Cerca:b o c production

A limited edition 7” release by SALINAS. DYNAMITE CUTS give you a super fresh loud 45 cuts of this Monster RARE GROOVE CLUB CLASSIC. Including a wonderful re-production of the original Brazilian sleeve x500

Repress! Following the success of two collaborative releases (EMC "The Show" / 2008 and Ace & Edo G "Arts & Entertainment" / 2009), Masta Ace joins forces with the metal faced MF Doom for Son of Yvonne, a highly personal concept album that celebrates the life and legacy of Ace's recently departed Mother. Like his 2004 landmark Disposable Arts, Son of Yvonne is meticulously constructed with stories, settings, and characters that resonate with flesh and bone humanity. Interstitial vignettes provide a thematic backbone to the experience, and each track complements and completes the previous to form a narrative whole: a sometimes visceral, sometimes nostalgic slice of Ace's young life in Brownsville, Brooklyn. Entirely underscored by MF Doom's iconic Special Herbs instrumentals, Son of Yvonne features the Juice Crew general Big Daddy Kane, new comers Pav Bundy (The Bundies), Reggie B and even MF Doom on the mic. It's Masta Ace's no frills flow, however, that looms largest above the dusty samples and digger loops that define Doom's production. Ace's photo-realistic rhymes about stick-up kids, spraycan artists and wack emcees add extra gravity to his already celebrated reputation as "truly an underappreciated rap veteran and underground luminary" (Allmusic Guide). Like Eminem recalls in his 2008 autobiography The Way I Am, "Masta Ace had amazing storytelling skills. His thoughts were so vivid."

2023 Repress

Taken from Ten Years of Vision Recordings, four brand new NOISIA tracks including collabs with Mefjus and Hybris! High quality production on 2 discs of vinyl packed in a shiney full colour sleeve and including full downloads.

Returning for Volume 4 of the sought-after series, Glitterbox Jams is back with another red-hot delivery of dancefloor gems, ready to become a record box essential for all discerning disco DJs. The A-Side features two remixes of an early noughties dancefloor gem, as two esteemed disco editors Moplen and Dr Packer both take on ‘Love Will Be Our Guide’ from Mark Picchiotti presents Jersey Street. On the flip come two productions from Italian-Belgian producer Vito de Luca, donning his Aeroplane alias for a disco-infused remix of Marco Faraone & Greeko’s hip-house pumper ‘Armaghetton’, before swapping over to his Flush pseudonym to deliver the playful Balearic joy of ‘Come Back Baby’.

Repress

Palms Trax signals the arrival of his new label CWPT with ‘Petu’, a new single featuring South African vocalist, Nonku Phiri. Originally debuting in dub form during the Berlin-based DJ and producer’s set at The Music Locker as part of Grand Theft Auto Online, ‘Petu’ re-emerges here as a soulful collaboration, neatly complimented by a wide-eyed take from Masalo.

Initially written as a slow-heating instrumental to connect the various musical dots across a DJ set, Palms Trax nonetheless had a vocalist in mind throughout, a fresh voice to lend ‘Petu’ universality and energy. Introduced through mutual friend Esa, Johannesburg’s Nonku Phiri draws on her signature style influenced by vintage Afropop styles and folk traditions, delivering a smooth and vulnerable tale of desire. Triumphant brass recorded by instrumental collective Jungle By Night adds to the depth of instrumentation and feeling throughout, each element driven by Palms Trax’s ebullient percussion and an altogether celebratory energy felt across both the original and dub cuts.

Closely associated with Dutch dance music staple Rush Hour Records, Masalo subtly raises the tempo on his high-energy rework of Petu, spinning off the interconnected elements of the original into a memorable and gloriously Italo-tinged house trip.

Established in 2021, CWPT will play home to Palms Trax original productions alongside collaborations, mixtapes, new-generation artists and vital reissues. An online blog will feature interviews, reportage and charts exploring the stories past and present at the fringe of Palms Trax’s wide-reaching record collection.

The great wealth of multifaceted skills is Ralph Heidel's core identity, evident in the attempt to classify his music into a genre. Drone Jazz, Organic Glitch, Neo Classic, Jazztronica, all these terms apply when we read about his music. He began his career as a saxophonist and by now has also become a highly requested composer and arranger for a wide variety of productions. The 28-year-old musician was signed by Mathias Modica (Gomma, ToyTonics) for the Kryptox label, while he was still studying at the Musikhochschule München. Heidel released his debut album"Moments of Resonance" (2019) with his eight-piece ensemble Homo Ludens, followed by his EP "Relief" (2021). This grandiose prelude received applause on an international level. BBC6 presenter Mary Anne Hobbs, decided right away to exclusively feature Ralph Heidel on her radio show.

As the lead singer and songwriter of duo Savage Garden, Australian born Darren Hayes quickly dominated the pop landscape achieving an impressive 10 UK Top 40 hits from I Want You, To The Moon and Back, to I Knew I Loved You to U.S Billboard number ones including the timeless Truly Madly Deeply. With Savage Garden and as a solo recording artist in his own right, Darren has sold over 30 million albums globally.
The evolution of Darren Hayes continues to flourish with the release of the iconic artist’s new single, All You Pretty Things (in August) and the announcement of his first new album in over 10 years, Homosexual.
The phenomenal Homosexual was entirely written, performed and produced by Darren over the past two years from his base of Los Angeles. Released as a 2LP standard edition turquoise coloured vinyl

If credibility were currency, FAKE NAMES" wealth would be off the charts. Composed of Brian Baker (Minor Threat, Bad Religion, Dag Nasty), Michael Hampton (S.O.A., Embrace), Dennis Lyxzén (Refused, INVSN, The International Noise Conspiracy), Johnny Temple (Girls Against Boys, Soulside) and the newest member Brendan Canty (Fugazi, Rites of Spring), the band is a veritable post-hardcore dream team. However instead of rehashing the past, Expendables is a reinvention that sees the band dialing back the distortion and leaning into the melodies. The result pairs their unparalleled pedigree with a pop sensibility that"s slightly unexpected and wholly satisfying. "For our last record 2019"s FAKE NAMESthe general influences were 70"s U.K. punk and power-pop; but it wound up with a little classic rock vibe as well, like the Vibrators meets Aerosmith. We never saw that coming!" , Baker explains. For Expendables the band enlisted producer Adam "Atom" Greenspan (IDLES, Yeah Yeah Yeahs). Baker explains, "The pop influences are a little more out front on this one and the production really helps it shine. It sounds more direct, more urgent." Expendables is the latest exchange in a musical conversation that spans four decades. Baker aptly refers to the lineup of FAKE NAMES as a "mutual admiration society" and says that once the five members got in the same room together, it felt as if they had already been in the band together for years.

LIMITED BLACK & WHITE COLOURED VINYL EDIT

If credibility were currency, FAKE NAMES" wealth would be off the charts. Composed of Brian Baker (Minor Threat, Bad Religion, Dag Nasty), Michael Hampton (S.O.A., Embrace), Dennis Lyxzén (Refused, INVSN, The International Noise Conspiracy), Johnny Temple (Girls Against Boys, Soulside) and the newest member Brendan Canty (Fugazi, Rites of Spring), the band is a veritable post-hardcore dream team. However instead of rehashing the past, Expendables is a reinvention that sees the band dialing back the distortion and leaning into the melodies. The result pairs their unparalleled pedigree with a pop sensibility that"s slightly unexpected and wholly satisfying. "For our last record 2019"s FAKE NAMESthe general influences were 70"s U.K. punk and power-pop; but it wound up with a little classic rock vibe as well, like the Vibrators meets Aerosmith. We never saw that coming!" , Baker explains. For Expendables the band enlisted producer Adam "Atom" Greenspan (IDLES, Yeah Yeah Yeahs). Baker explains, "The pop influences are a little more out front on this one and the production really helps it shine. It sounds more direct, more urgent." Expendables is the latest exchange in a musical conversation that spans four decades. Baker aptly refers to the lineup of FAKE NAMES as a "mutual admiration society" and says that once the five members got in the same room together, it felt as if they had already been in the band together for years.

Clear Vinyl

Kate Fagan took the Chicago punk scene by storm in the early 80's with her self-released single "I Don't Wanna Be Too Cool", which became the best-selling single ever by a local artist at the legendary Wax Trax! Records. Today, Captured Tracks is thrilled to present an expanded, re-mastered edition of I Don't Wanna Be Too Cool as a full-length vinyl album. Fagan wrote "I Don't Wanna Be Too Cool" after moving to Chicago from New York in the late 70's. The track is a critique of the emergent "hipster" attitude of the disco crowd and the posturing she was witnessing among her peers in New York. With its surf-inspired drum machine, irresistible melody, and defiant lyrics, "Too Cool" was immediately embraced by club DJs, radio stations, and independent record stores. Its b-side, "Waiting For The Crisis," also gained notice for its raw musical style and politically charged Reagan-era lyrics, which still resonate today. In the years that followed, Fagan continued to break new ground In 1980, she co-founded the enormously popular ska band Heavy Manners (whose dance parties are still legendary), and with them opened shows for The Clash, Grace Jones, Peter Tosh, The English Beat, and many more. The "Too Cool" single became a sought-after rarity among record collectors for decades after its initial release, until Manufactured Recordings gave it a proper reissue in 2016. Captured Tracks' expanded 2023 follow-up features four unreleased songs, which encapsulate the gutsy, new wave energy that pulses through the original single. The final track, the reggae-tinged "Say It", features production from the reggae legend Peter Tosh and Bob Marley's guitarist Donald Kinsey, who flew in from Jamaica to record with Heavy Manners after witnessing their impassioned live show. While the 2016 reissue re-established Fagan's cult-classic status for a new audience, this new expanded release solidifies her place in a tradition of trailblazing, powerhouse frontwomen.

We're glad to welcome St. David in the Groovin new releases series.
Davide Disanto aka St. David is dj, producer and musician born in Bari, Italy in the early 90's.

His production style is groovy and heavy stomping with classic drums, disco jazz samples and old school Akai Mpc rhythms which perfectly define his classic house signature.
Timeless EP is definitely a great example of St. David house style which is a perfect mix of classic deep-house combined with live instruments. Not to miss !

