatures is built from recordings of short piano gestures decaying towards silence, amid the four movements that comprise the suite, something else grows. Notes cycle, collide, and wash away within boundaries the artist has set, but in their wake new processual textures develop. A hiss blankets the harmonic material, and clicks that once marked sharp cuts between repetitions become a percussive undercurrent.

Working with digital tools, Reinhard conjures the interior of an animate environment and extends an invitation to notice the small stuff that swells when we settle in with duration.

In 2016 Patrick Doyle relocated from London to LA, midway through writing his new album – the follow up to his recent acclaimed release as Boys Forever. The self-titled Boys Forever album was Patrick’s debut as a solo artist after years of playing in well-loved indie bands including Veronica Falls, The Royal We and Sexy Kids.

On moving to LA he continued working on the songs for his next record – emailing them to Helen Skinner (who toured as a member of the Boys Forever three-piece live band, and now plays in Barry) who added a bass line to the songs and sent them back to Patrick. They continued to finish writing the record via email and in February 2017 Helen joined Patrick in LA to record Keeping Up Appearances. They recorded the album over four days in February 2017 at LA’s Golden Beat Studios – with Patrick once again teaming up with Andrew Schubert who produced Boys Forever.

New imprint Ernest’s Way delivers its first offering with a debut release from Australian based artist Featherstone! The A-Side of this four-track EP offers two highly effective dancefloor cuts that ride the line between many diverse influences of electronic music ranging from acidic electro to the early roots of techno.
The B-Side follows up with two deeper, heavily emotive tracks that drift into an uplifting, euphoric and dreamy atmosphere whilst remaining complimentary to the driving rhythms that open the EP.

In 1981, London-based E.G. Records released the debut album from a young Ghanaian group called Edikanfo. Edikanfo quickly rose to international notoriety following the release of “The Pace Setters” because of the infectious, forward-looking highlife meets afro-funk synthesis the band committed to tape. But the album also caught an additional wind of publicity due to its producer, the already legendary British musician and sound conceptualist Brian Eno. During that time, Eno was researching and openly propagating West African musics. He often mentioned his love of Fela Kuti and called his own rhythm-driven experiments the search for a “vision of a psychedelic Africa.” He had recently been collaborating with The Talking Heads on their Avant-funk masterpiece “Remain in Light” and with The Talking Heads frontman David Byrne on “My Life in the Bush of Ghosts,” an album which foretold the sort of cross-pollination and global music interconnectivity that today we take for granted. Eno and Edikanfo’s work together at Studio One in Accra (Ghana) was yet another inspired morphing of soundworlds and processes and a significant touchstone for both artists. As Brian Eno recently noted: “the actual recording sessions were joyful - the band played with such verve that you couldn't resist.”



But just when the sky seemed the limit for Edikanfo, the coup d’état in Ghana on the last day of 1981, tragically put the brakes on the band’s quickly developing fortunes. For years after that, the country endured enforced curfews at night, which of course ultimately gutted the live music scene in Accra and elsewhere. Because of this and other financial setbacks, the band ceased activity and its members spread out in exile, all over the world. It clearly seemed as though the story of Edikanfo, one of Ghana’s greatest bands of that era, had come to a premature end.



Now, almost four decades later, Edikanfo has returned. And with its surviving members gearing up to reissue and tour their classic 1981 album, “The Pace Setters,” the band is once again excitedly pointed towards the future.

"A Western Circular" is Will Archer’s debut under his new nom-de-plume, following early EP's- and an Album under the now-retired Slime moniker. Within ‘A Western Circular’ lies an exciting- and varied crew of guest artists including MF DOOM,Samuel T. Herring (Future Islands), Sudan Archives & Laura Groves, all contributing vocals to his rich, dexterous compositions!

An Album that’s been in the works for the past half-decade, ‘A Western Circular’ is a bold, reflective piece that directly relates to Archer’s personal experiences of life and death, centred on one particular week where they breathed with equal intensity. Ostensibly, it’s a poignant reflection on the duality of the human condition.

A1 - Bitch - Late Nite 'DUB' Addict (Original Mix)
Is a Deep / Jackin House track with driving drum parts, deep old skool organ stabs, with lots of MPC style swing. The track is an energetic groover that could well be another hit for the (Late Nite 'DUB' Addict) who owns / runs (Digital Label) (DEEP 'N' DOPE RECORDS (UK).
If you like artists / DJ's such as (DJ Sneak / Phil Weeks / Black Loops / Dub Striker / Dumuir / Demuja / Kerri Chandler /Todd Terry / Kenny 'Dope' Gonzalez / Justin Martin / Scott Diaz / Sebb Junior + Filta Freqz) This track might be for you.


A2 - Fight For Your Rights - Late Nite 'DUB' Addict (Original Mix)
Fight for you right is most definately got the potential to become a future house anthem.
The track has allready recieved support and airplay from (London's Own) FANTASY FM
+ Groove City Radio (Scotland / Glasgow). This can only be described as deep / classic (U.S) style Garage / House / Banger, This Deep Underground but classic house track carries an abundance of energy, the track contains spoken vocals from a influential but controversial leader which gives the track an edge which just help build atmosphere and builds tension in the track - But definately in a good way. This track is a stand out groover that screams Anthem.
If you like DJ's like (Kerri Chandler / Mr V, Karrizma / Phil Weeks / Black Loops, Art Of Tones / Sebb Junior / Louis Vega, Mood II Swing / Dub Striker / DJ Pierre / Andres /Dan Shake then this energetic / warm (90's) style classic house number will be right up your street


B1 - Confessions Of A 'DUB' Addict - Late Nite 'DUB' Addict (Original Mix)
This track is a minimal style (Deep House) track that has been influenced by the early (Rave) era and early (Chicago + Detroit) House + Techno scenes. The track has a slightly darker edge but still remains jumpy and is definately made for the danecfloor in the early hours of the morning, and has a certain wharehouse 'Feel' to it. The track contains bleeps, stabs, and 808 + 909 compressed drums. The track contains poly rythums and drums which evolve and give alot of movement within the track. This is another "Big Track" from the (Late Nite 'DUB' Addict) that has also recieved support from the (legendary) FANTASY FM.


B2 - Heroes In Our Own Home - Late Nite 'DUB' Addict (Original Mix)
The (Late Nite 'DUB' Addict) states it is no secret that his productions are heavily influenced by the (U.S) Garage / House scene of (New York) in the early (90's).
An era that he said was huge in the way the house scene defined the (Deep House + Classic House) scene that is still massively current today. The DJ / Artis's that has influenced him the most from this era is (Todd Terry / Kenny Dope / Dennis Ferrer /
DJ Sneak / Mood II Swing + MK + Kevin Saunderson. This Hip / House track is the
(Late Nite 'DUB' Addicts) take on the Garage House scene / Hip House scene of
this special era!!!

After thirteen years and over ninety releases, Med School has stacked the chairs and closed it's doors. As a final farewell to the label, the “Med School: Graduation” compilation celebrates the life of Hospital Records’ sister label, as well as the musicians and culture that defined it.

With 23 brand new tracks from label stalwarts such as Bop, Keeno, Etherwood and Whiney as well as the new blood that was always so important to the labels experimental output.

In Med School fashion, the album brings together a myriad of drum & bass stylings and beyond. From the microfunk movements of Bop to Illexandra’s warped emergency warnings, Lakeway’s upfront grime beats to the unique electronic musings of Frederic Robinson, A. Fruit and Kimyan Law.

Representing the serene side of Med School is Etherwood’s “Nowhere To Go But Everywhere”, alongside beautiful contributions from Keeno, Natus and Polaris. The tribal infusions of Royalston’s stepper “Mark’s Shibari Groove” and Lung’s technofused rabbit hole “Stop Crying” switch up the pace to reflect the breadth of Med School’s outputs. The compilation also calls back to the very beginnings of the label with a special VIP treatment of S.P.Y’s first release in the Hospital camp, MEDIC1 “Black Flag”.

Whiney not only brings in his deep new stepper “Close To You” but is also the man behind the continuous mix on the album, seamlessly bringing together all 23 tracks for one final salute to Med School Music.

“Medschool was an amazing label for taking risks. from Syntax to The Erised and everything in between... Without risks and new talent we cannot grow. Without you believing in our risks and new talent we are nothing”

To celebrate 25 years of the legendary series, KEMISTRY & STORM DJ-Kicks is re-mastered and re-issued for the first time since it's original release in 1999 on CD and 2LP. It all began in the late 80s: KEMISTRY & STORM had had enough of their hometown in middle England and moved down to London. Until then, Birmingham-born Kemistry had spent most of her tender years studying as a make-up artist in Sheffield while Storm was studying radiology in Oxford. The pair discovered acid house in London, partied at illegal warehouse raves, and at the end of the 80s stumbled upon 'Rage', Fabio and Grooverider's legendary and influential club night at Heaven, which can be legitimately dubbed as the origin of the entire Breakbeat / Jungle / Hardcore / Drum 'n' Bass movement. This is where they decided to dedicate their future entirely to music - as DJs.

You have reached the Infolines. Tonight, you will be given links to preview a reverence to the venues that helped shape an industry and generations of musical technological wizardry. ‘Packard’ features a compilation of cuts fitting to the experiences by those who once frequented the halls of Detroit’s urban decay.
Bendersnatch, kicks things off with a ‘Homage’ fitting of the mainstay venue paying reverence to the classic Detroit Techno sound. ADMN’s Machine 8 shows a lust for a bass grind synonymous with the engines machined in the halls of its urban decay. Remote Viewing Party’s minimal break ‘fuxwiddit’ whistles echo to us through the warehouse former machine shops. Maxlow makes sure you ‘heard’ what they must say pushing air from the subs ensuring you feel the room.
Keep an eye on this space and be sure to call in for the waypoint to the party.

LET’S be frank, it was only a matter of time before we nabbed Dan Piu. Many years in the game with his own uber-respected labels Moto Music and deepArtSounds, in demand as an artist under his many guises (Allstarr Motomusic/George Btp) and collaborative projects (The WineLambs, Zarenzeit and Theory Of Movement, which he shares with deep house don Grant aka Anthony Collins), Piu may be old school but his recent renaissance has turned many heads including ours. His analogue alchemy is right up our strasse so we are beyond thrilled to be able to present the Zurich-based producer’s Technological Singularity EP here at Hizou.

From the celestial groove-heavy Quantum Computing to the angular electronica of Robots In Rage and from the melodic techfunk of A Machine Will Never Do X to the soul-warming F#uk The World To The Core, aficionados, followers and fanboys will not be disappointed.

Red Vinyl

Directly influenced by the film noir tradition and the hardboiled detective novels of yesteryear, Aging craft gloom heavy mood music that aspires to create a cinema without image. ‘Sentenced To Love’ is the pinnacle of the band's work.

