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Jamaican born singer based in Ethiopia Teddy Dan returns to the Jah Works label for "That's Not The Way". Sending a clear message to all the warmongers, this Jah Rej production resonates strongly in these times.

"It's like nothing I have ever done before."

For the past ten years, the Bulgarian-Turkish artist Alper Durmush aka Impérieux has been carefully developing his artistic style and building strong momentum with a high-profile following.

Now the young Berlin-based producer enters a fresh chapter with his EP named “Extensions” on Sofia Records’s eight release. It is filled with brisk, forward-looking breaks, raw jungle attitude and highly combustible house. In all this we can still trace Impérieux's emotional signature interwoven into delicate soundscapes and ethno antics.


The place to kickstart this new direction is a symbolic one and in a way - coming back home. In his five-tracker, Impérieux keeps consistent with Sofia Records’ establishment as a breeding ground for hyper-energetic, yet intelligent sound.
And to do the honors, a signature stomping remix has been added by the label headmeister himself - KiNK.

Black 2 LP mit 18 Hits
Diese legendäre Greatest Hits-Sammlung wird zum ersten Mal auf Vinyl veröffentlicht. Sie enthält 18 Klassiker wie "I Want You To Want Me", "Surrender", "The Flame" und viele mehr. Plus Track-by-Track Liner Notes von der Band

T was released on the New York-based he second live album by the funk band Kool and the Gang, Live at P.J.’s,
De-Lite label in 1971. As the title indicates,
the LP was recorded at P.J.’s, which was a
popular nightclub and music venue in West
Hollywood, California. Kool & the Gang would
score a bunch of hits in the ‘80s, but that period
was nowhere near as funky and full of groove
and jazz flourishes as their earlier recordings.
That soul-jazz hybrid that they excelled in
playing can be found on this amazing club
performance. The band is predictably on fire
throughout the set, tearing through some hot
instrumentals, along with some nice vocals
on the medley of “Ike’s Mood” and “You’ve
Got That Lovin’ Feelin’.” The song “N.T.”
(No Title) contains a widely sampled drum
break which has been used in songs by
such artists as Nas, Q-Tip, N.W.A., Public
Enemy and Blue Boy

Limited first pressing on clear vinyl. Dick Stusso's third album is a document of slow mental unraveling with a world in perpetual decay as its backdrop. With S.P., California-based singer and songwriter Nic Russo has created his most out-there and toothsome record to date, plunging his listeners into a strange and thrilling new world at every opportunity. S.P. is the first Dick Stusso record in four years, following his stellar Hardly Art debut In Heaven from 2018-but this latest missive is more of an indirect sequel to the buzz-building 2015 release Nashville Dreams / Sings the Blues, diving deeper into the fictional character Dick Stusso's crumbling psyche and dystopian surroundings. If our introduction to Dick was someone trying to pursue their dreams and turning into a failure as a result, S.P. reflects the moment where, in Russo's words, "The character is becoming unlikable. He's succumbing to what is taking place around him."Nearly half of its 18 songs-spanning countrified rock duets, Guided by Voices-recalling anthems, and outro noise-burst sound experiments-were completed before the pandemic, when Russo decided to take a beat and allow the music to sprout new, weird buds in his rehearsal space. With mixer Andrew Oswald accentuating the record's unique feel, S.P. bridges the gap between the ultra lo-fi confines of his 2015 debut Nashville Dreams / Sings the Blues and the lush echoes of In Heaven, with a few helping hands to fully flesh out Russo's vision. Grace Cooper (The Sandwitches, Grace Sings Sludge) contributes vocals to "Dinner for Two" and "Self Reflection (Deep)," while his father Marc Russo-a Grammy-winning saxophonist who's currently touring with the Doobie Brothers-lays down expert horn arrangements on "Garbagedump #1." The myriad of twists and turns on S.P. further establish Russo as a fascinating craftsman who's never bound to do the same thing twice.

You reach a point in life where the question of how to stay at the top of your game looms; the only real solution being, you change the game. Our Love, the new album from Caribou, is the sound of Dan Snaith doing just that. Our Love is due October 6th on City Slang and is the sixth studio album from Caribou. The album features collaborations with Jessy Lanza and Owen Pallett. It was mixed by David Wrench and features artwork by Jason Evans/ Matthew Cooper.

Our Love is formed around a mixture of digital pop production, hip hop inspired beats, muted house basslines and a love of shuffling garage that can be traced all the way back to the time of Start Breaking My Heart which are, of course, all filtered through Dan's own unique perspective. The warm analogue sounds of classic soul should not be overlooked either, for they weave themselves most intensely into the records DNA. In fact, Our Love is probably Caribou's most soulful record to date, chock-full of heartfelt lyrics and organic nature which cuts through bubbling synths and blissful euphoria of their synthetic constructions. It's not all downbeat of course, whilst some thoughts linger on mortality, loss and letting go, there is always an element of celebration.