Hilltown Disco celebrate 5 years with a star-studded compilation of artists that have featured and helped shape the label over the past half decade.

We dedicate this release to the legend, Wibo Lammerts who sadly passed away during the production of the record. Fly high, brother.

On the A-side of the vinyl we welcome back w1b0 and the excellent, Ole Mic Odd, who offer crunchy, dark electronics, perfectly sewn together, producing two future classics, with their bass-heavy electro.

Flip to the B-side and the record ups tempo, with the first track from Larionov & St. Theodore that showcases their slick, punchy electro productions, followed by a spiraling, hypnotic, machine-funk weapon by the brilliant PRZ. The record finishes with Robyrt Hecht’s stripped-back electro track with classic Hecht, signature, captivating vocals.

Massive thank you to everyone who has supported Hilltown Disco since we were founded. Here’s to the next 5!

Over the last half decade, the music collective Constant Smiles has produced a prolific output of acclaimed music, culminating in their forthcoming record Kenneth Anger, masterfully brought to life by engineer Jonathan Schenke (Parquet Courts, Liars, Dougie Pool). The group is known most recently for their much-praised debut album for Sacred Bones records, Paragons, an emotionally resonant offering of indie folk masterpieces that all confront the internal ways we process our struggles with intimacies, addiction and humanity produced by Ben Greenberg. Constant Smiles' primary singer/songwriter Ben Jones uses the creative process as a tool for working through deeply transformative periods in his life. The band's indie folk music lays bare this internal process, but on Kenneth Anger, the music shifts to synth pop and looks externally, examining creativity, community, ritual, and their place in the healing process. Ritual takes a primary role in the eponymous Kenneth Anger. Not only is auteur Kenneth Anger himself known for his sensorial depictions of ritual, Jones often used the films as a silent visual back drop during his song writing sessions, a ritual that grounded the creation of the album. And while the director's use of saturated color inspired the warm `80s synth style production, the director's trailblazing spirit of authenticity also pushed Jones through his most vulnerable expression to date. While the narrative undertones of the songs deal with fear and isolation and anxiety, the songs themselves were created through the healing process of ritual, and enriched with collaboration, community and trust. The resulting music produces a balm that can genuinely recalibrate the nervous system. The listener journeys through the depths of every track while being lifted and guided by the music's transformative, hypnotic power and this illustrates one of the foundational accomplishments of the album. Just as a Kenneth Anger film explores the underbelly of the unconscious through often soothing visuals, Kenneth Anger the album conjures the underworld into a series of synth pop classics.

“On this, their second LP, P16.D4 solicited tapes from several artists from Europe, England, the U.S., Canada, and Japan, and mixed that with their own material. Though in the current digital age collaborations from artists thousands of miles apart is quite normal, this was a quite radical approach back in 1982, when work on this LP began – an interesting concept that actually works quite well, since these artists, which include Bladder Flask, DDAA, the Haters, Merzbow, Nocturnal Emissions, Nurse With Wound, and several others – work in a similar free-ranging experimentalism as P16.D4, and their particular elements, usually just vocals or one instrument or noise implement, blend well without diluting P16.D4’s own peculiar brand of avant-garde post-industrialism, but merely give it another facet. One of the best tracks, “Aufmarsch, Heimlich,” consists of a choir submitted anonymously from Eastern Europe phasing in and out of static while a skronky alto sax bleats away. Most of the pieces exist somewhere just beyond the borders of free jazz, industrial, and even classical avant-garde, full of jarring noises and strange transitions and with a heavy overlay of electronics. What started out as an experiment yielded one of P16.D4’s best albums.” - Rolf Semprebon / AMG

“Distruct is organized around sounds provided by the cream of experimental musicians of the early ’80s, from Nurse With Wound to Nocturnal Emissions, via De Fabriek, Die Todliche Doris, The Haters, Merzbow, and others. Obviously, there is no question of remixing here, and at no time do P16.D4 seek to hide its sources, clearly identifying the contribution of each artist in the liner notes. It would be futile to try to find the paw of each artist, the trio operating vis-à-vis its collaborators the same methods as in their own work. Reworked, distorted by various effects, cut, edited, aggregated with other sounds, produced by P16.D4 themselves, reprocessed. Exchange, communication, two other data that will constantly recur in the work of P16.D4, rich in external contributions and encounters of all kinds. Musically, and despite the diversity of sources treated, Distruct escapes the heterogeneous character, which often marks this type of collaboration, to offer a coherent whole: fragments of opera, Soviet speeches, out-of-tune guitar, saxophone, tattered violins, overdriven and metallic noisy attacks, jackhammers, field recordings, battered choirs, and many other less identifiable sounds. In addition to the desired dialogue between the artists, Distruct also offers a real reflection on listening, and on the expectations of the listener.” - Dissolve

P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW.

Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design.

The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete.

“This music is staggeringly original and innovative, and while it’s possible to locate it in a chain of circumstance that links it to ‘Industrial’ music, P16.D4 indulged in none of the empty cliches associated with the genre, worked incredibly hard, and seem to have been aiming at a form of sound art that was much more profound, varied, subversive, and potentially dangerous. Kuhe In 1/2 Trauer’s accompanying credits indicate their radical approach to making music: lots of improvisation, lots of live electronics, extensive use of tape-loops, some conventional instrumentation, and much that isn’t – like the milk churn on ‘Paris, Morgue’ or the use of baking tray and washing machine elsewhere. Even when guitars, drums or keyboards are used, they’re played very weirdly. It’s not even made clear who was doing what; the main credit is ‘Concept,’ which I assume means that one of the three devised the framework in which the noise would operate itself, and while RLW gets the lion’s share of these credits, a lot of the cuts are evenly divided among the team and I have no doubt that the group operated in a very democratic or libertarian manner. None of this prepares you for the insane and troubling sounds that reach your ears, composed with scant regard for conventional logic and following an exciting, absurdist path, especially in the matter of tape edits and juxtapositions of recordings.” - Ed Pinsent, The Sound Projector.

“Though this German group started out as a the new wave band P.D., by the time of Kuhe in 1/2 Trauer, their first LP under the P16.D4 name from 1984, they had developed far beyond into extremely experimental music similar to other post-industrial artists working with abstract avant-garde soundscapes. There’s a bleak industrial feel to the gritty, lo-fi electronics and tape loops, while the group throws in enough curve balls to keep it interesting. On some pieces, strange, looped choirs bubble out of throbbing pulses and drones of feedback, while others have clanging and clattering, and elements of musique concrète and improvisation blur the boundaries even further. The opening track, “Default Value,” is one of those disorienting pieces with noises flying everywhere, while “Paris Morgue” takes excerpts from one of their old P.D. tracks and messes it up with additional instruments, while the ungainly titled fourth track throws in a heavy texture of percussive noises to create an edgy ambience about to teeter off the edge, and the even darker and more ambient title track takes the tension even further. Arrhythmic and amorphous and capable at moments of becoming quite noisy and abrasive, while at others far more somber and quiet, Kuhe in 1/2 Trauer is quite a fascinating release.” - Rolf Semprebon / AMG

P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW.

Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design.

The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete.

Following well-received collaborative outings for us as 1/2 of the SF dynamo duo Moniker whose classic “Billy D” anthem and respective Patrice Scott remix graced the early catalog, followed by the galactic
flex Straylight EP with Cali brethren Dave Aju on velvet vocoder vox b/w a stellar Kai Alcé remix on the Another offshoot imprint, and of course his indelible contributions to the arrangements/derangement of the wondrous KAMM LP Cookie Policies, Kenneth Scott is essentially an extended family household name for our camp and so we’re beyond proud to present his initial solo release for the Circus Company label proper. Schooled as always in the deepest of electronic music roots and classiest of track traditions, the three pieces that form the Light Blooming EP puzzle display all the prized synth wizardry and production ingenuity we’ve come to expect from the Berlin-based veteran.
“Firesound” kicks us off in fine form, with a glistening array of pads and tight arpeggios that give way to a soulful funk strut that any fan of Detroit-style electro flavors will enjoy to the fullest. We then move to
the stylized 4/4 pulse of the aptly-titled “Lost Sonar”, an extended live set for Lost Sonar Collective skillfully condensed and finessed into a smooth-as-silk true deep house cut, where warm synth tones set the sound bed while shards of sharper percussion and angular textures flash and fizz throughout, creating an ultra-fresh contrasting feel while a rock-solid groove grinds us along faithfully. Scott then finally closes out the set with the powerful and titular “Light Blooming” which begins with a similar rising pad intro before unleashing fierce and raw overdriven drum programming, teasing us out to the two minute mark when the mighty sub bass line and multi-layered arps drop in to devastating effect, bubbling and building to a bold harmonic apex, before eventually bringing us down softly and somehow with ease
after such a glorious rise.
Filled with early-Warp feels and futurist sci-fi hopes in equal measure, the Light Blooming EP is three tracks of pure funk precision and expressive musical class from the man Kenneth Scott

Vive La Musique brings us yet another magical release, compiling four stunning tracks from South African bass player - Sipho Gumede. Taken from two rare albums originally released in the 80s, the music blends South African roots with Boogie influences and is the follow-up to the hugely successful "Jika Jika" reissue.
The release was born through label founder Aroop Roy's relentless search for a copy of the 1983 Peace album, which led to him tracking down the original producer - Greg Cutler - a key figure in South African music from that period and regular collaborator with Sipho. Aroop was blown away by "Uthinina" and "Bayabizana" - two unique tracks, featuring haunting Zulu vocals, African jazz flavours, and epic changes over hypnotic grooves.
"Something to Say" and "City of Gold" were recorded a few years later in the world-renowned Battery Mobile Studio. Sipho had been working there with Caiphus Semenya and Letta Mbulu and their influences can be heard, with drum machines and American Boogie instrumentation laying the foundation for powerful vocal lines sung in English, with soul and gospel sensibility.
The 12" comes with extensive liner notes from Greg Cutler, talking about his time in South Africa. He recalls his experience as a White producer, working with Black musicians under the challenges of apartheid and describes his musical journey with Sipho Gumede, with intriguing details on how the music and production evolved.