Led by David McLean, Aging’s fourth album is a direct continuation of the music he was commissioned to make during his 2017 Samarbeta Residency with The Crime Scene Ensemble, a 15 piece band of actors and jazz musicians formed to live soundtrack the short stories of pulp fiction writer and collage artist Phil Carney. Chronicling tales full of obsession, longing, double crosses and murder, the same thematic and melodic gravitas is present in ‘Sentenced To Love’, largely due to a handpicked selection of musicians from Manchester’s avant-garde and experimental music scenes being involved in both.
 Whereas previous records by the band have largely been improvised, the six brooding scenes that complete ‘Sentenced To Love’ reveal a new compositional rigour and emotional weight, whilst still retaining pockets of nocturnal improvisation, each carefully crafted to create their own distinct and filmic sound world. From the low lit, dive bar blues of ‘Nights In Amber’ to the gun out chase theme of ‘The Trapped Man’, the nameless cowboy ghost story ‘A Shadow On My Name’ and the redemptive odyssey of ‘Cursed With The Thirst’, Aging’s detailed mise-en-scene full of brass, double bass, simmering drums and reverb drenched guitars conjures the pantheon of noir cinema. This is no truer than on the album’s title track, a vampiric torch song whose crescendo soars with Ali Bell’s lamenting, tremulous vocals, which act as a midnight confession of a doomed romance.

In an age where most musicians are attempting to free themselves from limitations, Aging’s ‘Sentenced To Love’ stands proudly as a genre record, one evoking the tradition of the jazz ballad, designed to swallow the listener into the dark cascade of its drama.

yellow & red mixed vinyl

Mike Redman's Deformer project has achieved cult status throughout the years. Known for its extreme, horror infused electronic music and surprising collaborations with groundbreaking musicians, visual artists and film studios, Deformer keeps reinventing its sound while keeping its signature aesthetics. Consistent in being outrageous... with the new record "Inner-Outcast" musical boundaries are being crushed, again with a little help from some heavyweight invitees. On four of six tracks Deformer's fierce breakbeats enter into a deadly duel with the live drums of legendary ex-Suffocation drummer and blastbeat pioneer Mike Smith. Vernon Reid of Living Colour lays down some menacing guitar solos, Body Count's Ice-T provides some threatening words and many more legends are making "Inner-Outcast" an original, intense and above all, an unpolished release. A special appearance is made by iconic Hollywood actor Tony Todd, providing a haunting vocal performance as horror villain Candyman. Oh, and the cherry on top is definitely the amazing cover art by visual artist Ed Repka, known for his classic artwork for legendary bands like Death and Megadeth. With "Inner-Outcast", music journalists may have to come up with a new term for yet another genre, because Deformer's ever evolving sound is more unorthodox than ever...

blue & purple mixed vinyl

Mike Redman's Deformer project has achieved cult status throughout the years. Known for its extreme, horror infused electronic music and surprising collaborations with groundbreaking musicians, visual artists and film studios, Deformer keeps reinventing its sound while keeping its signature aesthetics. Consistent in being outrageous... with the new record "Inner-Outcast" musical boundaries are being crushed, again with a little help from some heavyweight invitees. On four of six tracks Deformer's fierce breakbeats enter into a deadly duel with the live drums of legendary ex-Suffocation drummer and blastbeat pioneer Mike Smith. Vernon Reid of Living Colour lays down some menacing guitar solos, Body Count's Ice-T provides some threatening words and many more legends are making "Inner-Outcast" an original, intense and above all, an unpolished release. A special appearance is made by iconic Hollywood actor Tony Todd, providing a haunting vocal performance as horror villain Candyman. Oh, and the cherry on top is definitely the amazing cover art by visual artist Ed Repka, known for his classic artwork for legendary bands like Death and Megadeth. With "Inner-Outcast", music journalists may have to come up with a new term for yet another genre, because Deformer's ever evolving sound is more unorthodox than ever...

After stricking Nantes's scene, Paco tyson Festival launches his label. The direction is what festival boss Discord and C.H.I.C.H.I keep on spreading on their events, party with good music and good vibes! Artists and friends who performed at the festival are invited at Redbullmusic studio - Paris (long time partners with the festival) for a session to compose the release in few days! For this first shot we have Antigone and Paul Ritch alongside Discord to spread the good vibes on vynil, from techno to electronica.

When the world slipped into madness last month, the ESP Institute put most releases on the back-burner to await brighter days, but then we thought again; why not approach these odd circumstances the way we do most realities, positively and head-on? We’re committed to a community that builds new worlds — this is fundamental to our creative and spiritual relationship with Osaka-born, cosmos-straggling artist, Ground — and while temporarily we can’t physically congregate to uplift each other, its our responsibility as an institution to maintain a platform for prolific creative pioneers, our cherished cartographers of cognitive escape. 'Wakusei' is wonderfully confusing and disorienting music, a follow-up EP to 2018’s critically acclaimed album 'Sunizm', not created specifically for life under lockdown, but nonetheless aptly suited to help release angst, guide meditation, and assist in making this moment in history more interesting if not transcendental. Whereas 'Sunizm' relied on field recordings gathered from rainforests, percussions learned from imaginary ancient civilizations, and the somehow organic freneticism of a mission control meltdown, the aesthetic of 'Wakusei' reduces this abstract instrumentation one step further to a more base-level array of gurgling synth scraps, accelerating engine friction and static-bound phonetic mistakes, all scrubbed into dust by a Brillo pad of white noise. The cliché of “great art is born out of hard times” is not lost upon us — of course the world will look back to this turmoil and its residual contributions to culture — but we see today's art as an immediate coping mechanism, and artists like Ground helping to unlock and navigate internal utopias. We’re already indoors, let’s delve inside.

"BRUK" is a new platform for fresh variations on the soundsystem ethic, in particular where high-end sound design intersects with formidable bassweight. It's an artist-focused endeavour geared towards producers with range, depth and ingenuity in their sound.

The first transmission comes from "FFT", the latest alias from accomplished producer Josh Thompson. Thompson established the Super Hexagon label with long time friends J. Wiltshire and Arthur Scott-Geddes and he's also released on heritage label R&S (as Alma Construct) and the excellent offbeat techno upstarts Power Vacuum, and more recently developed the FFT moniker via essential drops on The Trilogy Tapes as well as Super Hexagon.Thompson helps launch BRUK with a two-pronged attack that shows off the breadth of his artistic scope.

The lead 12" is a dynamic club release that pivots between razor-sharp drum programming, hyphy synth acrobatics, breakbeat science and dub-loaded atmospheres. If there's one constant that runs through all Thompson's work, it's a resounding confidence with melody, and that comes through even in the rowdy chops of "Month" – a track that exudes hope even in its gnarliest bars. From the dreadweight minimalism of "Fask" to the expansive electronica shock out of "Sacrifice (The Truth Mix)", this is a head-twisting release that feeds into the vital new energyreverberating around the 150+ axis.

Accompanying that 12" is a cassette album which provides that polar opposite side to FFT – a collection of compelling beatless ruminations under the banner of Total Self-Fulfilment. Gliding from low frequency industrial textures to expressive synth modulation, this is far from static music, even as it moves without the aid of a traditional rhythm section.

It's a strong first chapter for BRUK, with future releases lined up from artists similarly poking at the fabric of contemporary club music to find their own unique spaces for expression.

Returning to the label's dance floor roots, BODYCLOCK is a natural extension of Darker Than Wax's DNA - a foray into the late night club sounds that defined their sound. The freshly minted series represents the Singaporean label's primary outlet for dance floor burners and machine soul, shedding light on a new school of producers from around the globe and at the same time paying homage to the pioneers who laid the foundations for us. A celebration of afro-futurism that is ever-present in the consciousness of dance, BODYCLOCK is built for the nocturnal beings and discerning selectors that push this timeless tradition forward. This first volume brings together five producers across four continents - Teymori from Australia, NYC's Malik Hendricks, label mainstay Ricky Razu from Belgium, as well as Darker Than Wax co-founder Kaye and up-and-comer Halal Sol from Singapore. Establishing both facets of the BODYCLOCK sound, Side A features two vocal-led soulful excursions, while the flip brings three unabashedly jacking cuts to light the floor on fire. This is only the beginning - BODYCLOCK is coming with an onslaught of twelve inches and EPs, distilling our sonic outlook and looking to the future.

In 2015 US soul, boogie and disco legend Jay W. McGee teamed up with Hamburg producer, multi-talented musician and DJ Julian "Mzuzu" Romeike to record McGee's comeback album "Good Feeling". Even though both artists are from two totally different generations, they got on so well with each other after the official re-release of Jay W. McGee's classic 12inch "Turn Me On" on Légère Recordings two years before that they started to write and record together. After all, it was Julian "Mzuzu" Romeike himself who made Jay W. McGee return to the music business after nearly 15 years of silence.

The creative process did not stop with "Good Feeling": "We now have a brilliant combination of fresh songs. Many different accurate beats and of course Jay's incredible writing and singing skills," says Romeike. "I feel that it's a great combination of dedication, skills and talent which made this album possible. I work on some grooves and hooks for Jay, he picks the ones he likes and returns a proper song with vocals and arrangement. My production team, The Unbelievable Two, then work on the final mix."

"Smooth Crusing" hints towards McGee's classic late seventies sought after sounds like "When We Party" with the first "Uptwon, Downtown". The album also includes some reggae touches and smooth soul excursions. "It is such a big pleasure to work with these guys as everything works perfectly together," comments a happy Jay W. McGee. "It has all the ingredients for a classic album. It's funky and soulful, recorded in a unique modern style. We have a tribute to the good old funky music with 'Old School Love'. A lover's rock orientated tune with 'Chance I Have To Take' and some kind of up to date Afro-Disco-Soul with 'Bounce Back To Me'. And of course, 'Smooth Cruising' is full of funk!"

Set for release on 17th April, Catching Flies presents 'Silver Linings Remixed', a remix album featuring versions of tracks from his debut album reimagined by DJ Seinfeld, Andhim, Soundbwoy Killah, Laurence Guy, Ron Basejam, Grandbrothers and more.

Support for 'Silver Linings Remixed' so far from Mixmag, DJ Mag, Crack Magazine, Pete Tong, Gilles Peterson, Mary Anne Hobbs, KCRW, Bonobo, Solomun, George Fitzgerald, Mall Grab, Hernan Cattaneo, Kolsch, Nick Warren & more.

George King began Catching Flies in late 2012, drawing inspiration from a wide-ranging palette of music including jazz, soul, hip-hop, house and electronica. His debut album 'Silver Linings' was released in July 2019 and was hailed as "a soundtrack to summertime" by The 405 and awarded Album of the Month by Future Music who described it as "a brilliantly eclectic record…a moving journey that will last long in the memory".