Having followed up his Polaris Prize winning 2007 record Andorra with the universally adored Swim in 2010 (selling nearly 175, 000 copies worldwide and being named 'Album of the Year' by Rough Trade, Mixmag and Resident Advisor whilst also hitting The Guardian, Pitchfork, Spin and Mojo's Top 20), Dan has spent the intervening four years not only touring the world, bringing not only the sounds of Caribou to the stage but proving his immeasurable worth as a DJ with epic 7.5 hour long sets. In 2012 Caribou were personally invited to join Radiohead on the road whilst Dan released his first album under the guise of his dance floor loving pseudonym, Daphni, to widespread critical acclaim. Following the shape shifting sounds of JIAOLONG and the brightly textured, fluid constructions of Swim - both inward looking records in their own way - Dan withdrew to the basement once more to work on Caribou's next opus. Only he didn't: Our Love isn't the sound of isolated creation but the sound of Dan at his most connected - with love for his listeners, his collaborators and those closest to him.

Named after their infamous Brixton club night, Basement Jaxx’s second album Rooty saw Basement Jaxx continue to push the boundaries of pop and club music. The album mixes classic house with generous lashings of punk, funk, R&B, jazz, hip hop, 2-step and pop song-craft in a mad genre crash that works like a charm. It features the massive tracks “Where’s Your Head At”, “Romeo” and “Do Your Thing”.

Remedy is Basement Jaxx’s joyous debut album from 1999. It was one of the most assured, propul-sive full-lengths the dance world had seen since Daft Punk’s Homework. A set of incredibly diverse tracks, Remedy is indebted to the raw American house of Todd Terry and Masters at Work, and even shares a penchant for Latin vibes (especially on the horn-driven “Bingo Bango” and the opener, “Rendez-Vu,” which trades a bit of salsa wiggle with infectious vocoderized disco).

'Unconscious Collective' is the first album by PS5 - the new ensemble led by Pietro Santangelo (Nu Guinea, Slivovitz, Fitness Forever) - and it will be out for Hyperjazz Records on 21th May 2021.

It's a musical experiment where layered memories and hidden feelings resonate as if they arise directly from the most recondite part of the unconscious and produce a suspension of the stream of consciousness. With the aim to create a state of trance and override the human reason, this is an imaginary round trip across the Mediterranean Sea and the Atlantic Ocean, ideally connecting Naples with North Africa and Latin America.

The arrangements wrote by Santangelo are based on great freedom of improvisation: while the melodic textures of the two saxophones didn't give any clear references, the other musicians followed the rhythmic pulse and its unpredictable ways. The music moves naturally along an imaginary line highlighting the ancestral connection between Jamaica and Ethiopia or between Nigeria and Cuba. In the background, Naples is a synthesis of all the sonic ingredients, mixed and cooked in its own mystical and spicy belly.

Besides Santangelo himself on the tenor and soprano saxophones, the collective is made up of: Paolo Bianconcini, a brilliant Neapolitan percussionist with a very deep Afro-Cuban background; Giuseppe Giroffi, young and talented alto and baritone saxophonist; the bassist Vincenzo Lamagna and the drummer Salvatore Rainone, both loyal members of the former Santangelo's trio.

Recorded live at the Auditorium Novecento in Naples, the legendary studio of Phonotype Records, 'Unconscious Collective' is mixed in analog format by Fabrizio Piccolo, and mastered by Davide Barbarulo at his 20Hz20KHz Studio.

Pietro Santangelo

Pietro was born, lives and plays in Naples. As a saxophonist and composer, he has released five albums with Slivovitz and one with his PS3 trio (Clinamen, Emme records 2017). Graduated in Digital Sound Processing at the Faculty of Physics of Federico II University, he is involved and engaged in the Italian scene of radical improvisation (Franco Ferguson, Elio Martusciello and Officina Arti Soniche, Collettivo NISE).

Multi-instrumentalist since forever, he has collaborated with Nu Guinea, Enzo Avitabile, Fitness Forever, Marzouk Mejri, Dennis Bovell and many others.

He's also author of soundtracks and electronic musician. He appreciates analog photography, loves walking outdoors. He hates biographical notes.