Feedback

"The music of Sipho is so good - wow! Uthininia def worth the 3 year search, but even more wonderful to then stumble over a tune like "Something To Say"!"
Hunee

"Chunky, soulful and deep. Thanks for unearthing these beauties!"
Mr Scruff

"Brilliant tracks! Thank you so much"
Gilles Peterson

"This is fucking amazing!!!!"
Eli Soul Clap

"Sipho's Music is great!"
Antal

"Amazing music that is perfect for today's music environment, a lovely blend of South African and boogie flavours."
Patrick Forge

Limited Purple, Orange & Light Blue Vinyl 2xLPGrowing up in Atlanta, artist/producer Sol Messiah was always inundated with the rich and energizing spirit of Hip Hop culture. From breakdancing at a young age, to mastering the skill of DJing, to learning the art of production, Sol Messiah's talent and hunger eventually led to working alongside legendary Atlanta producer, Dallas Austin. While Messiah's time with Austin created a deep catalog filled with timeless tracks for TLC, Madonna, Boyz II Men and more, he eventually chose to pursue his own path independently, producing a catalog of popular tracks with Chamillionaire, David Banner, Nappy Roots, Dead Prez and more. He also began a fruitful partnership with a fierce lyricist named Sa-Roc, producing numerous projects together including her groundbreaking 2020 album, The Sharecropper's Daughter. In 2022, Sol Messiah delivered his Rhymesayers debut, GOD CMPLX, where he connected with some of the finest MCs in the game to create a powerful and engaging collection of Hip Hop that was equal parts innovative and inspiring. Here, he returns with the GOD CMPLX Instrumentals, letting this impressive collection of beats stand on their own as further testament to his skills as a producer, as well as a visionary.

Fingier Records were established in 2020 as a
group label of Acid Jazz Records to showcase the
Latin American productions of Argentine producer,
Kevin Fingier.

The label has produced a series of sell-out and
collectable 7” singles, with some going for
hundreds of pounds on collector sites.

This compilation brings these singles together onto
one album, with graphics and photography to
match the sound and style of Fingier Records.
Features the vocals of Diane Ward, Jo-Ann
Hamilton and Gerri Granger, Brazilian singer Jose
Dias and Senegalese vocalist / percussionist
Abdoulaye Badiane, backed by the all-star Kevin
Fingier Collective.

Radio - BBC Radio 6 Music Craig Charles Funk & Soul
Show.

In the last five years ElCamino has gone from up-n-coming Griselda affiliate to fan-favorite B$F member. He released two volumes of his self-titled album series in that time and left heads eagerly awaiting the third instalment. Then, last summer he served up ElCamino 3 and showed what he was really capable of. The acclaimed album features production by Harry Fraud, Camouflage Monk, CeeGee, and guest spots from 38 Spesh, Jay Worthy, A$AP Ant, and more.

As soon as the pilots of the Space Oddities endeavour decided to tackle Yan Tregger's oeuvre, a major problem surfaced: where to begin? And where to end? Upon which side should one launch into the ascension of this body of work? It will have taken Alexis Le-Tan and Jess years to put up this selection, capturing the profusion and eclecticism of Tregger who, at 81 years old, has yet to lay down the arms and still defines himself as a "jack of all trades". Symphonies, library music, movie soundtracks, TV credits, advertisement, French variété, pop, disco, electronic, experimental or relaxation music, Yan Tregger (born Edouard Scotto di Suoccio) took up all genres, styles and formats through a career spanning from the end of the 50s to this day. How the Stakhanovist successfully went down so many different routes can be explained by his innate talent for composing melodies; they are the very basis on which his iconoclastic production was built. Ten years ago already, Yan Tregger had welcomed us in the studio of his Parisian suburb pavilion. There, sat in front of his machines and albums framed on the wall, he had delved into the midst of a life writing itself like would a rather unusual musical score.

Repress!

“This album has been built, robbed, destroyed, rebuilt, held up, postponed, cancelled, shelved, bootlegged, analyzed, exploited, slept on, supported, patiently awaited, and appreciated, long before you got your hands on this slim neat little package.

This collection of thoughts, songs and relationships has literally been on the verge of completion since 1997. It was intended to finally be released in 1999. Most of the songs were written between 1995 and 1998. However, from the first to last verse, it reaches as far back as 1988 and stretches forward up to 2001. Throughout this tedious, relatively arduous process, the people involved in this project have successfully delivered the intended message that was conceived, forged, and galvanized through its delivery. The understanding is the best part. Enjoy!”

Originally intended for release in 1999, The Best Part was shelved multiple times due to label politics, until it was finally released in 2001, as J-Live points out in his prologue above. Now it’s getting the much deserved re-issue treatment.

With an All-Star production team featuring Pete Rock, Prince Paul, DJ Premier, DJ Spinna, 88 Keys & Grap Luva, along with J’s crafted and precise lyricism, this is one not to miss!

A limited edition 7" release by MIAMI, both tracks taken from the "PARTY FREAKS" LP. Again DYNAMITE CUTS give you never been on 7" release. Including a wonderful re-production of the original sleeve.

Track A – "I CAN SEE THROUGH YOU" – Club classic in its own right, TOP CLASS CLUB track, massive rare-groove dancer. Super sexy vibes and feel. A long awaited 45 release, need I say more!!

Track B – "Chicken Yellow" Heavy Mid-tempo groove. Classic heavy drum break sample.

Another MUST HAVE 45 rpm 7"
Format: vinyl release with full colour sleeve VINYL

WITCH RIPPER haben eine liebevolle Hommage an die legendären Pulp-Science-Fiction-Storys aus der "Goldenen Zeit" des Genres erschaffen. Auf ihrem zweiten Album "The Flight After the Fall" erzählen die Amerikaner eine durchgehende Geschichte, die aus all den schmackhaften Zutaten besteht: Ein verrückter Professor, seine sterbende Frau, Kryo-Kammern und ein Schwarzes Loch dürfen dabei nicht fehlen. Garniert wird das Konzert von universell wichtigen Themen wie Liebe, Angst, Verlust und Akzeptanz. Musikalisch haben WITCH RIPPER ebenfalls das passende Rezept für "The Flight After the Fall" gefunden. Das Album steckt nicht nur erwartungsgemäß voller Vorwärtsdrang und ungezähmter Energie, sondern es finden sich ebenso flinke wie vertrackte Gitarren-Attacken, ein subtiler Hauch von Synthesizer-Sounds und kosmischer Atmosphäre sowie unverschämt eingängige Clean-Vocal-Hooks. Kurz gesagt, WITCH RIPPER bleiben ihren knorrigen Wurzeln treu, während sie sich gleichzeitig den Arena-Rock-Bombast von QUEEN und DAVID BOWIE sowie den überschwänglichen modernen Prog von COHEED AND CAMBRIA und MUSE zu eigen machen. Geboren und aufgewachsen in der Stadt des grauen Himmels und der lauten Musik, Seattle im Jahr 2012, haben WITCH RIPPER aus Washington von Anfang an die zeitgenössische Härte von Acts wie MASTODON, GOJIRA und BARONESS nahtlos mit der hymnischen Qualität des klassischen Rock verschweißt. WITCH RIPPER gehen ihre Musik auf typisch amerikanische Weise an: Fette Riffs, große Hooks und verdammt sei dieser Schlagzeuger! Mit "The Flight After the Fall" meldet sich die Heavy-Truppe aus Seattle mit einem kühnen musikalischen Statement in der US-Metal-Szene zurück.

A limited edition 7” release by TARIKA BLUE. DYNAMITE CUTS give you a super fresh loud 45 cuts of this wonderful jazz dancer. Including a wonderful re-production of the original sleeve. Taken from the rare Blue Past LP, both tracks are first time on 45, don’t miss out x500 only

The inception of 49North marks the beginning of a brand new era for Duncan Forbes; who most emphatically made his mark on the WW scene as one half of legendary duo - Spooky - alongside Charlie May; releasing a string of landmark singles and albums over 3 decades, not to mention timeless remix / production work for International heavyweights like Depeche Mode, M83, Sasha, William Orbit, Mr.G and Apparat.
A1: ‘Burning Bright As Magnesium’
“Heading up this second ‘Distilled & Amplified’, 12” sampler is one of Duncan’s most leg-sweeping, curveball originals to date - 'Burning Bright As Magnesium'... a super tripped-out, Techno head-spinner; powered by an eerie, almost spectral kind of funk.
B1: ‘In The Mansion Of The Gods’ (Mr G’s ‘Home Alone’ Remix)
“And on the flip, we see Duncan’s second ever solo release - 'In The Mansion Of The Gods' - get the rework treatment from close friend Mr G, and his unrivalled brand of analogue magic. And if you haven't heard the Phoenix G man go full-throttle before - you're in for a barn-storming treat.”

Cosmic tech house wizard SNAD officially kicks off a brand new label from the stables of For Those That Knoe. Featuring eight tracks of chi-town swagger and a sprinkle of star dust, the Intergalactic Gambler rockets into a solar system near you wielding the likes of 'Juiced', with its spacious production and neatly sassy groove, the linear paths of 'The Big Sleep' and the oozing keys of 'Guiding Light'.

Chad Pulley makes his first solo appearance on John Beltran's All Good Music label, although keener eyed spotters will know that Pulley and Beltran previously collaborated on a track under the Bel-Pull Productions moniker. He steps up to the task ably, slipping into All Good style comfortably with the calm and melodic, gracefully coasting techno of 'Through My Eyes', before the flip side reveals the wistful 'Mesmerizing Blue', where pianos and synths call and respond over exotic rhythms. 'Sticks' completes the set, slightly harder and funkier than its two predecessors but again with an emphasis on musicality, off kilter danceability and originality. On this showing, a name to watch.