Clash Magazine praised the LP's "killer beats" and "artfully orchestrated introspection" whilst London In Stereo praised its "exceptional production". Other coverage for the album included
The Guardian, Complex, Dazed & Confused and Nowness, with radio support across BBC Radio 1, 6 Music, Worldwide FM and more. Artist support for 'Silver Linings' has come from the likes of Bonobo, Jungle (BBC Radio One Residency), Loyle Carner, George Fitzgerald and Lane 8.





a 1 Opals (Analogue Dear Remix) feat. Analogue Dear

c 3 Kite Hill Theme (Freddie Joachim Remix) [feat. Freddie Joachim]
[d] 4 Opals (Andhim Remix) [feat. Andhim]
[e] 5 New Gods (Ron Basejam Remix) [feat. Ron Basejam]
[f] 6 Satisfied (Soundbwoy Killah Remix) [feat. Soundbwoy Killah]
[g] 7 Silver Linings (DJ Seinfeld's Drum Dream Remix) [feat. DJ Seinfeld]
[h] 8 When The Sun Bursts (Grandbrothers Remix) [feat. Grandbrothers]
[i] 9 Z (Laurence Guy Remix) [feat. Laurence Guy]

On his new record "Companionship", London-based Soft-Rock, Soul and Disco artist Joel Sarakula keeps the mood easy and the grooves deep. Ten new songs see Sarakula develop a deeper, more introspective lyrical style from his previous works as he celebrates and laments friendships, love and loneliness. Interspersed with a few standout up-tempo tracks to keep the ship sailing, "Companionship" is a chill-out album and listening experience of the highest order.

"Companionship" opens with "Midnight Driver", a driving soft-rock fantasy where the narrator laments his partner's nocturnal habits: 'When she's coming up, it gets me down'. The Californian sun-kissed guitars, vocal stylings and percussion all help to set a cinematic mood which unsurprisingly also makes it a great driving song. On the introspective "King Of Clowns", Sarakula creates a pop song that calls to mind the craftmanship of Hall & Oates and Elvis Costello. Both an admission of guilt and an unapologetic statement of intent, his low vocal careens in the dangerous divide between self-pity and self-parody: "My bad decisions worked out for a while, I'd do my dance tried to make you smile, I'll never wise up it's just the way I am". These confessions all occur over a down-tempo funk groove complete with some vintage synthesizer musings that makes the track ready to be sampled for a hip-hop record.

"Sunshine Makes Me" steps straight out of its mid-1970s swimming pool, heavily dripping in jazz fusion to dry off in the cold light of today's sunshine. The chorus is a mantra of desire, needs and reality that sees Sarakula sing 'Sunshine makes me lose my mind, thirty degrees and my eyes get so wide. Dreaming big and living slow, don't you know that time is on our side". On "Companionship", Joel Sarakula, prolific writer, producer, performer and multi-instrumentalist finally unleashes his chill-out pretensions. In this follow up to the critically acclaimed "Love Club" (2018) he develops a deeper and more mature compositions and production style. His love of all things vintage extends to a devotion to analog synthesizers and on "Companionship" you can hear a genuine love of synthesis that at moments is reminiscent of 70s synth production pioneers Todd Rundgren and George Duke.

Joel Sarakula will tour "Companionship" through Europe and the UK this Spring and Summer 2020 with his musical companions. Born in Sydney, based in London and a true internationalist, Sarakula tours with pickup bands sourced from each territory he plays in: a Barcelona band for Spain, a Berlin band for Germany and so forth. This cross-cultural exchange is a sly nod to the golden era of the 1960s and 1970s when travelling US pop, soul and blues artists would do the same.

After appearing on the well received Chicago Bee Various artists EP Nill Minogue AKA Postelektrik delivers his debut EP on the same label.

This well crafted EP has a mature sound that crosses the boundaries from traditional acid and leans towards deep house and electronica.

Side A delivers what has been to be expected from Chicago Bee. But its the the flip side where Nill Minogue comes into his own. This side blends a shift towards a home listening vibe as well as being suited to a more discerning dance floor. The tracks The Green Strobe and Not Them are slow drifting builders and full of lush pads that float along endlessly. This combined with moody baselines and trademark Roland drums you surely have a well rounded winner.

Many supporting this EP so far including DeepChord, Placid (I Love Acid) , Damo B (Outer Limits radio show) Colin Dale, Jerome Hill , Rennie Foster and Type 303.

UNCAGE’s label owner Marco Faraone drops his second album on Rekids, focusing on an unrestricted, unfiltered soundscape inspired by childhood, entitled ‘No Filter’.

Since his initial appearance on Radio Slave’s esteemed imprint in 2018, Italian artist and label boss Marco Faraone has continued to enthuse techno communities across the globe, playing at the likes of Awakenings, Caprices, Tomorrowland and Kappa FuturFestival. With previous releases on Ovum, Drumcode and Be As One, the Tuscany-born artist has garnered the support of Len Faki, Rodhad, Laurent Garnier and many more.

‘Force Deep’ and ‘Iconic’ give the senses a relaxed flush of ecstasy and lofi-esque rhythm, while tracks like ‘Night Ride’, ‘Addiction’ and ‘No Filter’ lean more on a stripped back, beat focused dub techno tip. ‘Frogface’, and ‘Time Equals Eternity’ then flurry with signature drum programming, and otherworldly synth stabs. Finally, ’Trust Me’, propel forward with after dark atmospheres, giving this versatile and luscious album that mainstay place amongst any unique techno set.

"Ooh.... is this even legit?
Two killer remixes by Fango and Øyvind Morken respectively on this mysterious but not so mysterious 12" by an unknown artist.
Categorize under HOUSE because this belongs in the basement".

Who put the dance into Factory Records?”

Be With would like to refer you to FAC 59.

Working with founding member Tony Henry, we’re honoured to present the reissue of 52nd Street’s crucial debut single “Look Into My Eyes”, backed with “Express”. Originally released on Factory Records in Summer 1982, this ultra-rare 12" is a double-sider in the truest sense. Unrivalled Manchester jazz-funk-boogie-soul.

Both “Look Into My Eyes” and “Express” came out of a five day recording session in the spring of 1982 at Revolution Studios in Cheadle Hulme, just outside Manchester. Rob Gretton had just signed the band to Factory, snatching them from under the noses of RCA and WEA Records who had been sniffing around and seemingly ignoring Tony Wilson’s concerns that Factory might not be the right home for a black soul act. Rob clearly thought different.

The band of Tony Henry on guitar and vocals, bass player Derek Johnson, drummer Tony Thompson, lead vocalist Beverley McDonald and John Dennison on keyboards were put in the studio with A Certain Ratio’s drummer Donald Johnson producing the sessions. The band also found themselves with an interesting new member.

The back cover of the finished record credits synth F/X to a mysterious “Be Music”. Turns out that’s Bernard Sumner. Yes, that one. Tony Henry explains that bringing Bernard in was another part of Rob Gretton’s plan, “Barney was a real soul boy at heart and had always wanted to produce and work with black artists… with 52nd Street, he was an honorary member”. The results suggest he fit right in.

“Look Into My Eyes” squeezes so much aural pleasure into one side of a 12" single. A strutting, rich, soul-gliding funk with bass and guitar high in the mix above twisted, bubbling synths. Like Nile and Barney drenched outside the Haçienda that first summer. How can something be this liquid loose whilst sounding so, so tight? The hypnotic, naïve-cum-insouciant vocals from McDonald, backed by her fellas, only add to the track’s charm. Put simply, it sounds like nothing else.

On the flip, “Express” is sheer drama on wax. Tony’s opening lesson in good manners (“Excuse me miss, is this seat taken?”) sees us strapped in for a wild, chaotic, rhythmic ride. All bold keys, synth brass blasts, insistent bells and a galloping groove giving *that rush* atop a bassline to die for. No surprise it was a Frankie Knuckles favourite. Blistering heat.

The 12" was Paul Morley’s single of the week in the NME but his approval did little to get daytime radio play or to sell the record when it was released. It probably didn’t help that, in Tony Henry’s words, Factory were a label “notorious for not promoting their bands, not wanting any communications with the written press and not answering their office phones.” It came and went with none of the fuss that music this good deserved.

But in the near-40 years since they were released, these two tracks have gone on to become cult underground hits for those in the know. Of course that means those original 12"s have gotten rare and pricey. So here’s your chance to own this particular piece of post punk Factory Records funk.

But this record isn’t just a vital slice of Manchester soul history. Tony’s not shy about just how important he thinks the collaboration between 52nd Street and Bernard Sumner was: “this worked out quite well for us in the band but even better for New Order and Factory Records as Sumner studied grooves, rhythms and how to write and construct funk and dance music from 52nd Street and producer Donald Johnson”. You just have to listen to Blue Monday to hear what Bernard did when he started putting what he’d learnt into practice.

“Look Into My Eyes” and “Express” come from a chapter of the history of Factory Records that no-one seems to have gotten around to writing. Working with Tony to reissue the original 12" is the start of putting that right. The story of 52nd Street is more than just a footnote.

Part I (Disc 1)

The Taiwanese artist Yutie Lee covers six Chinese folk songs about Flowers.
Tuberosa, Rose, Jasmine, Plum Blossom, Orchids & Chamomile all are odes to the beauty of the plant. The flower also being a metaphor for something we are desperately longing for, but can never quite get. However you may want to interpret the songs, they are all telling a story of something pure and indestructible. In the end nature will prevail?
Romantic thoughts created in a time long before the current state of the world.
By artificially mutating her voice, Yutie Lee successfully manages to transfer the songs into 2020s arguably much more complex, dystopian reality. She does this not without a bow to the past, prevailing something of the original songs sweet essence, even adding a layer of humour… in the end leaving the listener with a feeling of good hope.

Part II (Disc 2-3)

To complete the package Yutie Lee’s versions have been remixed by, Alva Noto, Bell Towers, Laura Groves, Oceanic and Suzanne Kraft.

SC016 sees the re-issue of four tracks taken from a little known cassette only release ‘Diet Of Germs’ by British artist and friend Adam Oko. Originally released in 2015 on the now defunct Astro:Dynamics label the four tracks were recorded in Adam’s bedroom studio overlooking Clissold Park in Stoke Newington, London.

Now based in Tokyo but having spent most of his life living between London & Canterbury, as well as producing music and running a regular radio show on NTS radio, Adam also makes mixed media artwork and designs installations & interiors.

All instruments on ‘Diet Of Germs’ were performed by Adam himself except the solo on Suketo which was played by Raven Bush - Kate Bush’s nephew & was actually recorded in Kate’s old studio in South London.

Marking the first-ever Vinyl-Release for "Rave In2 The Joy Fantastic". Each of the LP's will be pressed on highly collectible Ltd. Edition, Purple Coloured Vinyl! "Rave Un2 The Joy Fantastic" was his only album for NPG/Arista, - and the last released under the unpronounceable "Love Symbol" moniker; It was a Record that showcased Prince's mastery of Pop and R&B through a Variety of Tracks & a surprising range of guest artists including Chuck D, Eve, Gwen Stefani, Ani DiFranco & Sheryl Crow, -he even covers Crow's hit "Every Day Is A Winding Road" on the album. Marketing Activity & Database Mailout.