Brian Harden is one of the many talented Chicago house producers out there who sit just below the top talent in terms of global reputation. But he shouldn't - his sound is as musical and timeless as any from the Windy City. He's been grafting since the 90s and now taps into that long career with a new collection of rare cuts and unreleased gems on this Instinctive Meditation album for French label D3 Elements. There is textbook heavy drum work and spaced-out synths on 'Zion' before warmer, deeper basement cuts like 'Nomadic Jazz'. 'Yeah' is a party starter with clattering percussion softened by more jazzy chord work and 'Motionless' allows you a moment to catch your breath on some cosmic ambiance. The rest of the record takes in deeper techno, samba-tinged deep house shufflers and star-gazing beauties for 4AM. Proof if you needed it that Harden is a boss.

Le Motel and Bruce Wijn met at school, during a school art trip to Munich. They went separate ways for a long time.

Hailing from Brussels, Le Motel's world is a vortex of sight and sound that takes in the many and varied corners of the planet. As a music producer and film composer his versatility has taken him to festivals and clubs in every direction as naturally as he has ventured out to the less accessible areas of the globe as a field recordist. It's somewhere in between these spaces that Le Motel operates, gathering unique experiences and sounds to channel through his studio.

Bruce Wijn is a Brussels-based guitarist who played in several postrock kind projects such as Sound Film, 52 Commercial Road, or more shoegaze Lazy Sin. These collaborations gave him the opportunity to perform in various locations in Belgium, France, England, and the USA. As a musician, his focus has always been attracted by progressively built rhythmic melodies, which would eventually turn into long reverberated or distorted swells, or the otherway round.

All these experiences brought them both to the idea of scoring movies with different yet similar approaches.

That's how their first collaboration happened as Le Motel was working on the soundtrack of the movie Binti, and invited Bruce Wijn for the track Exode, in 2018. Since then, they've been working on other scoring projects, such as the feature film 'Aller Retour' more recently.

Alongside the movie scoring activities another audiovisual live project was born, in collaboration with Antoine de Schuyter and his mesmerizing images.

This one is more focusing on tape textures, field recordings and glitchy effects in order to build atmospheric tracks that they decided to bring together in a first E.P. 'MAAR'.

'MAAR' is elaborated as a soundtrack for an imaginary journey between cold seas and volcanoes explorations.

From the first echoing sounds of playing kids on the shoreside in the opening track 'La Perche' Le Motel & Bruce Wijn let you slide in a technicolor dreamworld, reverbing slowly innocent childhood memories into a chilled, out of range, future.

'MAAR' dives deep into a kaleidoscopic microcosmos watching Nautilus playing hide and seek with 'Captain Ahab' floating on sonic breaking waves, while seagulls gently spread their wings flying through the breezy and misty clouds of Blankenberge.

Lava vulcanica slowly melts in the sad euphorica of the cold North Sea, crystallizing sounds only Le Motel and Bruce Wijn can deliver.

"Coming Home - 40 YEARS MAJOR TOM" feiert 40 Jahre "Fehler Im System" und "Major Tom (völliglosgelöst)" und das prägende musikalische Werk des Peter Schilling und erscheint am 24.03. zum
internationalen Jubiläum.

Die 2CD-Version von "Coming Home" enthält insgesamt 40 Tracks - 20 englische, 20 deutsche. Darunter finden sich remasterte Versionen der großen Hits aus 40 Jahren wie "Major Tom (völlig losgelöst)" , "Die Wüste Lebt" oder " Terra Titanic? sowie - in beiden Sprachen - je
vier neue Songs .
Erstmals für Schillings große Fan-Base in Südamerika wurde "Major Tom" zudem auf Spanisch eingesungen (Mayor Tom (? Vuelve a casa)), ferner kann man sich auf beeindruckende neue Orchester-Versionen dieses Welthits freuen. Die Songs DNA ( "(Into Your ") DNA"), Ozean "(Oceans Eyes)" und Nach innen sehen ("Starting with myself") erscheinen erstmals auf Englisch und wurden für "Coming Home" neu aufgenommen.

Diverse Songs sind hier überdies zum ersten Mal überhaupt auf CD erhältlich. Abgerundet wird die Sammlung von einem 24-seitigen Booklet mit neuen Fotos und Liner Notes .

The spectrum-spanning archive of Hudd Traxx grows at pace, and having rolled out jams from legends of the game on Hudd Influences Vol. 1, Eddie Leader’s acclaimed Manchester based imprint now hands a full debut to rising star… DFRA.

From label fan to label artist, Buenos Aires-based Colombian, Diego Ruiz, first featured on 2019’s ‘Out Of Order : Volume 3’ with ‘I Am House’. His new ‘Blue Horizon’ EP confirms that statement, as we’re presented with a trio of beautifully tailored tracks, highlighting a producer who is comfortable in his craft.