Donato Dozzy, Marco Shuttle and Ultrastation are among the names on these great remix package on the trustworthy SoHaSo label. After two well received EP's -Laren and ZL2- Bas Dobbelaer and Vand asked a few like-minded spirits to reset the dials of some of their best work. With their melancholic, melodic and highly detailed techno-infused productions, the two Dutch producers carved a name for themselves over the last four years. Italian producer Donato Dozzy takes Transit (a track from 2019) into a lush, green forrest. Where dew water is still dripping from the trees while string-like melodies slowly swirl around them. Beautiful stuff. Gal Tsadok-Hai takes a similar path, though his take on Gateway to Gaia is a bit gloomier. Dusk is setting in and so is melancholia. Same goes for Marco Shuttles version of Reflect, a track from 2021. The London-based Italian producer left out kickdrums and basslines, settling instead for a feverish percussion-infused meditation. Once on the flipside, the club vibe truly kicks in. With a minimalist, bassline heavy remix by Shoal of Story of Blade and an equally effective techno remake from Ultrastation, who turns Runner into a hypnotic peak time monster.

BITE label head Phase Fatale aka Hayden Payne drops his first EP in 5 years 'Nailed To The Net' and his first solo release on his own record imprint. The Berghain and Khidi resident develops his sound further into the dancefloor and techno sphere while still maintaining his signature post-punk influence. The innovative techno producer and DJ combines his spectrum of dystopian, gritty, industrial electronics with his deep understanding of synthesis and sound design. This sonic approach is all the more exemplified in Rrose's remix of 'Desecrating Vows'. The release finds Payne taking his productions to new levels by including different musical elements such as breakbeats, arpeggiations, and massively layered chordal sequences. Reflecting the last year when he produced it in Berlin, injecting all broken hearted emotions from then, each track contains more groove and nuance while having dense, shoegaze-alike atmosphere and melodies. Even containing distant voice and guitar elements, 'Nailed To The Net' maintains his trademark balance between the dancefloor and his eclectic influences.

Skins is a producer/DJ based in Leeds with an active history in dance music that goes back over 10 years. He cut his teeth DJing regularly at the legendary former Oxford nightclub The Cellar. He played here as part of the Subverse Radio collective as well as for other favourite local promoters, alongside a regular radio show on the aforementioned station which he co-founded. After moving to Leeds in 2016, Skins focused his attention on music production and self-released a string of white-label techno EPs which garnered support from artists such as Djrum, Jane Fitz and Mike Schommer of Deepchord.

More recently Skins has moved away from the dub techno sound with which he had become associated, with an EP from speed garage newcomers Spin City on heavy rotation with DJs including Evan Baggs, Andrew James Gustav and Sugar Free. His latest explorations have found him returning to the futuristic jungle stylings which originally drew him into the world of electronic music in his teens.

Whether it’s in the studio or behind the decks, Skins draws on a wide range of influences from hip hop, deep house and techno through dubstep and grime to jungle, with a preference for playing vinyl over three turntables. He has performed alongside the likes of Willow, Batu, Answer Code Request, Levon Vincent and Ben UFO.

A true modern-day pioneer of house music, Amsterdam-based DJ, producer, and label owner Malin Genie is only getting better as he continues to add to his rich catalogue of releases.

Whether producing darker, more-minimal leaning productions on his Vigenere imprint through to his contributions alongside Lazare Hoche and S.A.M. as 1/3 of Mandar, his wide-reaching sound sees his productions primed in the record bags of the scene’s most renowned names, with his ‘Phaethon EP’ providing a perfect showcase of this talent.

Welcoming a collection of house gems from across the spectrum - from glistening, resonant synth-driven productions to skittering low-end heavy cuts and warping, twisting efforts - this is arguably his most diverse release to date as he marks his return to Up The Stuss in exemplary fashion.

Anne's 7th Opus in 13 Years, Containing 6 Fantastic Covers and 6 of Her Own Songs, Recorded in One of the Most Prestigious Studios in Montreal with Her Original Blue Mind Team

Fresh from the success of her single "Killing Me Softly" from her previous album Keys to My Heart, Anne Bisson, singer-songwriter and jazz pianist, decided to perform and record more standards from the American jazz songbook, as well as new arrangements of classic songs that were so much a part of her teenage years.

Be My Lover, Anne's seventh album is, therefore, a savoury feast of original compositions and classic songs in her own bold new arrangements for acoustic trio. While still in the 'Smooth Jazz' genre, the presence of a Fender Rhodes, the legendary '70s keyboard, along with an electric bass, impart the album with quite a unique tone.

After over 18 months of musical experimentation and other creative endeavours, Anne once again brought together master drummer Paul Brochu (Gino Vanelli, Michel Legrand, UZEB) and proficient bassist Jean-Bertrand Carbou from France, for a series of informal sessions to explore the songs that were being considered for this seventh release.

These two musicians have been valuable collaborators for several years now. Paul has been featured on many of Anne's albums, notably Blue Mind, which made a huge splash when it appeared, with over 35,000 hard copies sold, while Jean-Bertrand's playing has also graced several of her albums.

Since 2009, the three have performed at several important venues, including Le Festival International de Jazz de Montréal, as well as other festivals in the United States and Mexico.

What holds them together is an evident complicity which is present from the very first notes. Their musical contributions are precise and deeply heart-felt. Their virtuoso playing greatly enhances these songs without turning them into mere technical exercises.

With precision playing, subtlety and attention to detail, as well as being recorded in impeccable High Definition, these songs will definitely please Anne's audiophile fans, while also appealing to a wider audience.



All About Ultimate High Quality CD (UHQCD)
Many years have passed since the birth of the Audio Compact Disc (CD) back in 1982. By use of High-Quality materials and a totally different manufacturing method, the definitive version of audiophile audio CD was born. Playable on any CD player, the Ultimate High Quality CD greatly surpasses all previous CDs before it!

The Ultimate High Quality CD (UHQCD):
UHQCD is a radical change to the CD manufacturing process itself. The conventional wisdom about CD manufacturing, which had remained largely unchanged across the world for over 30 years, has been exhaustively questioned. Through this effort, the ultimate in quality was attained - a level of quality that is certainly impossible to achieve with existing CD discs.

The Ultimate High Quality CD was developed through an effort to improve audio quality by simply upgrading the materials used in ordinary CDs to higher quality materials. For the substrate a high-transparency and high-fluidity polycarbonate (a type of plastic) of the type used for LCD panels was used, while for the reflective layer, low-cost, common aluminium was replaced with a unique and expensive alloy of high-reflectivity.

Differences in manufacturing methods:
Conventional CDs are produced using the technique of injection moulding to form "pits" of data on polycarbonate material. Metal plate on which "pits" representing audio source data are formed is used as a die. This is called the "stamper." Polycarbonate is melted at high temperature and poured into the die to duplicate the pit patterns on the stamper.

This method is efficient because it enables high-speed production, but it does not enable totally accurate or complete duplication of the pits on the stamper. As a melted plastic, polycarbonate is inevitably viscous, so it cannot penetrate completely into every land and groove of the tiny pits of the stamper.

The Ultimate High Quality CD photopolymer is used instead of polycarbonate to replicate the pits of the stamper. In their normal state, photopolymers are liquids, but one of their characteristic properties is that they harden when exposed to light of certain wavelengths. The advantage of this property, perfect replication of very finely detailed pits was achieved. Photopolymers in the liquid state are able to penetrate into the tiniest corners of pits on the stamper so that the pattern of the pits is reproduced to an extremely high level of accuracy. The Ultimate High Quality CD reproduces audio with greater precision and at a level that is impossible to achieve using conventional CD production technology!

First Word Records is extremely proud to welcome the legendary New Sector Movements to the label, and the first new release from this moniker in 15 years! A 5-track EP for 'These Times', comprised of street soul, hip hop, jazz and bruk-tinged vibes.

Founded, headed and produced by DJ & musician IG Culture (CoOp Presents / LCSM), this all-new quasi-group project also features the vocal talents of Allysha Joy, Mike City and Natalie May with additional accompaniment from Wonky Logic, Wayne Francis, Alex Phountzi and the NSM Fusion Starship!

New Sector Movements (aka NSM) were the first out the gate at the dawn of the original broken beat movement, releasing their first single 'Groove Now / New Goya' on the People label in 1997, then releasing several singles and EPs through to the late noughties, and dropping a classic album on Virgin entitled 'Download This'. The previous incarnation featured several other artists from the bruk foundation era, including Kaidi Tatham, Izzy Dunn, Julie Dexter and Eska Mtungwazi amongst others.

Awarded a 'Lifetime Achievement Award' at the 2019 Worldwide Awards, NSM's IG Culture is a hugely pioneering prolific artist in the UK music scene. His catalogue of releases over the years has seen numerous aliases, collaborations, remixes and productions. Appearing on the scene in 1990 as part of Dodge City Productions, to producing several solo albums throughout the noughties, to recent years with his hugely-acclaimed cosmic jazz outfit LCSM (Likwid Continual Space Motion), additionally to co-running the CoOp Presents label, continuing the legacy of the award-winning club night whilst showcasing new artists, IG Culture has been omnipresent at every corner of British black music for three decades deep, influencing many a sound.

This is all additionally to projects like NameBrandSound, Likwid Biskit, Da One Away and Son of Scientist to name just a few. His work has appeared on releases by Roots Manuva, Young Disciples, Les Nubians and Monday Michiru, while remix work over the years has included Gang Starr, Femi Kuti, José James, Miraa May, Slum Village, Digital Underground, Luniz, Naughty By Nature, Airto Moreira & Flora Purim.

As a DJ, he's shut down dances all over the world, recently at places like Fabric, We Out Here festival and Summer Dance Forever in Amsterdam, as well as regularly rocking the airwaves on Worldwide FM and combining the two at BBC 6 Music's All Points East stage in the Summer. IG Culture also founded Selectors Assemble; a collective of forward thinking DJs and producers.

So, as we head towards Winter 2022, New Sector Movements has returned (but don't call it a comeback!). After a turbulent few years in the world, it seemed a poignant moment to reinvigorate the soul, and reflect upon 'These Times'. Here we have five brand new tracks, each illustrating a pertinent mood and attitude representing the current climate. Allysha Joy leads the vocal on EP opener 'These Times', a sumptuous slice of street soul with a deeply infectious horn hook. 'Stand' is next - uptempo boom bap for the dancers, this one featuring the soulful pipes of Mike City. 'Hope' is a midtempo jazz-funk dub again feature vocal licks from Allysha, and introducing the mysterious NSM Fusion Starship into the fold. 'H.E.A.T.' picks up the pace with some infectious jazz-bruk business, this one lead by Natalie May on the vocals, who explains "heat = movement, motion". And finally 'Bless' with closes the set on a four-four riddim with bruk sensibilites, inviting Mike City back with an uplifting vocal requesting we "bless the people just trying to make it".