In 2016, talented artist Paul Cut released his first vinyl with Popcorn Records: the Basement Jam EP.
This album foresaw the rise of the young producer, who has since piled up project on top of project, and record on top of record. One of the driving forces behind the D.KO label, and a (literal) key player of the Secret Value Orchestra band, Paul has also thrived on collaborations. Whether with Chez Damier, Jef K, Flabaire… They all fall under the spell of the young pianist’s skill, who has become in just a few years one of the leading figures of French house.
In 2019, Paul joined house legend Larry Heard for his world tour, and multiplied appearances at famed festivals such as Glastonbury, Dimensions, DGTL or Printworks. In 2020 Popcorn Records is turning 10. And to mark the occasion, Paul is coming back to his beloved label to unveil his first album. More than a year of thought and work went into “Le Bal des Douaniers”. An album composed of 10 titles, which all reflect fragments of Paul Cut’s influences.

180g

Council Work returns with the next installment of their journey, this time with the Militant EP. Two original tracks from the label bosses Frankel & Harper, and keeping in theme with the previous releases, obtaining remixes from their favourite artists in the scene, they've enlisted 2 big remixers, this time from Salty Nuts boss and Cocoon regular Fabe, and Orbital London head honcho and rising UK star Jack Michael. The EP sticks to the signature Council Work sound, showcasing underground UK flavours with lots of garage and jungle influences, whilst showcasing more minimal and breaks textures and vibes

Those who have been following Laurent Garnier, would know that for a long time know the multiple attributes of this artist, and how his status as "best DJ in the world" is only a shortcut used by default. It must be said that this man is gifted with an extraordinary sense of combat, and that he has been fighting for many years to impose good music onto the public. Laurent Garnier has always refused ghettos and prefer action, he does not support repetition, even less compromises and certainly not downtime.

German veteran Marc Romboy is back on André Hommen’s ​These Eyes imprint with a stellar two track release entitled ​Elka, ​showcasing Marc’s effortless ability to portray alluring and emotive characteristics through music​. ​This offering follows up from ​Trapped In An Orbit​, which he released on the label in 2017 and remains a label highlight to this day.

The title track ​Elka provides a stirring and suspenseful journey that plays out as it’s melodies unfold over a bassline that pulses gently and impels the listener. ​Unreal Sun ​ups the energy with a groove thats ready to fall into and chords that lead the way, dictating the pace as their intensity undulates.

Marc Romboy has dedicated 30 years to the scene, with an impressive history of releases on labels like Innervisions and his own Systematic Recordings, collaborating with artists such as Stephan Bodzin. It is a point to be made that the A side to this release is one of Marc’s personal favourites to date and it is clear to see why.

Thembisa’s Hot Soul Singers were formed in 1975 by promoter and producer Sam “Jiza Jiza” Mthembu. In the early years the trio was called the Thembisa Happy Queens and consisted of sisters Ntombifuthi and Nombuso Mabaso and Lindiwe Ndlovu. The trio would start out playing Jive, Zulu Disco and other popular sounds of the 70s . In 1979 they became the Hot Soul Singers and would begin a career in the emerging Disco scene which their group name was now more fitting for.

Their first single under the new name was a tribute to their producer Sam, and their first album “Together” would come 2 years later in 1981. It contained their Lamont Dozier rip off from a year earlier, and biggest hit to date “ Give Me My Love Back” which was playing in jukeboxes across the country. At this time the Hot Soul Singers were also gaining popularity due to their demand as an opening act for American groups. Sam’s ongoing pursuit to be a successful promoter also helped to ensure they were always in the headlines and playing shows. It would be in 1983 that the group would temporarily step away from a major label and go onto record their first Maxi single with the independent Raintree Records new Lyncell Imprint.

Like most places in the world the early 80s was a fast changing time in music for South Africa. Although the Maxi had a disco standard for years in other parts of the world it had only recently been popularized in South Africa. Thanks to the Brenda and the Big Dudes smash, Weekend Special, the maxi took over as the preferred format for pop music, replacing the cheaper but time restricting 7” single. Singles were being pushed to the limits in the early 80’s with running times of 4+ minutes a sides by some labels. The Maxi allowed for groups to extend their grooves onto a full side and later album art containing smiling musicians infant of cheesy backdrops became the norm. Synthesizers had been used in pop music for years already but the DX7 wouldn’t land in the country for another year. Drum machines were being used but had yet to fully replace live drummers like would happen in the years to come. The recording of this new single would require a full band resulting in it being one of the gems of the crossover period before the complete midi takeover. Durban’s Graham Handley was recording some of the best upcoming Disco sounds for labels like Heads Music and groups like Kabasa and Masike Mohapi and was tasked as engineer. Other known musicians in the session would be Jimmy Mgwandi from the group Image, who’s signature bass playing can be heard on both songs. A young Daniel Phakoe aka “sox” was also present and took care of the male parts of the vocal line. Both musicians have writing credits along with lead singer Nombuso. Other possibilities of musicians would be Thami Mduli aka Professor Rhythm who had been with the group since their early days as well as a young Chicco who was best friends with Jimmy at the time.

The single, which was packaged in a customized but simple company disco sleeve, went on to do quite well. Less than a year later they would feature on a track with Sunset which would lead to them singing with Sounds of Soweto records label. The group would enjoy the growing fame when tragedy struck in 1984. On their way to a show in Mpumalanga they were involved in a car accident which took the life of Nombuso and left her husband Sam with a leg injury he limps with to this day. Upon recovering Sam would organize a tribute concert at Soweto’s Jabulani Amphitheatre. Even though the tragedy left the group broken and without a member the band went back to work to record their second full length album. They worked with Mac Mathunjwa who had written Nombuso’s favourite song “Going Crazy”. This album would be released with two different names and covers. One took the former singer’s favourite song as the album name and used a photo consisting of all three girls where the other released under the name “ A Tribute” and would only have the remaining members on the cover.

Although the tragedy never halted the group, moving forward the trio of singers would see a few members change. Lindiwe would leave to join Freeway and then become Linda “Babe” Majika so by the time they were ready to record in1986, now with Teal records, the only original member was Ntombifuthi. She would also shortly leave the group and provide backing vocals to other artists including her old band mate Linda. The Hot Soul Singers would be kept alive by Jiza Jiza and go on to record 5 more albums before calling it quits in 1990 after a successful 15 year career. Today the only core member left is Sam Mthembu who still lives in Thembisa and is occasionally promoting live events. Even though he did produce a handful of artists back in the 70s, his most significant additions to the music industry were the Hot Soul Singers and his event promotions, which is what he is best known for and will most likely be the legacy of his career.

Clear Smoked Vinyl

180 gram clear with smoke vinyl w/download card.
In sharp contrast to McCagh's commercial work for Huawei, Acura, and Volkswa-gen, "Altered States" is a detailed opening statement of experi-mental aural vignettes by an artist that has clearly spent the time to master his craft. Digitally manipulated acoustic instruments form the backbone for McCagh's wall-of-sound aesthetic painting pictures of bleak futures where the tracks dance, or more aptly, shiver their way to sharp collapse.

In short, McCagh makes ambient music with teeth. A form of experimental music with soul, or faded formation of industrialized machine music shrouded by layers of aural gauze, each piece emotively twist-ing and turning in and out of focus. "Altered States" is a brilliant inaugural proclamation from artist to watch.

Dom (and his Roland s760 sampler) was once described by seminal magazine NME as the “Ridley Scott” of drum and bass. His epic early records helped form the blueprint of the scene today.

Originally releasing on No-U-Turn in 1994 and credited as one of architects of “Tech-step”. Dom was signed by the legendary Moving Shadow label in 1996 where he released 3 solo albums and a plethora of singles becoming their most prolific and influential artist in the history of the label.

Well known for his early alliances with school friends “Optical” and “Matrix”, Dom started his own label DRP (Dom & Roland Productions) in 2006 to collaborate with like-minded artists. Now 15 years in with an enviable roster from “Noisia” to “Amon Tobin” it is now the main home of Dom’s work.

Lost in the Moment is Doms 7th Album. In his own words “I wanted to make an album that gets back to the core of the elements I love about drum and bass. The timelessness of simple tracks! A sense of being lost in the subtlety of evolving soundscapes, rhythms and loops which hint at more complex detail and emotions. These are the things I find harder to find in this era of instant gratification and easily consumable music.”

Dom’s previous album Last refuge of a Scoundrel was signed to Metalheadz in 2016. It sold out on its first day. Mixmag gave it 10/10 and named it album of the year. It was runner up in DJ Magazines “Best of British” category across all genres.

Frustrated with UK club music's current fixation with tempo, London based artist Kouslin's '2020 Vision' EP delivers four cutting edge, high energy clubs tracks that hover around the 100bpm mark. Drawing on both dancehall influences and the productions of artists such as Harmonic 313 / Mark Pritchard and The Bug, Kouslin carves his own vision for a new decade in UK club music where fine tuned low frequencies and a slower pace can deliver maximum impact.

When he's not working at London's Phonica Records, Kouslin runs the Le Chatroom record label and has a regular slot on London's Balamii radio.

This 12” vinyl release comes with full colour artwork reverse board sleeve with artwork from Tess Redburn.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.

Moscow's leading deep and underground house label Deepology presents a series of releases, Four Seasons. Four releases, vinyl only, each corresponding to a specific season of the year.

The first record, EP 1, includes four tracks by residents and friends of the label - an international team of the artists from Russia, Ukraine, Germany and Finland.

Limited edition of 300 copies. Spread the analogue love!


DJ Feedback:

Mark Farina, Sascha Dive, Luna City Express, Martin Landsky, Jimpster, DJ Linus, Charles Spencer, Nick Holder, Terry Francis, Jay West, Igor Marijuan (Ibiza Sonica FM), Glenn Underground, Jesus Gonsev, Robert Owens, Patrick Lindsey, Lars Behrenroth, Carlo Gambino, Mucho Soul, Finest Wear, Fer Ferrari, Sumsuch and more.

Yet more fresh heat from the Soundscape Versions camp and this time round with a special tentrack compilation by different artists across the globe with wide scope of electronic music produced and performed using all analog hardware gear. Release comes out on
c70' cassette and digital.

Coastlines is the self-titled long player from the new Japanese production unit of DJ and producer Masanori Ikeda and solo artist, session musician and Cro-Magnon keyboard player Takumi Kaneko.

Masanori and Takumi have been part of the Japanese dance music scene for years and Coastlines was born out of their working together on soundtracks for video projects. The pair wanted to make laid-back listening music for now, laying Takumi’s playful keys over Masanori’s widescreen balearic jazz-fusion to conjure beautiful and breathtaking “coastlines”.