The shimmer and bump of the title track, evokes scenes of sun, sea and bodies moving in rhythm. A theme that runs throughout, as the perspiring vibes of ‘Hold Me’ roll us into the club with its warm bass, pulsing keys and vocal, while final cut ‘Fallin’’ with its hypnotic swing and thumping kick takes us deeper into the night.

Adding a final peak to the package is Real Tone boss, Franck Roger. Vocal flourishes, echoing keys and that renowned golden touch from the Frenchman round out this superb debut from DFRA.

New London based quartet Qwalia, led by drummer Yusuf Ahmed, offer a plethora of influences whilst remaining resolutely itself. Assembled from musicians who play with David Byrne, Joy Crookes, Nubiyan Twist, Frank Ocean, Jordan Rakei, Sampha, Cat Stevens and more; Yusuf is joined by Tal Janes on guitars and vocals, Ben Reed on bass and keyboardist Joseph Costi. Qwalia’s debut album ‘Sound And Reason’ is set for release by Alberts Favourites on 24th March 2023.
The name Qwalia stems from the same sounding word Qualia, a philosophy of mind with the property of being an ineffable experience. Qwalia’s music is an instinctive aural expression of how things seemed in the moment of creation.
In April ‘21, Qwalia spent two days recording completely improvised music at the Fish Factory in North West London. There was no plan or preconceived idea of what the music should sound like or what was going to happen.
“We set up altogether in one room, dimmed the lights, pressed record and just played,” says Yusuf. “We came away with over 13 hours of music, which was consolidated into three albums worth of material. The final record is mainly a result of pulling faders up or down to create space and structure out of what was already there from the live recording. The production process felt akin to a sculptor chipping away excess stone to reveal a statue that was already there, and occasionally putting some makeup on it!”
The band members are Pakistani, Italian, Venezuelan, Jewish and English. A reflection of the fact that cultural categories are infinite; Qwalia’s music unconsciously explores identity, exposing what this can mean. Or perhaps that it doesn’t mean anything at all.
Early support from Mary Anne Hobbs and Gilles Peterson, support to come from Huey Morgan, Cerys Matthews.

Official reissue of Civilistjävel!'s first, self-titled archival LP in sky-blue embossed sleeve, 500 copies.

A minor masterpiece of high-lonesome, ultra-spacey existential electronics, recorded in the ‘90s and early 2000s, the music on this album had never been heard outside the Swedish artist’s private tape/CD-R trading networks until 2018 - when London’s Low Company presented it in a hand-assembled vinyl edition of 250 with scant context or biographical info. Some people understandably thought the project might be a ruse - was it really plausible that material this accomplished and affecting had fallen under the radar for 20-odd years? Implausible, perhaps, but true nonetheless. Five years on we know that Civilistjävel is indeed the real deal: the alter ego of a discreet but by no means reclusive solo artist based in Uppsala who has for decades been quietly honing his craft without worrying about who's listening. Since 2019 he has become more visible: performing live several times in and around Europe, and last year releasing a brand new studio album, Järnnätter, on Felt Records. Meanwhile Low Company has put out four subsequent, vinyl-only volumes of archival material. These have increasingly tended towards the more rhythmic/techno-oriented impulse in Civilistjävel, so it’s interesting to return now to Volume 1: comprised of the most introspective and isolationist of his works, tapping into deep wells of northern European melancholy. It’s a music made with no audience in mind, but simply to suit itself: cold-world kosmische, intimate minimal synth etudes, bowled percussion clusters and impossibly yearning, 30-days-of-night ambient dronescapes. Created mostly using a Juno60 and Korg MS20, and home-recorded to DAT (crackles and surface-noise preserved intact), you can hear in these seven expansive instrumentals unconscious echoes of Serge Bulot and Anna SjalveTreje’s crepuscular dream-sequences, Scandinavian black metal's mist-cloaked forest-fantasies, the austere dub-techno of Thomas Köner and Basic Channel, and the gristly, consumptive concrète of Nurse With Wound and Asmus Tietchens.

After last year's musical excursions to Central & South America and South Africa, Berlin-based reissue label "Matasuna Records" is once again making a detour to the USA for its first release in 2023. Two funk milestones by "United 8" and "Tony Alvon & The Belairs" have been selected from the archives of "Atlantic Records". Apart from a release as part of a Funk45's box set by Warner in 2004, the songs have only appeared on various bootlegs in the past.

Matasuna Records is thrilled tofinally release them as an officially licensed reissue with new mastering as a 7-inch vinyl single. This release is an absolute must-have for all funk enthusiasts, DJs and collectors.