An essential EP of cross-genre vibes to resonate cross-generations, New Sector Movements do not ramp. IG Culture and crew proceed to give you what you need for 'These Times'.

'These Times' is released on vinyl and digital worldwide via First Word Records late February 2023.

RAWAX welcomes YATE aka Analotiy Borodin & Yaroslav Oleyskerfrom Ukraine to the artist family! We are very happy to present you "Electric Gravity EP" which was signed almost 2 years ago.
Unfortunately our former pressing plant kicked us and many other underground labels out and we've had to do the whole production again while long delays in every other pressing plant grew constantly.

The biggest tragedy happened early 2022 when Russia started the war against the souvereign Ukraine, killing innocent people day by day..

Our artists insist to mention that this ain't another release to be focused on this situation, but all income from this RAWX029 will be donated to the volunteers organisation
in Odessa which is runned by Yate's close friends and Port teammates who feed daily many hungry people.

Ten years after our initial survey of Afro-Latin accented rhythm & blues from the mid-century, Jazzman proudly presents a fourth installment, packed with as many musical surprises as the first. With music plucked from an era spanning the late 1940s into the early 60s, Jukebox Mambo IV highlights yet again the unparalleled musical creativity of the post war era, and shows how the infusion of afro-latin rhythms was key to these revolutions.

Lovingly and painstakingly researched and curated, the album boasts 23 tracks, many previously uncompiled, touching on jazz, blues, doo wop, calypso, rock & roll, gospel and more. Featuring individual track notes for every song along with some never seen before photographs of the artists, Jukebox Mambo Vol IV maintains the same high production values of each previous volume, and indeed the wider Jazzman catalogue.

repress, blue marbled limited version

The label imprint of the beloved Berlin based club Paloma delivers its eighth release, and it was created by none other than a vogueing encyclopedia of musical and club culture knowledge (plus a cherished Paloma resident DJ). The disco professor: Daniel Wang.
It is his first original production under his own name in many years, and you can easily tell that this is not a tool to join in with dancefloor conformity (after all, his first album was called Idealism for a reason). Daniel Wang had already evolved from innocently enthusiastic sampling to synth wizardry during the heyday of his legendary Balihu label, and while studying the masters, he became one himself.
DSDN is an ode to nocturnal Berlin and its party community, a city that never left the centre of international attention for its vital and influential scene. Daniel Wang is a part of it since twenty years, and he was influenced by what he experienced as much as he left his mark on many nights, both as a DJ, and as a producer.
Of course, this release follows the traditional structure of a Disco EP by using a main tune DSDN with complementing dubs and instrumentals. Four to be exact, because four is the magic number with this format. DSDN reflects the internationality of the clubs across town in English and German words and pays homage to all the districts, and it effortlessly manages to unite sounds of both 80s NYC and Italo disco, 90s NYC and Italo house, synthpop and rap before it became too successful, balearic vibes before they became a mere excuse, and then it just majestically unfolds into both a charming summer hit and a complex opus magnum, but all an aural sunbeam that blows a kiss to those who emerge from recent sensations in clubs, bars, parks, and streets. Alone or together, happy or sad, resolute or irresolute, tired or energized, or all at once.

Eddie Leader’s Northern PowerHOUSE imprint Hudd Traxx has, over its 17 year history, become synonymous as a home of quality underground sounds. As a label that has consistently kept the vibe alive through its unwavering insistence on quality over quantity, it has seen many masters of the craft feature on the Huddersfield-based label... Including Agnès, Chez Damier, Chris Carrier, Brett Johnson, JT Donaldson, Rick Wade and more.

As we kick-start ’23, Hudd Traxx announce an exciting new series of releases… Hudd Influence. A new run of vinyl offerings that see label boss Leader digging deep, licensing, remastering and pressing to vinyl a spicy selection of joints that have played their part, not only in his own musical journey, but also in influencing the foundation of the Hudd Traxx label.

Volume One brings us four choice cuts from House music royalty, kicking off with the Todd Terry’s 1992 classic ‘When You Hold Me’, taken from his debut ’The Unreleased Project’. Next up, the ‘Body N Soul’ Mix of ‘Get 2 U’ from long-time friend of the label, Jovonn, under his 1999 alias LYON. On the flip we’re treated to ’Touch Me’ (Dub Touch Me Mix), the ’94 production from Chicago’s Danell Dixon, alongside a huge Eddie Leader favourite in The Diggers 1996 jam, ‘Jazztaker’s Dub’.

Whether this is a first introduction or a reaffirmation of their greatness, Hudd Traxx are excited to provide a fresh platform for these true house classics.

Keep ‘em peeled for Vol. 2!

Lifted From Hubbard's Lauded 1979 Lp 'the Love Connection', This Sublime Piece Of Melodic, Deep, Soul/Jazz Will Have Ears And Minds Open With It's Instantly Recognisable Opening String Sequence.

Used To Devastating Effect On Pepe Bradock's All-time 1999 Deep-house Classic 'deep Burnt', Those Sweeping Strings Capture Us And Lead Us Into A Epic Journey With The Wondrous Vocal Stylings Of The Legendary Singer Al Jarreau.

This Is Prime Early Morning Music, Pushing All The Right Buttons & Spreading Light Wherever It Is Played, A Beautiful Beautiful Record Indeed! What Is Essentially An Extended And Rearranged Version Of Hubbard's 1967 Original, The '79 Version Of 'little Sunflower' Boasts A Sumptuous Arrangement & Production From The Mighty Claus Ogerman (Ben E King, Mel Torme, Bill Evans, Antonio Carlos Jobim & More).

A Truly Wondrous Piece Of Music, Reissued On A Single Side In It's Full 12" Length Of 9+ Minutes From The Source Archive Audio. Fully Legit, Licensed And Reissued With Love By Above Board Distribution And Columbia Records/Sony Bmg For Record Store Day, 2019.

Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic, IMAX-worthy fashion.

Sourced from the original analogue master tapes, pressed on MoFi SuperVinyl vinyl at RTI, housed in a keepsake box, and limited to 10,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set of Eldorado allows the long-time audiophile staple to resonate with reference-setting dynamics, tones, and colours. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended. This very special release both pays tribute to the record's merit and enhances the spectacular program for generations to come.

Presenting the album with breathtaking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, the collectible reissue features beguiling levels of in-the-moment presence, grand-scale sound-staging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado package also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process – as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.

The premium packaging and gorgeous presentation of the UD1S Eldorado pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. No expense has been spared. Aurally and visually, the reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in everything involved with the album.

An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practising Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.

Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the un-woken fool."

Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolour escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue," power-pop packed "Illusions in G Major," and, of course, the aptly titled hit, "Can't Get It Out of My Head."

Decades later, Eldorado doubles as an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.

MoFi SuperVinyl


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

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

Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

2023 Repress

* Tales of the Inexpressible” was released on Twisted Records in 2001.

It was a much anticipated and well loved successor continuing in the pioneering spirit of the debut album and in this exceptional follow up they gave us plenty more multi-dimensional surprises and new sonic realities to explore and immerse ourselves in.
From the opening sounds on “Dorset Perception”, the first track featuring flamenco guitar and Latin percussion, we can tell we are in for some incredible planetary as well as interplanetary trips on this musical voyage as Si & Raj take us for a spin though their musical worlds, full of influences garnered on their travels to the 4 corners of the earth.

As the Star Shpongled Banner unfurls, the immeasurable beauty of the album is illustriously illustrated with blissful cascades of Indian Flute washing over the minds ear and achingly beautiful synths rippling with dimensional dub effects throughout. As the Shaman’s voice resonates through the digital dream, the Shaman’s drum begins to beat leading us to a vedic celtic crescendo.

By the time Room 23 emanates from the loudspeakers, Shpongle have confirmed their position as the true pioneers once again, shining a light on the deeper development of the Psybient and Psychill sound and unmistakably elevating the consciousness of the listener to previously unheard of heights by bringing the eddying currents of Raj’s magical flute lines and Simons mellifluous keyboard riffs and genius production style together in an extraordinary hallucinogenic mix.

The album holds 9 gems glistening in hyperspace, gems of unmistakable brilliance and radiant beauty in which every composition contains worlds within worlds, as explored by Raja and Simon on their epic voyages into the depths of musical exploration and recounted in these tales.

They have been the soundtrack to innumerable visionary voyages for the neuronaut cognoscenti, because of the multi layered sounds, shapeshifting focus and awe inspiring depths of the advanced Shpongle production techniques. Tales of the inexpressible is quite literally, beyond description and has been a part of creating so many beautiful moments that its absence from our lives is unimaginable. 

Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

Peach Vinyl

Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

Tape
Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

Thugwidow AKA Alex Lowther-Harris is a Jungle producer currently living in North Wales. Productions range from Hardcore rave tracks to more Ambient Tecky Jungle.

Thugwidow makes his Bukva debut with "An Otherwise Perfect Sky EP", these tracks and remixes represent the culmination of years of work, in honing his sound, working on production and grinding away. This record is a typical Thugwidow sound, the kind of tunes he loves making and listening to. With remixes from some of Thugwidows favourite artists Tim Reaper, Response & Pliskin. This record should be perfect for late nights, early mornings and perhaps the more chilled out moments when there's too much going on in your head.

Brazil’s Bruno Furlan returns to Hot Creations with his fresh two-track EP, ‘Bongoloco’.

A DJ and producer whose recent studio endeavours have seen him release material on Black Book Records, Fool’s Gold and Material, Bruno Furlan is an artist at the centre of Brazil’s recent explosion of names within the house and tech house landscape. Based in São Paulo, the bubbling talent has built on his early experiences within the Brazilian electronic music scene to make appearances at global events such as Dirtybird Campout and AMF Festival. Following
an impressive debut on the label with his two-track ‘The Speakers Pump Like This’, late January brings a return to Jamie Jones’ Hot Creations imprint as he serves up two fresh dancefloor-leaning cuts across his ‘Bongoloco’ EP.