A couple of two-track 7"s put out in late 2018 and early 2019 on Japanese house music label Flower Records soon sold out. Those four tracks were expanded to a full album of music, “a joyous, relaxing, summery soundtrack for everyone’s after hours wind down” that was released just in time for summer. It soundtracked many a Be With BBQ in 2019.

The album opens in the horizontal with the sophisticated, cocktails-by-the-pool groove of “Sunset Reflection”. A lush, beatless wonder. Their re-imagining of Ralph MacDonald’s “East Dry River” removes all the original’s bells and whistles (quite literally) and re-gears it with a subtle balearic chug. The result is a percussive gem.

“Coastline” is a beach-jazz noodle. “Drifting Ice” is as chilled and glacial as its title would suggest, yet Masanori’s head-nod slo-mo house beats throb not far below the surface. “My Fire” is another soft killer, all swelling, swirling organ over muted kicks and snares. An elegant boom-bap.

A pair of insistent tunes of the deeply balearic variety raise the tempo, but not by too much of course. On “Woods And My Guitar” a half-heard vocal refrain breathes life into the synthetic xylophone and guitar. Deft piano-work turns “Half Moon Shadow” into lounge-house for the sophisticated beach bum. A classy duo.

The self-assured re-work of Azymuth’s “Last Summer In Rio” is arguably the album’s centrepiece. Ten minutes of casually propulsive slapped bass, steel pans and slick 80s soul beats. Cue the steel drum interlude of “Maracas Bay” before album closer “Down Town” transitions us one with a shuffling, string-hinted hit of ethereal, euphoric piano bliss. Gentle disco for the new decade.

As former Test Pressing scribe Dr. Rob observed on his ever-reliable Ban Ban Ton Ton blog, the Coastlines fusion is very much in conversation with their 80s counterparts, both at home and along the coastlines of different continents. So among the nods to revered Japanese artists like Hiroshi Sato, Sakamoto and Casiopea, there are also hints of Marcos Valle and Mtume, of the aforementioned Azymuth. “The production though is very much now, not then. Not retro, just proper”. We couldn’t put it better ourselves.

Coastlines was originally a CD release only available in Japan, with HMV putting out a super-limited vinyl version a few months later for Japanese Record Store Day. But this music is just too good, so when Be With was asked via Ken Hidaka to take care of a vinyl version for the rest of the world it wasn’t a tough decision.

Mastered by Simon Francis and cut by Pete Norman, just 500 copies of this double LP have been pressed by the good people at Record Industry.

June Records presents the debut release of Lithuanian artist Caroil who has been active in the local scene with his involvement with DOS Club and STRCAMP. Recorded between 2015 and 2018 in Vilnius, Lithuania using hardware digital and analog synthesizers. Sound sources include: Boss DR-660, Formanta Polivoks, Kawai SX-210, Kawai K1, KORG MS-20, KORG KR-55B, Roland SH-101, Roland JX3P, SIEL Cruise, YAMAHA TG-33.

Following on from an excellent debut in 2019, with ‘Karoussel’, Mow Records unveils its second album. A further exploration of label head Mowgan’s penchant for house music and authentic African sounds, ‘Soya’ features percussion and vocals from Solo Sanou, an artist whose roots lie in Burkina Faso - though he’s based in Toulouse, where the album was recorded.

Comprised seven Afro house cuts that utilise organic instrumentation and Solo’s raw, emotive voice, the album is the second installment in a series of five long-players recorded by Mowgan in the space of a year. This new LP goes deep into the heart of Africa’s rich musical culture, delivering contagious rhythms, rousing atmospherics and a pure, organic, unadulterated sound that has been cultivated through electrifying jam sessions at Mowgan’s studio. Also featured on ‘Soya’ are Yoan Hernandez and Yaya Dembele who play guitar, Gauthier Djalate on bass, alongside Mamadou ‘Madou’ Dembele, a multi-instrumentalist who plays flute and ngoni, while also handling backing vocals with Adama Coulibaly aka Demsi and teaming up for a duet with Solo on ‘Badenya’. Another vocalist, Fanta, was intrinsic to this LP. The granddaughter of renowned Malian performer Kandia Kouyaté, Fanta appears on ‘Fatanya’ and is a crucial component of the album’s conception…

The story goes that Mowgan was making an album with Fanta when he realised he needed a percussionist. Fanta brought in Solo Sanou, who was very timid to begin with. Mowgan liked his style and decided to work on some music with Solo separately. As the relationship blossomed, and they recorded more music, Solo brought more and more instruments to Mowgan’s studio. During those sessions Mowgan gently encouraged Solo to try using his voice, eventually he did and, when he heard how good it sounded, ended up singing across the whole LP. So, the beauty of this album, beyond the wonderful instrumentation, is the fact that you’re hearing Solo Sanou sing for the very first time.

With all the songs recorded in his native languages, Bobo and Bambara, ‘Soya’ is an exhilarating blend of electronic production and African influences that emanates a feeling of authenticity throughout. From the opening cut ‘Adamine’, which is about Solo’s first meeting with Mowgan, to ‘Badenya’ which refers to family bonds - “There may be quarrels, but it will never catch fire,” Solo says.

There is social commentary, such as that featured on ‘Fantaya’, which is about poverty - “While some people worry about what they will eat at night, others have fun without worrying about them,” he says.

A soul-nourishing, vibrant and utterly contagious collection of raw, authentic Afro house, ‘Soya’ marks another step forward for Mow Records and a triumph for all the artists involved. Look out for further installments…

Another banging V/A on Planet Rhythm. Shekon sees two of his tracks remixed by Phara and Re:axis for peaktime purposes. The A2 and B2 positions are reserved for more deeper, pulsating sounds by Gotshell and Simone Tavazzi.

“Miss Honey” by Moi Rene was an underground New York anthem during the early 90’s. While the artist and the song never fully got the acclaim it deserved, it’s originality and authenticity was strong enough to sustain its reputation as a must have track for any DJ who wanted to inject some raw and real NYC underground vibes into their set.

Through a series of memorable releases, the production team known as SRVD has emerged as one of the worldwide DJ community’s most original and innovative talents. Consisting of renowned producer Radio Slave and Performance arsist Partrick Mason, SRVD has done a remix that retains the New York-in-the-90’s edge of the vocal, while adding a techno – laced rocket fueled beat and synth that have made the track an immediate favorite of headlining DJ’s worldwide. Entitled Moi Honey, the SRVD remix package consists of a vocal and instrumental version.

Planetary Notions boss Joe Rolét debuts on Infuse to open April with his ‘Maximum Width’ EP, backed by a remix from Rich NxT.

A rising name within his home city of London, Joe Rolét is a DJ and producer whose passion for subbed out club music with a cosmic twist has seen him become one of the scenes hotly tipped talents – a sound that’s also reflected in full via his bubbling label, Planetary Notions. Releasing music from artists such as Per Hammar, Lopaski, stevn.aint.leavn and Desert Sound Colony whilst welcoming the likes of Vlad Caia and more to join as guests on the imprint’s Rinse FM show, 2020 now sees Rolét follow up releases via Beeyou, Courtesy Of Balance and his own Planetary Notions imprint as he makes a debut label appearance on Infuse with ‘Maximum Width’ EP this April, accompanied by a remix of the title cut provided from FUSE resident Rich NxT.

Lead cut ‘Maximum Width’ sees Rolét introduce his blend of slinking, reduced grooves atop of bumping low-ends whilst working an infectious vocal throughout, whilst ‘Rounding’ sees warped synths, off-kilter melodies and further tripped out vocal snippets come to the fore. On the flip, FUSE favourite Rich NxT puts his stamp on the title track in impressive fashion as he raises the tempo and introduces sizzling bass stabs and rolling hats, before rounding out proceedings with the hypnotic ‘Amber Road’ – a paired back cut that harnesses soaring sci-fi leads and wriggling percussion arrangements to great effect to shape up an impressive debut offering.

Palette 71 kicks off with legendary Warp artist Plaid on remix duties. Transforming the title track, re-synthesized 909 samp-les and lua scripted sequencing, Plaid builds melodies and ar-rangement to epic proportions in classic Plaid fashion.

Tejada’s new EP is an homage of sorts to the sample heavy production style of the late '90s. "Limiting the options and just creating and manipulating a batch of samples is my happy place,” says Tejada. The title track hints back to a personal favorite, Optical’s "Moving 808s." While the sound is quite different, the approach is similar: samples, editing, some fil-ters and not a whole lot more opens up a lot of creative possi-bilities without too much getting in the way. Of course, the bass plays an important role. Combing through some older influences of varying styles, the production became more in line with Tejada classics like “Timebomb” and “Western Star-land,” both sample collage pieces focused on groove.

The final track, "Infinity Room" also follows this production process while resulting in a slightly moodier sound.

Founded in 1972, SteepleChase Records is one of the most significant and prolific European jazz record labels. With a catalogue running to well over 200 titles, the Copenhagen-based imprint has recorded and released music from some of the greatest names in jazz, including Dexter Gordon, Andrew Hill, Jackie McLean, Horace Parlan, Chet Baker and Stan Getz.

Starting out by recording visiting Americans when they performed at the legendary Café Montmartre, founder Nils Winther was encouraged to start the label by none other than the great Jackie McLean, who was the first artist to release a record on the new imprint. From there, Steeplechase rapidly grew into one of the foremost labels to document European jazz with all its distinctive originality and style.

With a particular emphasis on recording front rank American artists who had chosen the expatriate life in Europe, Steeplechase was first in line to document the sounds of the greats as they developed in exile. Featuring in-demand tracks from the likes of Billy Gault, Johnny Dyani and Khan Jamal, and unearthing deep cuts from greats like Jackie McLean and Mary Lou Williams, our Spiritual Jazz 11: Steeplechase pays tribute to one of Europe's most important jazz labels.

Brooklyn-based cellist Clarice Jensen’s gorgeous
sophomore album and first for FatCat’s pioneering
130701 imprint, ‘The experience of repetition as death’
was recorded and mixed by Francesco Donadello at
Vox-Ton studios in Berlin in late 2018 and mastered by
Rafael Anton Irisarri.
 Following up her hugely impressive 2018 debut, ‘For
This From That Will Be Filled’, which included
collaborations with Jóhann Jóhannsson and Michael
Harrison, all of the material on this new album was
written and performed by Clarice alone and all of the
sounds on it were created with a cello through a
variety of effects and effects pedals.
 Clarice has recorded and performed for a host of
stellar artists including Jóhann Jóhannsson, Max
Richter, Björk, Arcade Fire, Nick Cave, Jónsi, Stars of
the Lid, Dustin O’Halloran, Joanna Newsom, Nico
Muhly, Dirty Projectors, Frightened Rabbit and Beirut.
 Receiving glowing critical acclaim, both her previous
releases made it into Pitchfork’s End Of Year charts.
 For fans of Jóhann Jóhannsson, Hildur Gudnadottir,
Stars of the Lid, Max Richter, Pauline Oliveros, Harold
Budd, A Winged Victory For The Sullen, Sarah
Davachi, Resina, Maria W Horn, Ellen Arkbro, Kali
Malone, Christina Vantzou, Abul Mogard, Galya
Bisengalieva, Richard Skelton, GAS, Steve Reich.