"Getting Uptown (To Get Down)" by "United 8" is a funk classic released on Atlantic Records in 1972. The musicians of United 8 created an infectious sound with a combination of horns, guitars, drums and bass. The drums drive the beat and give the track its distinctive rhythm, while the bass provides a powerful, pulsating foundation. The horns add a jazzy note, while the guitar adds a funky touch.


The result is an energetic, danceable sound that still sounds fresh and exciting today. The song is timeless and has lost none of its appeal.It's no wonder that it has been featured on many funk compilations since the 2000s.

"Sexy Coffee Pot" by "Tony Alvon & The Belairs" is an explosive and energetic funk jointfrom 1969that immediately captivates the listener. The rhythm section lays down a steady, infectious groove, while the guitar and horns provide a funky, dynamic sound that complements each other perfectly.

It's no surprise that "Sexy CoffeePot" has been sampled and covered by so many hip-hop artists over the years, such as "Eric B. & Rakim", "Cypress Hill" or "DJ Shadow", to name a few. B-boys and B-girls also appreciate the upbeat vibe of this song, which has become a staple on battles.

Lonely Planets Rec re-welcomes stargazer Jack Roland for its 8th release. The Amsterdam-based producer blasts off with an irresistible fabric of futuristic Midwestern electronics. Each cut is programmed in a disc- scratched techno dreamscape, smearing elements of braindance and electro into a shoegazy gauze. Warping us through a totally fabricated time bending vision, destining us into a final recollection of irony and elegance. It felt like a kiss.

Paolo Aniello FKA New Digital Fidelity returns one final time since his last appearance on Italian Synth Planetarium – Sistema 1 in 2020 and readies some serious and sexy goodness for 2023.

“Gonna Touch The Sky” marks his debut on Moods & Grooves and there is no doubt that it will literally make you touch the sky! The EP opens with the reshape from none other than deep house legend Fred P. When it come to (ultra) deep house beautiness, Fred is the real don. Melodic, dreamy and groovy. Simply what you would expect from him and what he does best.

To follow is the original mix, awash in syncopated tribal rhythms, gorgeous female vocals and a rich tapestry of ethereal pad. “Gonna Touch The Sky” is a dancefloor-pleasing Afro house cut à-la Ron Trent/Trinidadian Deep featuring Sasha Paige on lead vocal and Rhia Reneè on background vocals that bubble over a deep, tribal groove.

On the flip, “Make Up Your Mind” takes tribal rhythms to a new, more mental level. It’s an Afro-Chi-meets-Detroit affair. The percussive rhythms and energy that constantly interplays with the synth line create an uplifting basement tune that could safely run at opening, peak time, or closing time. Last but not least, “Horizon” speaks for itself. It will definitely transport you to new horizons, toward a tropical beach at sunset, closing this incredible journey.

Following 2 heavy reissues of “Silver Mirror Of Her Eyes” and “Heavy Water” from original works on D*Fusion Records in 1994-1997, Howard Dodd aka Anoesis returns to physical in 2023 for a new full feature-length album via Australian based imprint Paper-Cuts. Selected works between 2010-2022 “Memory On Memory” offers a modern take from the underground UK artist, spanning refined breaks, playful tech-house and modular experiments stretched across this 9-track LP.

Dino Lenny returns to Crosstown Rebels with his latest single ‘I’ve Learned That’, accompanied by remixes from Shadow Child and Jonathan Kaspar - plus his own take with Fed Conti.

A regular on labels including Afterlife, Ellum, Innervisions, and Diynamic, London-based Italian-born DJ/producer and Fine Human Records boss Dino Lenny’s solo and collaborative catalogue continues to grow as he features as one of the most consistent names within the worlds of house and techno. Having released his first EP on the label in 2019, he now returns to Damian Lazarus’ Crosstown Rebels for a second outing with the release of his touching new single ‘I’ve Learned That’ - which is one of a collection of records dedicated to his daughter - with remixes from Shadow Child, Jonathan Kaspar, and his own interpretation alongside Fed Conti.

Shaped by emotive piano keys, blooming strings and refined drums, ‘I’ve Learned’ showcases a rich and heartwarming production taking cues from dance music and beyond as the track’s uplifting and inspiring vocals carry the production across nine minutes of delight.

Beginning the transition towards more traditional electronic spheres, his remix alongside Fed Conti utilises vibrant guitar licks and a luminous bassline to head into a late-night discovery of disco influences. Next, Shadow Child’s ‘Classic Mix’ is a skippy house gem as bumping low-ends work amongst hazy chords, with Jonathan Kaspar’s remix moving deeper via surging synths for a hypnotic and thrilling ride to close.