Title track ‘Bongoloco’ takes cues from its name and showcases a skittering percussion-driven production built for peak-time hours as warped drum fills and vibrant vocal calls inject an abundance of energy. Keeping things moving, the rolling ‘Vai’ delivers a slick accompaniment to the package, serving up an anthem built for bustling terraces worldwide.

Over the past couple of years Acid Jazz have been re-issuing releases from the enigmatic 'Albarika Store' label, a goldmine in Afro cuts from Benin, West Africa. The latest instalment is the ultra-rare 'Ogassa Original (Vol. 1), the first LP from obscure but ultimately brilliant Porto Novo group, Ogassa from 1978. Like many Albarika releases, it was recorded at EMI Lagos, giving a depth and fidelity that stands out in the realm of Afro rarities. Reissued in full with the original artwork for the very first time, a must have for Afro collectors and completists alike. Pre-order now!

Canto Ostinato is the new volume of classical minimalism from musician and producer Erik Hall. Written for four pianos in 1979 by Dutch composer Simeon ten Holt, the piece is freshly framed as an intimate, hour-long solo performance consisting of multitracked grand pianos, electric piano, and organ. Modern yet warm, ethereal yet tangible, Hall's Canto Ostinato expertly bridges a revered piece of meditative concert repertoire with a tactile and highly personal studio setting. Chicago-born and Michigan-based, Erik Hall is known as a multi-instrumental pillar for the groups NOMO, Wild Belle, and his own songwriting moniker In Tall Buildings. He has composed music for feature films, and as a producer/engineer he has shaped records for Natalie Bergman and Western Vinyl labelmates Lean Year. In a 2020 creative pivot, he chose to reinvent composer Steve Reich's monumental contemporary classical masterpiece Music for 18 Musicians as a solo undertaking, applying the piece's score to the familiar keyboards, guitars, and synthesizers in his studio. "At the time I think I was working through my identity as a musician and an artist," Hall explains, "and on a level there was some sort of exorcism of a long held pop spirit." The album was celebrated for being "freshly thrilling" and "legible in history but assertive of the moment" (Pitchfork) and "beguiling, meditational, and magical" (Electronic Sound). It won the 2021 Libera Award for Best Classical Record, and it quickly joined the canon of the piece's quintessential recordings. "There is a pseudo-meditational benefit to working on a longform piece that's built on repetition," Hall says. "Every stage- from internalizing the music, to executing the performance, to editing and mixing the record- requires deep and sustained presence of mind. I've always been drawn to a hallucinatory combination of harmony and repetition, and I found the entire process addictive." An apt second chapter, Canto Ostinato is inherently vast, and its score gives great creative license to the performer. Comprising 106 sections, complete freedom is given to repeat each one as many or as few times as desired. Additional leeway is given with regard to dynamics, articulation, and even instrumentation. On the heels of his previous, rather maximal arrangement, Hall chose to limit this album's palette to three foundational keyboards of his studio: a 1962 Hammond M-101 organ, a 1978 Rhodes Mark I electric piano, and his family-heirloom 1910 Steinway grand piano. "This particular piece brought the added challenge of rekindling my dexterity as a pianist, something I haven't maintained in earnest since I was a teenager," he admits. The ensuing five-note rhythmic motif- the piece's primary building block- is steady and workmanlike, forgoing virtuosic flare for depth, texture, and resonance, and eventually giving way to the stunning gratification of a gorgeously lyrical left turn. As with Music for 18 Musicians, Hall employed no loops nor quantization nor any programmed or sequenced instruments of any kind. Every part was performed live in a room and captured with microphones, one at a time, each informed by, and reacting to the last. In this way the record breathes with interplay and an organic humanity, complete with flaws, noise, and the faint sound of turning pages. The recording quality is nonetheless toneful and saturated, characteristic of Hall's production style and straying from the usual transparency of classical albums by using gear with tubes, transformers, and various stages of compression in the signal path. Always there is unmistakable realism and the feeling of being present in the room, sitting among the keys, hammers, and tines. Ten Holt said: "Time, patience and discipline are the prerequisites for making a genetic code productive." His landmark composition provides Hall once again with a wondrous space in which to reverently embody this sentiment and deftly convey the elegant beauty of this music.

IDK says of USEE4YOURSELF, his second album and the sequel to his 2019 debut Is He Real?. The project sees Jay reflect upon how the lack of love in his home growing up has affected his views on relationships, women, and lastly, religion—tying back to the theological themes of Is He Real?.
US4Y features more ambitious production than IDK’s past releases, showcasing how he could be viewed as a producer before a rapper—which he himself has touched upon in tweets. It also boasts an impressive feature list of twelve other artists ranging from Slick Rick to Young Thug to MF DOOM to T-Pain. Furthermore, US4Y includes uncredited spoken appearances from DMX, Mike Tyson and others

The Abstract Eye is back once again with his first offering on the Technoindigenous Studies label, and it’s a heavy one! Here he gives us another mega banger with his Nine Oh Nine EP. This record uses one of the most historically important drum machines throughout its entirety: the Roland TR-909. The classic drum machine used by his predecessors in electronic dance music also happens to have been released during the year of his birth. You almost surely know the sound of the TR-909 in other contexts, but, as he always does, he adds his atypical twist to it and uses it in a timeless context. Each of the record’s four pieces could have been released decades ago or far into the future. Another Gifted & Blessed production sure to please and set the dancefloor ablaze!

Zepherin demonstrates two spectrums of his productions on this release from his signature sound to a classic remake of the classic originally cut by Leo Sunshipp “Give me the Sunshine’ Collaborating with rising US talent Russell Taylor on both compositions they created a soulful gem of a release.

Vocal powerhouse WILSN releases her debut album, Those Days Are Over, Fri Feb 3! A fusion of modern soul, pop, jazz and Motown, together with production that is simultaneously nostalgic and contemporary, Those Days Are Over has all the hallmarks of an instant classic.

BASSIST/COMPOSER PETROS KLAMPANIS LOOKS TO PAST AND FUTURE AS HE TRANSFORMS TRADITIONAL GREEK MUSIC WITH TORA COLLECTIVE

Unique instrumentation bridges Greek folkloric and modern jazz worlds, with Klampanis (bass, artistic direction), Areti Ketime (vocals), Thomas Konstantinou (oud, laouto), Giorgos Kotsinis (clarinet), Kristjan Randalu (piano), Ziv Ravitz (drums, electronics, co-production) and more.

Following up his acclaimed recent outings Rooftop Stories and Irrationalities, bassist and composer Petros Klampanis creates one of his most inventive musical settings to date with Tora Collective, his sixth album as a leader. For Klampanis, who grew up in Athens, Greece
surrounded by the confluence of Mediterranean and Balkan folk cultures, making music has always meant navigating cultural crossroads. With Tora Collective (“Tora”=“Now”) he puts traditional Greek music at the centre, even as he presents it from a bold new angle.

In addition to the two new originals “Disoriented” and “South By Southeast,” Klampanis and his compact hybrid jazz/Greek folk ensemble interpret popular Greek songs such as “Xehorismata,” “Sybethera,” “Hariklaki” and “Menexedes ke Zoumboulia.” These songs, Klampanis asserts, are “not just part of Greek cultural heritage or a fragment of the past, but also as part of the future: they live into the present, breathe into the ‘here and now,’ while constantly evolving in a dynamic state and in dialogue with contemporary music.”

“For me it’s a personal thing,” he says. “I want to reflect on what Greek music and culture offer the world. How can music from the Aegean to Epirus and from the Ionian Islands to Crete, meet and speak to the hearts and minds of musicians and audiences from different parts of the world, different traditions and backgrounds?”

To that end, Tora Collective draws on regional characteristics, as Klampanis explains: “Every region has a strong identity. In Epirus the clarinet is more prominent and the music has this slow, groovy, meditative vibe. The islands are lighter sounding, Macedonia is groovier, faster tempos and energetic dances. Music from Asia Minor or Istanbul is more sophisticated. Greeks often refer to Istanbul as ‘Poli,’ from Constantinopoli, so the songs from there are called ‘Politika.’”

There is magic in the clear and consistent voice of Areti Ketime throughout Tora Collective, as can also be said for the supremely voice-like articulation of Giorgos Kotsinis on clarinet. Ziv Ravitz, on drums and electronics, also plays a pivotal role as coproducer: “He added so much in the orchestration,” says Klampanis. “His knowledge of electronics, all these non-acoustic sounds and keyboards, treatments of the acoustic instruments, it’s all because of Ziv. He brought a new perspective on the whole thing.”

The string element in Tora Collective is also strong: in addition to Klampanis’ bass there is Thomas Konstantinou on oud and the traditional Greek laouto, as well as Kristjan Randalu (the pianist in Klampanis’ Irrationalities trio) providing an anchor and bringing Klampanis’ inventive arrangements into harmonic focus. Additional guests appear: Alexandros Arkadopoulos on clarinet for “Disoriented,” Laura Robles on percussion for “South by Southeast” and trumpeters Sebastian Studnitzky and Andreas Polyzogopoulos on “Milo Mou ke Mandarini” and “Hariklaki,” respectively. (“Milo Mou” is slated as a post-release bonus track.)

Using traditional Greek music to discover a common new voice, the project aims to build dialogue, spark creativity, cultivate respect for the past, pave a path forward, discover a new musical storytelling powerful enough to reach and touch audiences in many countries. This is an experiment that bridges worlds: the east and the west, the traditional and the modern, the nostalgic and the forward-looking, using the power of music and improvisation.

Local Action is proud to present Cyclorama, the long-awaited debut album by Ariel Zetina.

A resident DJ at Chicago’s iconic Smartbar, a long-standing Discwoman family member and a key part of the city’s dance music and LGBTQ+ communities, Ariel has established herself as one of the most exciting electronic artists operating today - through releases such as 2020’s acclaimed MUAs at the End of the World and 2017’s Organism, and her meticulous approach to DJ mixes - as recently evidenced on Sestina, her 2020 contribution to Mixtape Club.