Outta Sight’s collectable ‘Classics’ series continues with two real heavyweight’s of the rare soul scene, face-to-face for the very first time. Together, these two icons helped define, not only Northern Soul, but the soul music genre… and now, almost sixty years on, they go head to head.

In the blue corner is former commercial artist and amateur heavyweight boxer Mr Roy Hamilton who set the dancefloors trembling across the North of England when his 1962 “Earthquake” was finally unleashed on the Northern Soul scene. Hamilton was already a huge star in America scoring two R&B No.1’s in 1954 and ’55 with the standards “You’ll Never Walk Alone” and “Unchned Melody”. But, he will forever be remembered in the U.K. for his Northern anthems “Crackin’ Up Over You”, “The Panic Is On”, “You Shook Me Up” and the explosive “Earthquake”.

In the red corner is the multi-talented actor, pianist, arranger, producer, songwriter and singer Mr H. B. Barnum who’s early belter “It Hurts Too Much To Cry” belies its 1962 recording date. Barnum also scored on the rare soul scene with “Three Rooms With Running Water”, “The Record” and the awesome “Heartbreaker”.

But his contribution far exceeds his personal output with writer, producer and arranger credits on a slue of floorfillers inlcuding Judy Street’s “What”, Earl Wright’s “Thumb A Ride” and The Magnificents’ ”My Heart Is Calling You”, to name but a few.

Warok launching its third record with releasing a second Ponorogo, which is a various artists. Tracks by Arnaud Le Texier, Clotur, Unbalance and Eyth, 4 tracks with hypnotic clean cuts and an elegant grooves, dance-floor oriented. On "Ponorogo 2", the label reveal the faces of the Warok warriors.

Japanese artist Kosei Fukuda is back with his new series from his own platform. compilation of tracks with different approach towards experimental field in texture of sounds and beats. 5/5

New Zealand/Aotearoa is an island known for its lush nature and unique geographical positioning: at the centre of the Water Hemisphere, its surreal blend of beauty and isolation has a distinctive effect on its inhabitants and the art that they create.

With NZ ELECTRO, INDEX:Records brings to the fore one of the genre mutations caused by this unique environment, hoping to expose the people pushing dance music deep in the Pacific.

250 limited edition 12" vinyl in white polylined inner sleeve and purple card outer sleeve.

Music From Memory are happy to finally announce MFM045 - VA ‘Music For Theatre And Dance’ (EP).

This will be the first in a small series of EPs which will focus on music which was initially created for or inspired by dance and performance. Created as a dialogue with the avant-garde and highly experimental work in dance, theatre and art evolving at the time, the music was in turn at times greatly innovative.

That it was created for a dance or performance though means that such music was also often highly rhythmic and a number of pieces from this time stand out and seem greatly deserving of a new context.

Whether it’s more ambient or atmospheric works or whether it’s in the more rhythmic or percussive pieces, Music From Memory brings together a selection of tracks which aim to highlight this highly innovative direction in music.

Protoelectronics psychedelic Mexican Holy Grail rediscovered by Glossy Mistakes. Inspired by Vangelis, Tomita or Kraftwerk, this unknown rarity gets a second life sounding fresh and pioneering today.

Tito was born in 1946 in Ciudad de México, the son of two Spaniards. Since he was a youngster, he had felt the passion for music and instruments. In the meantime, he started a career as architect. Since his early years, he joined various teen rock bands, where he played bass and guitar. Slowly but surely, his interest in synthesizers started to grow. And the rest is history. Tito defines himself as an “electronic sounds fanatic”. Quetzalcóatl is a truly authentic cornerstone in those terms: an inspired and eclectic artist gives shape to a unique sound through legendary synthesizers such as the MiniMoog or the Arp Odyssey. His passion was so embedded that he even built his own guitars and equalizers; some of which appear on this LP.

Quetzalcóatl, his debut solo album, was originally recorded in 1977 (now remastered) in his bedroom using a four-channel Sony recorder in a truly DIY way. This álbum could be considered as a rarity. But if we listen hard enough, we find a pioneering treasure. Somehow, Quetzalcoátl anticipated the sounds of future decades with simple but inspired compositions. It is a mythological trip to the Pre-Hispanic México. This album is an allegory of the Aztec world. Quetzalcoátl is the most important God for Mesoamerican cultures: it represents the inherent human dualism between the body (represented by the snake) and soul (the feathers). In the song “Profecía”, Quetzalcoátl emerges, announcing the end of the world at the hand Spanish colonialism. Limited edition, 600 copies, remastered in Amsterdam by Wouter Brandenburg.

Tripeo raises a voice for change on his new album “Green Is the New Red“ (BASLP03). “The great thing about (electronic) music is that it’s the most universal art form there is“, says the Dutch producer. “It transcends lingual and cultural barriers more than any other cultural expression and can be a catalyst for change.“

The sound of the coming revolution is manifold: Starting off with A1 “Hope in the Dark“, a soft melody unfolds. B2 “Shifting the Overtone Window“ stands out as the most bass-heavy track, with techno as its musical blueprint. Further into the album, C3 “Fridays For Future“, the artist openly states his sympathy with the global youth movement. His vision for the protest is lo-fi in sound and courageous in mood.

Never angry, this album creates urgency without uttering a word.

Voice of the Kano project and former percussionist of Eric Clapton, George Benson and Chaka Khan, Glen White in 1982 wrote and arranged "Be Free", one of the most intriguing and elegant Italian disco / boogie song together with the producer Louis "Gigi" Figini (former member of project "Koxo" alongside the unforgettable Leonardo Re Cecconi). An overlooked gem by the West Indian artist brought back to the musical community!

Franky Rizardo announces the launch of his new label, LTF Records with four-track EP ‘Primrose’. The culmination of a number of years hard work, the Dutch DJ, producer, promoter and now label head proudly presents an outlet for his own music.

Encompassing an immersive feeling of energised focus, involvement and enjoyment of his journey within the industry so far, LTF Records (Listen To Flow) is Franky Rizardo’s new platform to transport its listeners and followers into a flow state of mind.

One of The Netherlands finest exports, Franky Rizardo has established himself as an international touring artist, as well as name renowned within his own country. Being an ever present on Dutch national radio station, SLAM! has provided him with the perfect platform to develop and nurture a label that is crafted with clear intentions and identity. Building a career based on strong philosophies, Franky has consistently aimed to do his own thing, keep everything in perspective and most of all, having fun.

From ingraining himself within the ANTS and elrow camps, to releasing on labels such as Strictly Rhythm, Rejected, Saved and 8Bit, Franky has become a name synonymous with deep driving house music that blurs the lines between Techno and House. The multi-faceted Dutch artist has also represented himself and his brand FLOW, at events such as Tomorrowland, Fabric – London, Shelter – Amsterdam, Amnesia – Ibiza and Soho Garden Dubai, further cementing his status as a one of electronic music’s most dynamic individuals.

Across four-tracks on the ‘Primrose’ EP, Franky focuses his energy firmly on the dancefloor, keeping people locked into his flow state. Opening with ‘Primrose’, the tracks low-end rumbles throughout, supplying the perfect atmosphere to keep the crowd moving. ‘Faze’ offers a wonky blissed out vocal alongside stabbing synth. Whereas ‘DC Terrace’ is a nod to the peak-time movements at Ibiza’s famous club, DC10. Closing the EP ‘Clouds’ provides an energised up-tempo focus track to engage to zone.

The label launches at time when authenticity within the industry is key, Franky continues to focus on his own output, never taking himself too seriously and always keeping full perspective on the task at hand. Inviting you to join him with LTF Records, Franky wants you to enter his flow state.

2020 Split release with contributions by ELEH and NYZ.

ELEH: This side is possibly the artist's most complicated electronic composition. It navigates myriad timbral, tuning and temporal processes while winding itself to completion. It was composed/constructed over a period of months in early 2019.

NYZ: Two crunchy microtonal drone meditations in mono, using techniques of digital FM and hybrid analogue/digital modular synthesis. FM60P::fbk1#03 is from a number of sessions recorded on my very battered SY99 recorded from 2013 to 2014. As the name suggests, this particular session revolved around using feedback in the FM algorithm. EML DRNPi was recorded as part of the 2015 Plum Island Sessions where I had a host of synths on loan from John Brien at Important Records. For this recording I used the EML ElectroComp 101 and my own 4 voice digital microtonal oscillator running a Lambdoma Matrix to make a hybrid analogue/digital system.

This split release between ELEH and NYZ (David Burraston) is packaged in a heavy duty sleeve printed on both sides of the packaging and utilizing metallic inks. This is a first edition of 500 copies and a brand new full length from NYZ is being released at the same time via Important Records.

Matière Mémoire presents the MMXX Series: In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout this year, each quarter will see the release of 5 new vinyls.

Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the MMXX logo, coming with a print of the artist artwork.

Participate in this series:
Franck Vigroux, John Duncan, Phill Niblock, Jim O’Rourke, Reinier Van Houdt, Stephen O’Malley, CM Von Hausswolff, Hampus Lindwall, Oren Ambarchi, Kevin Drumm, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

Seit einiger Zeit arbeitet die deutsch-brasilianische Künstlerin Gloria Endres de Oliveira, die auch als Filmemacherin (Musikvideos, Kurzfilme) und Schauspielerin (u.a."Babylon Berlin", "Die Pfeiler Der Macht", "Counterpart" und aktuell in Christian Petzolds "Undine" (Berlinale 2020)) aktiv ist, an der Verwirklichung ihrer musikalischen Vision. Zuerst gemeinsam mit spampoets im Duo Lovespells, seit letztem Jahr als Solo-Artist GLORIA DE OLIVEIRA. Nach Auftritten beim Further Festival und der c/o pop veröffentlichte sie in der zweiten Jahreshälfte 2019 die beiden EPs "La Rose De Fer" und "Lèvres De Sang" auf ihrem eigenen Label La Double Vie. Abgemischt im Hamburger Studio Cloud Hills Recordings, definieren sie Gloria de Oliveiras betörendes Soundspektrum zwischen Dreamwave, Ethereal und Goth Pop. Nun veröffentlicht das Kölner Label REPTILE MUSIC die Compilation der beiden EPs als "Fascination" (sprich Französich fa·si·na·syon) erstmals auf Vinyl und CD. Die LP beinhaltet die 10 original Songs der beiden EPs remastered und in neuer Reihenfolge, die 17-Track-CD-Version sowie das Digitale Album kommen mit zusätzlichen sieben Remixen von u.a.Gudrun Gut (u.a. Malaria, Monika Enterprises, Greie Gut Fraktion) Box And The Twins, Fragrance., Tellavision und The Wide Eye. Unterstützt wird die intime Atmosphäre ihrer Songs dabei durch eine entsprechende Visualisierung in bisher größtenteils selbstproduzierten Videos. Zur Vorabsingle "The Only Witness" erlaubt ab Anfang März der von der Hamburger Regisseurin Julia Ritschel aufwändig produzierte Videoclip einen weiteren faszinierenden Einblick in Gloria de Oliveiras universelles Kunst- und Klanguniversum. Parallel dazu wird GLORIA DE OLIVEIRA Ende März das US-Duo TEMPERS (DAIS/Secretly) bei fünf Konzerten ihrer anstehenden Deutschlandtour begleiten. Für Liebhaber von Cocteau Twins, Lebanon Hanover, Stina Nordenstam, Hilary Woods, introvertierter Marie Davidson Genres: Independent | Dreamwave | Synthwave | Ethereal | Electronica

Taken from a Detroit Underground CD on FAMILIAR RECORDS (FMLR 001) first issued in 1999. Only available direct from DETROIT, USA as part of a very small run of self released CD's. All music is by local Artists. The original FORWARD Album was 10 tracks. We selected our favorites and remastered four tracks for release on the Preservation Sound label in 2020. The music spans Club Techno and Electronica. Cover Art are photographs of "Detroit In The Rain" by Chrissie Clees, who originally sent me a copy of the Album. Ltd Edition of 303 with Full Art Cover.