Written across 2021 and honed this Spring, Cyclorama is Ariel’s most impressive and all-encompassing work yet, showcasing her as a producer, vocalist and also curator, pulling together an ensemble cast of her peers in Chicago (Cae Monāe, Mia Arevalo, DANNN) and some of the most exciting names in contemporary club music (Violet, Bored Lord).

Conceptually, Cyclorama draws heavily from Ariel’s background as a theater writer and producer. Popularized in 19th century German theater, a cyclorama (or cyc) is a large curtain, placed on the back wall of the stage. This creates an illusion of extra depth in the background, and often is used to represent the sky. In Ariel’s words, “I imagine all the tracks on this as the lights and action projected onto the cyclorama. The whole album is like the cyc, a representation of the sky. Or an imagined sky. An imagined dancefloor. An imagined theatrical production.”

As well as drawing conceptually from Ariel’s background in theater, the album draws on a personal level from Ariel’s journey as a trans woman of color - most directly on Cyclorama’s three vocal tracks, ‘Gemstone’, ‘Slab of Meat’ and lead single ‘Have You Ever’.

On ‘Have You Ever’, Ariel collaborates with Cae Monāe, a dear friend and fellow trans woman of color. “‘Have you ever been with a girl like me before?’ and all the lyrics refers to the fear and anxiety that cis men who are attracted to trans women feel, and also any woman that doesn’t fit the mold of a stereotypical woman”, Ariel explains. “Cae and I - and many trans women - have been in so many situations where society tells cis men they cannot be with trans women and this explores that and gives power to all trans women in this situation. The techno reflects that, as well as the “Spell my name” section at the end, showing the true power of trans women.”

On ‘Slab of Meat’, Ariel delivers a hypnotic solo vocal performance that builds in intensity with each line (“I am treated like a slab of meat both emotionally and sexually sometimes, especially one left in the freezer on the back burner. Why did you bring this meat home from the market? For what? You’re wasting meat!”), while ‘Gemstone’, a collaboration with Mia Arevalo, continues the empowering themes of ‘Have You Ever’ in a different context:

“‘Gemstone’ is a call for trans women to take time with your transition because it will all happen eventually. As two girls who have started our transition almost a decade ago, I think we have both seen that we have always needed to take our time to take our time. Reminders not to rush or compare yourself to other girls. I love the metaphor of gemstone months representing different periods of transition. I’ve been so many different women in recent years, and I'm excited to continue my journey.”

It’s immediately followed by album closer ‘Tropical Depression’, the title of which is a reference to Ariel growing up with tropical depressions, storms and hurricanes affecting her hometown of Jacksonville, Florida as well as her family in Belize City:

“This track for me is about living day to day and continuing while dealing with my really intense clinical depression. The sample comes from “Why can’t you let me go?” but is supposed to be transformative and not necessarily legible. How we hold on to our trauma and depression like a protective shell. This is an attempt to deal with it in a different way.”

The Cyclorama album cover, directed by Dylan Bragassa, stars Ariel alongside Monāe and Arevalo in an imagined theater production. In Ariel’s words, “a theoretical performance starring only trans women of color - I wanted an ensemble shot to represent the ensemble nature of this album! Love how Dylan combines so many ideas to create a very unique image that asks so many questions.”

French dynamo LB aka Labat returns for his second EP on Steel City Dance Discs. The Lyon-based artist delivers another collection of eclectic productions, displaying his trademark ability to source and integrate individuality and soul.

Skincare’s title track of the same name is a pure house throwback featuring labat’s trademark punchy 808’s, swirling synths and hypnotic vocal line guaranteed to have you moving on any dancefloor.

'Turning (Inside Out)' is the new 12" dance single from Arbutus Records, a collaboration between Canadian synthpop artist Moon King and Baltimore production team Visors, with added vocals from fellow Bmore rapper DDM and, in a surprising turn of events, saxophone from the Neptunes' Chad Hugo, under his St Charles alias.
The 'pandemic-era online collab' has given us some strange and unlikely gems, of which this record is certainly one - a mesmerizing
mid-tempo groove with Moon King and DDM's call and response vocals floating above, culminating in a catchy chorus: 'feels like turning inside out, when I need you there, you're not around'.

But when 19 Naughty III was released on February 23, 1993 with the lead single Hip Hop Hooray the group proved that they could recreate that magic. Celebrating its 30th Anniversary this year, the album has been certified platinum and "Hip Hop Hooray" has become a hip hop anthem. The single was #1 on the charts, earning the band their second Top 10 hit, with the video directed by Spike Lee, featuring
appearances from Tupac Shakur, Run-DMC and more. The album also contains the hits "Written on Ya Kitten" and "It's On" and has guest appearances from Heavy D and Queen Latifah. Production was handled entirely by group member KayGee, who has one foot in the clubs and the other one on the street corner, and that's true of the group as a whole.

The fourth instalment on Berlin-based Savy Records comes courtesy of Farron, a Bavarian producer, live act and founder of the Shaw Cuts label. 'Sparking In Silence' is his first outing on Savy and demonstrates a meeting of minds between the two imprints, with both Farron and Savy founder IDA sharing a similar musical ethos and aesthetic. Across the versatile and dynamic four-track EP, Farron displays his intuitive production skills, wielding techno, breaks, and clever, creative rhythms to craft moments that stretch across a night-long journey in the club. 'Sparking In Silence' opens with 'Artura', a raw and moody analogue old-school Berghain banger, boasting addictive, crispy 909 hi-hats designed to elevate and invigorate the dance floor. 'Radioactive Sepp' takes on a gorgeous, groove-laden tone, with squelchy synths and a punctuated rhythm. On the flip side, the mood is peak emotive and epitomises the Savy label sound, with 'Home As Wide' gliding on sublime pads and intoxicating breaks. The EP closes with 'Naviar', a cosmic-leaning track that rounds out this richly nuanced and highly memorable record.

Blackploid has become one of Central Processing Unit's stalwarts in the past couple of years. Martin Matiske's project contributed a trio of EPs to the Sheffield label across 2021 and 2022, with each of them showing off the kind of electro chops and production sensibilities that made Blackploid an ideal fit for an imprint which also boasts the likes of Cygnus, Silicon Scally and Bochum Welt among its catalogue.

Now, for CPU's first release of 2023, Matiske levels things up with the debut Blackploid LPEnter Universe. Across these twelve tracks, Matiske leaves us in no doubt that he's a prime mover in the world of modern electronic music.Enter Universedoes not let up from start to finish, delivering a dozen pieces of leftfield electro that draws from the sound's greats while also showcasing an unpredictability and flair that is all of Blackploid's own.

The tone is set from the first frosty chords of opening cut 'Pulsation'. The track traverses the starscape on pitter-patter drums and chirruping synths, a lively and slightly dystopian roller with an adventurous undercurrent reminiscent of classic Rephlex drops. It's a style which Blackploid often draws for throughout the rest ofEnter Universe, albeit with elements added or subtracted at each stage.

Indeed, this album features some of the most unusual production you will hear on any record this year. While the grooves pulse away in a manner reminiscent of Drexciya or Legowelt, Blackploid layers the mixes with a whole cornucopia of synth tones. 'The Mission' boasts a bleep-bloop breakdown that sounds like malfunctioning rotary telephones; 'Silent Room' is a ghoulish jam which harks back to Warp's legendary Artificial Intelligence compilations; 'Automatik' and 'Wormhole' are defined by some brilliantly strange low-ends - you'll be thinking of Mr. Oizo's 'Flat Beat' with the wiggly former, while the gurgling, writhing anti-lead that dictates 'Wormhole' is oddly thrilling and more than befits the track's title.

This inventive approach is also apparent in some of the structural choices onEnter Universe. While the tracks here all keep a steady, dancefloor friendly pulse, several of them surprise you by switching up the approach after a minute or two. 'Pulsation', 'Automatik' and 'The Mission' all feature moments where a new element - extra hi-hats, a synth line entering from leftfield - inject fresh impetus into the tune to keep the listener on their toes.

Blackploid may push the sonic envelope onEnter Universe, but this does not mean there is no room for melody. In particular, the cuts here which most strongly channel 'Computer World'-era Kraftwerk do so by fronting some slyly tuneful work, particularly in the low end of the mix. 'Unidentified' serves up delightfully springy chords, 'Cell Mutation' leads from the bassline, and 'Space Curve' features little cells of melody and counter-melody working together to closeEnter Universeout on a high.

Blackploid's debut LP Enter Universe marries Drexciyan electro and Warp-school electronica with some brilliantly inventive production choices.

wAFF returns to his Nature imprint as he kicks off 2023 with his latest four-track EP, ‘District’.

A renowned name and personality within the global house music landscape, with releases via the likes of Hot Creations, Cocoon, Desolat and Solid Grooves, wAFF’s journey has stepped up a level after becoming a label owner following the launch of his own imprint, Nature. Founded in November 2021 with the release of his ‘Colours’ EP, the label boss returns for the third instalment on the blossoming imprint as he celebrates a year since its launch with a new EP. Combining a wealth of UK influences alongside subtle global nods across the package, early December brings four new productions to the label as he unveils his powerful and impactful ‘District’ EP.

Title track ‘District’ is a hard-hitting opener as the Nature boss combines sharp metallic production with hazy melodies and resonant vocal snippets, while ‘Locked In’ offers a more paired-back, rolling effort as slick drums and glossy pads combine. Next, ‘Sicko’ steps things up once again with squelching acid lines and rumbling sub- bass, before closing via the organic drums and playful sonics of ‘Rozzo’.

A stalwart of the Leeds music scene for the best part of 3 decades, Tony Burkill has so far maintained a low profile nationally, choosing to favour continued study and development of the instrument over the attainment of success or recognition within the music industry. Working as a sideman for hire on the local circuit, he has impressed audiences with his powerful and gutsy approach to improvisation and has been a well-kept secret amongst both musicians and audiences in the north of England since the 1980s.Recently featuring as a guest soloist on the debut album by The Sorcerers, Tony has been on the radar of ATA Records since the inception of the label. Impressed by his exuberant and earthy performance style they decided to embark on the writing and production of what was to become "Work Money Death", choosing to frame his playing in the context of the performers that have helped to shape his sound, most notably the spiritual jazz of the 60s and 70s.