F.S.Blumm enters Andi Otto's studio with a whole palette of strings and a mission to create quirky, peaceful soundscapes. The artists intertwine acoustic and electric guitars, harps, electric bass, psaltery and cello in eleven electronica compositions ranging from neo-classical gravity ("Entangleland") to spaced-out dub jams ("Active Fault Map"). "Yukiyama" evolves in multilayered patterns braided over warm tape-noise. "Kilani" reminds of Rabih Abou Khalil's ECM recordings, with its oriental scale and a beat that counts to seven. The tunes shine most when silence takes over, when the sounds find space to unfold and decay. Far from being trivial ambient lullabies, these compositions burst with detail: Bells rattle, a kalimba resonates, and vintage synths induce their voltage into the acoustic framework. Andi Otto and F.S.Blumm have been musical collaborators in the studio as well as on stages between Berlin and Tokyo for more than a decade now, the heyday being their previous duo album "The Bird And White Noise" in 2014. On "Entangleland", Andi Otto contributes the cello, harp and synth recordings and takes care of the mixing. Compared to his recent releases on Multi Culti or Shika Shika, these tracks are less dancefloor oriented. The calm of this album is a flourishing environment for Otto to pluck the acoustic cello which we usually hear in a more processed way in his solo works. F.S.Blumm contributes guitar and bass recordings as well as saturated percussion echoes from his self-made spiral box. Blumm is famous for his acoustic solo productions since his early outings on Morr Music or Tomlab. He has also appeared on Pingipung a few times, for example with his album "Up Up And Astray" or as a Lee 'Scratch' Perry collaborator with the "Quasi Dub Development" project. He recorded three duo albums together with Nils Frahm and is a member of the mighty "Jeff Özdemir & Friends" collective in Berlin. "Entangleland" sees the two artists weave together a mass of acoustic motifs, synthetic melodies, riddims and improv jams where the magic emerges from the sum of the parts. "It's not about accompanying a cello theme with the guitar or vice versa," Andi Otto says. "Entangling sound means letting go of hierarchies, that no one is first. Our studio is not a control room, it's a place of imagination where we take things apart and make things whole."

Two essential and eternal classics from New York Hammond legend Larry Young with vocals by the talented Linda "Tequila" Logan.

Rare groove standard "Turn of the Lights" I would hope needs no introduction, I well known album track that does actually exist on a rare promo arista 45 but it is HARD to find and goes for around $250+ when it turns up once in a blue moon (probably more now people know it exists).On the flip Linda's amazing free vocal on "Fuel for the Fire" is cut on 45 for the first time, one of those out there records you play on a good night when people are feeling open and it all comes together. I have spun both these records for over 20 years and no format surpasses the cut done here by Timmion Lab from the new Sony masters, I'm very happy I don't have to break out the album tracks any more.

Larry died in 1978 from untreated pneumonia and Linda disappeared from music apart from a few writing credits on 90s pop artist Betty Boo's tracks. If you love that voice be sure to check out her great vocal on Tony Williams Lifetime track 'You Make It Easy', great folky Jazz.

Distorted Sensory Perception is back with a journey of deep space exploration in the form of their 2nd Various Artists release ‘Outer Solar System’. Featuring a diverse selection of deeper Electro and Techno of the broken beat variety.

The A-side boasts a nostalgic stripped back yet progressive cut ‘Persistence’ from Maltese duo Moodex. Next up, a deep ethereal musical statement ‘Early Morning Hours’ from fellow Maltese producer Sound Synthesis in his unique style.

The B-side opens with the moody, new school heavy hitter ‘Impulse Control’ from French producer and label co-founder Oshkossh. The penultimate track ‘Brainacid v2’ comes in the form of dusty machine music from Italian newcomer Caramel Chameleon that is reminiscent of AFX ambient works. Last but by no means least the record is brought to an epic conclusion with the frantically emotive and intricate ‘Grny89’ from France's Foreign Sequence.

Epic, panoramic, and intimate all at the same time, the legendary Toronto collective Broken Social Scene. An ideal artist to soundtrack an evening. Their live set was captured, mixed and mastered in real time via the world's only live venue and direct-to-acetate lathe cutting studio. Third Man are very excited to invite you all to be a part of this live recording in the only venue in the world where performance, art and tactile transcription methodologies converge... //// Third Man Records had the pleasure of hosting the legendary Toronto collective Broken Social Scene began as an ebbing and flowing collective of artists in the late 90s, collaborating to create a distinct strand of indie rock that is both perplexingly maximal and straight-up catchy. The band kicked off the set with emotive fan favorite "Cause = Time", then transitioning into "Stay Happy," the lead track from 2017's "Hug of Thunder," in all it's hypnotic, horn-driven grandeur. Then, on the flip side, the album's 2-song B-side wraps with the slow-build anthem "It's All Gonna Break," a song once described as "Bob Seger on acid." Really, how else would you want a show to close? With the release of this live album, Third Man is very excited to invite all to be a part of this special experience, Broken Social Scene's first commercially available live album.
First commercially available live album of Broken Social Scene's cathartic live show - Recorded Direct-to-Acetate, a hyper-direct analog recording method which is, globally, only available at Third Man Records - Features new hits (Stay Happy) and fan favorites (Cause = Time, It's All Gonna Break) Album Focus Track - Stay Happy (Live)

Rio meets Romford on Forest Law’s EP, the Essex-raised, London-based artist’s debut on Gilles Peterson’s Brownswood label. He was first discovered through Future Bubblers, Peterson’s programme for new and unsigned artists, and this release is an assured introduction to the singer and multi-instrumentalist’s tight, groove-driven sound.

The EP features Esa Williams (Soundway, Rush Hour) on the berimbau on ‘Keep an Eye Out’, his mentor through Future Bubblers and bandmate in Esa’s Afro-Synth Band.

A bright, Brazilian-tinted sensibility runs through every track which Forest Law creates. From Hornchurch, Essex, and now based in London, he makes warm, eclectic compositions in his garden shed. He takes groove as his driving force, building outwards in kaleidoscopic directions.

High quality laqcuer cut 7 inch that comes with a nice booklet with photo album, lyrics, inner sleeve, PVC outer sleeve and a hype sticker!

Two super cool 7-inches of Ivan Ave's new RNB singles, featuring artists like Byron The Aquarius & Mndsgn. Both seven inches comes with a nice booklet with photo album, lyrics, inner sleeve, PVC outer sleeve and a hype sticker! Illustrations by the grand imperial Nick Dahlen.
Mutual Intentions is proud to announce the long awaited comeback from one of Norway's biggest exports of urban music - Ivan Ave - rapper turned singer. It's two songs on each 7-inch which makes it four new singles in total, all released with instrumentals on their flipsides. The 45's feature production and vocals from artists such as Byron The Aquarius, Mndsgn, Joyce Wrice, Devin Morrison, Sasac & Clever Austin of Hiatus Kaiyote.

Repress

Melodies Of Ancient Beats Depth or Deep, (with Dep also meaning beautiful in Indonesian) is the meaning of this newly created persona from the artist DemoDc. After many years of experimenting with music making, releasing digital eps and albums, Demo has come to an end of a cycle arriving to a mature state of craftsmanship, ready to deliver his dream onto the vinyl medium.

This is the 2nd ep that continues a volume of a 5 ep project. Its own kind of album type edition so to speak. Everything Eye Love is a piece of electronic music that embodies much of what is personally loved when it comes to innovative techno. Broken beats with a gentle gallop of hop, whisking away into what seemingly can be taken as over melodic madness at 1st, yet when letting go of any expectation, a delightful swim of glistening magic dances with dedicated playfulness expressing a deeper emotion of heart felt delivery. Behind the scenes are a very reminiscent display of Detroit techno chords combining to give the track the old yet new skool vibe. Heart Tribal, is exactly that. Cutting through the ego, battling the darkness with dark undertones seeking to find the jewel of light through the denseness of dark reality, to find true centre. With tribal reflections and electric ground of beats, Heart Tribal extends itself into bridging the soul from dense reality into light. It also pays respects to the fact that when finding clarity in any given moment in everyday life, it doesn’t last long within this complex world of manipulation and dark intention that we seem to be living in. However, this is the meaning understood by MOAB DEP, does it resonate with you? Or does it speak to you entirely differently?

Electronic / acoustic wonder band KUF deliver a special surprise for their third album: eleven sizzling hot takes on tracks drawn from the Macro label's stellar catalog, as originally crafted by some of today's most respected artists in electronic music. KiNK, Patrick Cowley, Peter Kruder (of K&D), Stefan Goldmann, rRoxymore and more get the treatment. With a nod to the label's previous highly original compilations and mixes from the Macrospective and Vinylism series, Re:Re:Re captures more new ground.

KUF's previous albums presented an astonishing inversion of the typical extended electronic set up, in that they paired a plethora of disembodied, sampled voices with acoustic real time interaction on bass, drums and keys. Re:Re:Re shifts the focus of sampling altogether to scanning entire tracks and compositions which are then reimagined with the band's singular approach. Neither just remixes, nor faithful reproductions, KUF engage in careful sound archaeology. From re-programming key sounds to holistic granular deconstructions, the originals's sound palettes are reproduced to serve as a springboard towards entirely new instalments. The resulting tracks range from intimate ballads to full power dance floor movers, spanning a highly engaging arc of sheer listening pleasure.

The Devonns dust off the golden age of 70's Chicago Soul with their self-titled debut album on Record Kicks. Straight from the streets of Chicago, Illinois, The Devonns (pronounced "De vaughns") are the brand new soul outfit and the latest addition of the Record Kicks' family, whose self-titled debut album that drops April 03, is an assortment of influences taking us back to the heyday of soul.

Drawing influences from bands such as The Dramatics, The Isley Brothers and Leroy Hutson, yet bringing in their own unique modern twist, influenced by artists such as Jamie Lidell and Raphael Saadiq; singer Mat Ajjarapu explains how unintentionally, the rich heritage of Chicago's history with soul music influenced him.

"The city was at the epicentre of a lot of good music back in the 50's all the way to the 80's, a lot of the labels specialising in soul were based in the Chicago and we even had our own sound known as "Chicago soul". Through several years of crate digging it surprised me how many songs I loved were recorded in this city, for example one of my favourites is this great little song by The Natural Four, produced by Leroy Hutson 'Can This Be Real', and released via Curtom Records."

The band started in 2016 after multi-instrumentalist and songwriter Mathew Ajjarapu dropped out of med school and found himself unemployed and drifting. Listening to music constantly at the time, he found inspired to put a band together and create his own music. Pairing up with some of the best musicians Chicago has to offer, he founded The Devonns: the rhythm duty is entrusted to Khalyle Hagood (bass), Ari Lindo (guitar) and Khori Wilson (drums).

Originally he wanted to focus on 50s style doo-wop, similar to The Flamingos; rich in reverb and vocal harmonies, but in the first initial practise they had it was evident the band clicked on their love of soul music from the 70s, so their music took a natural turn towards that sound, with tracks such as the Wilson Pickett-esque single 'Tell Me'.

The release took almost two years to complete as Mat explains "I am a perfectionist, I had a very specific vision in my head about how it should sound and I wasn't going to rest until I achieved it."

"This is a definitely a throwback soul record, as well as being drawn to lush and intricate arrangements of Motown, I was also inspired by the more lo-fi works of smaller labels such as Chess and Capsoul, and I wanted to capture the magic they had in those recordings in our record, as everything feels too precise nowadays" clarifies Mat.

It was thanks to his engineer Mike Hagler, who introduced him to Paul Von Mertons (Mavis Staples, Paul McCartney, Elton John) who arranges and conducts for Brian Wilson's live touring show and after a 45 minute phone conversation about what Mat wasn't keen on, on the album, he realised Paul totally understood where he was coming from.

After a few months wait for Paul to get back from touring they entered the studio with "Paul's players" and as soon as they hit record, Mat explains "I was getting chills up my neck, it was one of the happiest days of my life, and finally we had nailed it!"

Tracks such as 'Come Back; which Mat wrote in ten minutes on a $300 Daneelectro Singlecut guitar initially, came to life, with Paul's rich string arrangements and features guitarist and percussionist Ken Stringfellow (R.E.M.).

It still took a few months to get the recording process finished but finally after a torturous nineteen months they album was finally finished.

The result is an album filled with lavish arrangements and catchy melodies which take us on a nostalgic musical journey inspired by chic 70s soul, yet the band don't hesitate to add their own unique and elegant contemporary stamp to the record.

In October 2018 DJ Rocca and Almunia member Leo Ceccanti joined forces to deliver “Rhythm Collision”, a three-track EP of jangling, sun-kissed grooves, psychedelic dub disco and Afro-Cosmic flavours on Really Swing. 18 months on, one of that set’s standout cuts has been given a new lease of life courtesy of fellow Italian producer Alessandro Pasini AKA Deep 88. Since making his debut a decade ago, Pasini has earned a reputation as one of house music’s understated heroes – an artist whose hardware driven, retro-futurist take on deep house tends towards the timeless, melodic and atmospheric. With a deep love of turn-of-the-90s dream house, Larry Heard productions and sun-baked chords, his dancefloor-focused productions have often been called Balearic.

It’s perhaps fitting then that his reworks of Rocca and Cecanti’s “Ever Changing Bubbles” are as Balearic as they come. His “Balearic Mix” sets the tone, with Pasini layering trippy, dubbed-out and ear-catching elements – Ceccanti’s eyes-closed electric guitar solos, jangling acoustic guitar chords, warm dub disco bass, echoing spoken word samples, fluttering flute solos, drowsy organ motifs and the pair’s delay-heavy vocals – atop a crunchy, head-nodding, live style beat. While it deviates from the duo’s original version, it inhabits a similar sonic space – albeit in a more dancefloor-friendly way. Pasini excels himself on the accompanying “Balearic Dub”, stripping the cut back to its raw essentials – drums, metronomic bass –while toughening up the percussion and adding delay-laden instrumental snippets. It’s warm, woozy and otherworldly, with echoing voices, tactile musical motifs and restless delay trails combining to create a suitably hazy and intoxicating mood. By the time the touchy-feely flute and acoustic guitars begin to dance across the sound space, you’ll be lost in the groove and too happy to notice.

Nina Simone was an exceptional artist. She was gifted with a precocious talent and she played music at home and in church. Nina originally counted on becoming the first black female classical pianist ; her plans were thwarted and that frustration no doubt permeated almost her entire career. Yet she became a diva capable of combining the jazz world with those of the classics and soul, and among other titles she recorded are some of the most vibrant and moving performances of Wild is the Wind or You Can Have Him, I don’t Want Him.

She was one of the greatest artists of her time, and her fervour and rigorous demands concerning the quality of her music took her to the highest summits, whether in her compositions or in her vocal and piano performances. For all that, she never forgot her condition as a black woman in the America of the Sixties, and her active commitment to defending the rights of the black minority was exemplary - and at times even excessive, for which she was often reproached.

She has left us some of the most beautiful chapters in jazz and soul music, among them the 23 titles that appear in this album.

Produced by Leon Michels. Features vocal and guitar by Kevin martin of Brainstory. When Lizette and Quevin visited Leon Michels at his home in upstate New York an impromptu recording session gave birth to 'Grow Forever', the first ever song from this top-notch duo.

Quevin (aka Kevin Martin) is one third of Brainstory and the man behind the honeyed voice that blessed their hit singles Dead End and Mnemophobia. Lizette is a talented ceramics artist whose voice has a certain 'je ne sais quoi' that is reminiscent of records by Little Ann and Rosie and The Originals. 'Grow Forever' is a mid tempo ballad that will have most collectors buying doubles. Lizette & Quevin trade lines over beautiful chords, fluttering guitar, and crushing drums.

The B Side is an instrumental of the track entitled 'Now It's Your Turn To Sing' that we will be using for a talent contest of sorts. We will be inviting people to write and sing their own songs over the track and sent them into us via Youtube, the three best versions will win Big Crown prizes.

It is truly a family affair over at 7 Days Entertainment. Butterbandz, the youngest son of 7 Days Entertainment label head Big Strick, gives us his debut EP titled Legacy. This freshman EP of the youngest of the Strickland clan is nothing short of what you would expect from a family member deeply rooted in dance music from Detroit. The first song off of the EP is a vocal track from BBZ with help from the artist Marc, who is a rising vocal talent from Detroit associated with the 7 Days imprint. If You Don’t Dance is slated to be an anthem among the scene for years to come. It evokes you to get out there and move your body. It brings the energy from start to finish with excited high hats, a grumpy bass and an admirable synth pattern. Things slow down for a more relaxed groove on Free Roaming, a laid back chiller with a smooth synth and a mellow bass of pure delight. Its reverbed synths take you on a never-ending journey through your own mind. Hellraiser is a straight high-octane pure adrenaline rush. It has the soul of true Detroit techno. The unforgiving drum and percussion pattern shines brightly over an acid bass line and catchy synth keys. The last song on the debut EP, Monkey See, closes the project out with a bang. An offset drum knocks on top of an offset synth and warm pianos. The flute is complementary and the percussion ties it all together nicely. Butterbandz shows unparalleled promise for more top-notch projects in the future

Bradley Zero celebrates five years of his Rhythm Section International imprint with 12” compilation SHOUTS Vol. 1 & 2. Vol. 1 represents the more club ready side of the label whilst Vol. 2 explores more mellow territories. Famed by Mixmag as one of the Top Ten DJs of 2019, celebrated as a “figurehead for the exploding south London scene”, and “responsible for spreading the gospel of the city’s new Jazz sound”, it’s clear to see why Bradley Zero is quickly becoming the taste-maker of his generation and Rhythm Section INTL as one of the most respected outlets for authentic global cuts. A go-to label for the
connoisseurs Rhythm Section INTL is a UK staple. The raison d’être has always been to unearth and nurture new talent, not just via the catalogue but through the now established network of radio shows,
concerts and club nights Rhythm Section has become known for. The SHOUTS compilation and accompanying celebratory tour is a continuation of this mission. SHOUTS is a nod to the online radio culture that birthed the movement. SHOUTS is the label using its
voice to amplify its peers. SHOUTS is Five years of Rhythm Section International.

Hot on the heels of its debut release, Montreal’s Chambre Noire is back with its second record: an EP by Québecois artist Vromb, a veteran producer around since the mid-90s, known in particular for his releases on Ant-Zen. Over the course of five tracks on vinyl (six in the digital version), the artist’s sounds seem to take on physical shapes, like living origami: constantly mutating as they open, close and transform into something else. With attention to movement and boundary-challenging textures, this EP is ready to ensnare listeners in a variety of contexts, from club environments to more contemplative environments.

Snips is the founder of Barbershop Records and co founder of Livin Proof, with over 15 years experience as one of Londons most prolific DJs and over 10 years worth of production credits across Hip Hops underground. 2018 has seen Snips emerge as a budding solo artist, fusing the production styles of Hip Hop, House, Soul and Funk in the same fashion as he is known to do behind the turntables.

With his debut album "The Barbershop" making waves on both sides of the Atlantic and his Single "The Product" On Classic Records garnering support from a cross genre selection of heavyweights such as Karizma, Benji B, Eli Escobar, House Shoes, J Rocc, DJ Spinna and Henry Wu, Snips returns on his own label Barbershop Records and delves into Edit territory for his second instalment of the "Snips Edits" series. This time cleverly turning a handful of Hip Hop classics into club ready anthems over Snips' original productions.

It’s more than a year since his last EP on the label but it feels like right on time to deliver his most powerful tracks up to date. He hasn’t been quiet all this time, with remixes and appearances on labels like Obscuur Records, Konflkt or Enotaktik, 2019 was a prolific year for the spanish producer.

Four dancefloor oriented cuts including a massive remix of the rising Irish artist and labelfriend Tommy Holohan. Ladies and gentlemen, this is what we call techno. From the driving bass of “Spontaneously” to the rave anthem “Die Suppe”, these tracks won’t let your feet stick to the floor.

Limited release. 250 Copies