"Work Money Death"explores the foundations laid by the great Tenor players of the 60s & 70s: Gato Barbieri, Pharoah Sanders, John Klemmer and John Coltrane, taking inspiration from their work and using it as a springboard for Tenor Saxophonist Tony Burkill's improvisation. Co-written with Bassist Neil Innes, the album attempts to frame Tony's playing within the context of that which has been most influential to him over the span of a 20+ year long career. Featuring on the record are Drummer Sam Hobbs (The Electric Doctor M and Producer of Matthew Bourne's Moogmemory), Bassist Neil Innes (The Sorcerers, Eddie Roberts' Roughneck), Pianist George Cooper (Abstract Orchestra), Percussionist Pete Williams (The Sorcerers) and features a guest performance from Pianist Matthew Bourne on the track "Beginning and End".

Support and airplay from Gilles Peterson (BBC6 Music, Worldwide FM), Jamie Cullum (BBC Radio 2). Good reviews have so far been forthcoming from the likes of Jazzman Gerald and Nat Birchall who described it as sounding "like a lost album from the spiritual jazz scene of the 1970s".

A limited edition 7' release by MIAMI, both tracks taken from the 'PARTY FREAKS' LP. Again DYANMITE CUTS give you never been on 7' release. Including a wonderful re-production of the original sleeve x500

Track A1 - 'I CAN SEE THROUGH YOU' - Club classic in its own right, TOP CLASS CLUB track, massive rare groove dancer. Super sexy vibes and feel. A long awaited 45 release, need I say more!!!!!!
Track B2 - 'Chicken Yellow' Heavy Mid-tempo groove. Classic heavy drum break sample.

One for the G-funk heads, this album is on a limited run 300 2LP only.

For their eighth reissue, NBN Archives dips right back in the Bay Area, unearthing a G-Funk gem by San Francisco rapper Tha Dangla. “Straight Max’n” originally came out in 1996 on G-Note Records and produced entirely by G-Note who delivers nothing but smoothed out productions fitting perfectly with Dangla’s funky flow. Despite being considered a Gangsta Rap artist, Tha Dangla remains positive and uplifiting on most of the tracks. The eponym track “Straight Max’n”, “Dangla’s Love” and “Homies Dedication” feature Iyesha Johnson and Latonya Coleman on background vocals, adding a nice touch of R&B to the project.

Unfortunately « Straight Max’n » was his first and only album as Ramadan "The Dangla" Smith was shot and killed in 2007. He was the younger brother of Edward "The Fast 1" Smith and first appeared on his solo album “Down 4 The Cause” that came out the same year on G-

Dana Kelley, aka DKMA, is a much revered writer, producer, remixer, performer and creative force whose releases have become timeless classics and Holy Grails amongst DJs, music heads and collectors alike. A true artist and innovator, his productions possess the unique ability to engage, transport, challenge and enthral as only next level musicians can.

Grounded in the deep, soulful US House sound of the mid '90's, his earliest releases can be found on Strictly Rhythm, before moving on to produce under his DKMA alias as well as releasing music as Callisto on Guidance. Although Dana sadly passed away in 2013, he left us with a remarkable body of work that has remained both exciting and relevant throughout the last 2 decades and beyond.

Boston Boy Vol.2 is the 2nd in a series of compilations that focuses on Dana's visionary work as DKMA, during his most compelling and creative phase between 1997 and 2002. The compilations themselves are collated from an incredible & far reaching archive of over 20 of Dana's original DATs that have been generously shared with us by the Kelley Family. In the archive, some of Dana's most sought after & cherished works were uncovered, restored and meticulously assembled alongside previously unheard archival material.

The tracks themselves are bold, clever and inventive, characterised by a need for innovation. Passages of deep soulful house underpin more forward thinking electronics without ever losing dance floor appeal. Jazz solos sit imaginatively on top of gritty swinging rhythms, deep infectious b-lines, eerie textures and chord sequences are warm and effortlessly soulful yet with a sound design, sonic range, dynamism and a technical prowess that most could only dream of.

These compilations celebrate the life, vision and art of one of house music's most hallowed producers. Unique and essential, these collections pull together DKMA's most coveted works. Respectfully sourced, restored and compiled from all audio sources courtesy of the Kelley family and Above Board Projects.

Mastered by Frank Merritt at The Carvery, London, with special artwork by Atelier Surplus featuring a special unseen image of Dana from his family's photo albums.

With a title like that, and a plot that revolves around desperate
attempts to attend a secret show by a mythical, legendary indie rock band (“Where’s Fluffy?”), Nick & Norah’s Infinite Playlist HAD to have a good soundtrack or be subject to withering putdowns from the
alternative music press. Well, the movie really delivered, providing
a snapshot of the (mostly) NYC independent music scene circa 2008 with tracks from such stalwarts as Vampire Weekend, Devendra Banhart, We Are Scientists, Band of Horses, and Richard Hawley (along with some surprises like Big Star’s Chris Bell). And who better to compose the score than Mark Mothersbaugh of DEVO, who chips in with “Nick & Norah’s Theme” to wrap up the album!? Unbelievably, this concentrated dose of musical hipness has NEVER seen a reissue on vinyl, and OG copies go for triple figures…for its 15th anniversary, we’ve created a beautiful, “scrapbook” gatefold jacket with production stills to hold two records pressed in yellow to match the color of Michael Cera’s Yugo!

Heads have been after Otakar Olšaník and Jan Martiš's Advanced Process for a long time. That's because "coincidentally-cosmic disco" packed with spaced-out, smacky-synth dynamite tends to become sought-after. Originally slipping out on the mighty Coloursound in 1986, the label described the sound as "contemporary synthesizer underscores played by computers; depicting future technologies in today's process." If they'd just added "acid-drenched", they'd have been closer to nailing it.

The A-Side is totally beatless. It's also totally perfect. "Atomic Plant 1" is a pulsing synth epic and could've easily soundtracked a stylish 80s thriller such as Thief or To Live And Die In LA. It's a narcotically enhanced meeting between John Carpenter and Steve "Lovelock" Moore. "Atomic Plant 2" adds extra squelch and proper early computer synth squiggles. This stuff is addictive and truly ace. The 3 part "Fusion Point" showcases a dramatic and insistent industrial mood via a gripping sequencer pattern mixed with effects and accents. Menacing and magnificent. The trio of "Nuclear Radiation" tracks veer majestically from a hypnotic sequencer pattern with a heavy dramatic tune to hectic patterns without much of a tune, managing nevertheless to maintain a hold on the listener.

The drums enter proceedings on Side B and they're absolutely outstanding. Coming on like a slicker, heavier Johnny Jewel production, 20 years before Italians Do It Better, "Regulators 1" marries the smoothest head-nod beat you can wish for, with a murky mechanical rhythm and phasing effects. After the stunning beatless version ("Regulators 2") the suuuupppper slo-mo "Data Load" sounds like its wading through the heaviest K-Hole and is all the more thrilling for it. "Modem" is a brief and breezy funky bass and synth squiggle wonder, of the beatless variety. "Robot Masters", would you believe, actually sounds like something those Daft Parisians would've sampled on Discovery, over 15 years later. An uptempo, optimistic track with a real strut; propulsive rhythms with dramatic synths, what can only be described as "very-80s sounds" and digi-handclaps. The breathless "Digiheart" double bill rounds things out, one with a dynamic driving rhythm and more slick-as-hell beats and the other without drums. Mental, brilliant and completely essential.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Advanced Process comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

Pink Vinyl
Canadian producer Dylan Khotin-Foote has kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014's Hello World immersed him in the heart of Vancouver's underground dance scene, and sometimes it follows, like 2018's Beautiful You, a downtempo salve for DJ fatigue His melodic sensibility and playful ear for atmosphere remain the rippling core of the project's fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of Finds You Well, his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Ed- monton. Even before the pandemic, his pivots to softer production, and away from DJing, left him with fewer opportunities in Vancouver and club bookings overall, and as a self-identifying introvert, he was fine with that. But the change of pace did open space for Khotin-Foote to grapple with concepts of adulthood and career. At his lowest, he almost walked off this musical path altogether; instead, he doubled down on the craft _ the tone, pacing, and dynamism of new material _ arriving at a definitive full-length. With Release Spirit, Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin's dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he's never sounded better doing it. The album title borrows from the "release spirit" mechanic in the video game World of Warcraft. When players die, they are prompted to release their spirit and return as ghosts to find their corpses and come back to life. Khotin sees it as a worthy metaphor for the impending change his return home presented and the resulting process of purging artistic expectations to find his creative self again. On this go- around, he is freer, more playful, and more intentional within his palette of warped synth, breakbeats, and piano sounds _ including the classic Casio SK-1 presets he's used since the start _ mingling with wistful samples, field recordings, and other abstract snippets. For the first time, he enlisted Nik Kozub to do the mix and assist with sequencing. Khotin-Foote has long worked with the Edmonton-based musician and engineer in the mastering phase, as well as their days co-running the label Normals Welcome, and this time was able to involve his ears earlier given their newfound proximity. "I think it's my best sounding record to date." We begin on "HV Road" or Happy Valley Road, where Khotin-Foote spent time during a family vacation in British Columbia's Okanagan Lake. His plans to record crickets at night are quickly foiled by his younger siblings; the cute exchange orients the listener to a core memory of sorts, setting the tone of universally understood warmth and wonder that has defined some of Khotin's most transportive tracks. Hazy percussion takes hold, and we are swept further into the wisp of "Lovely," a grooving, melodic standout built on the interplay between the beat and human voice-like hums. Khotin knows this zone well; equally suited for a reverie or a club warm-up. The bubbling atmosphere and absurdity of "3 pz" offer a cosmic/comic interlude and also speak to reflections on his family's move to Canada two generations ago, and the audio tutorials they used to learn English. "I can only imagine my grandpar- ents repeating some of the bizarre phrases." "Fountain, Growth" finds Khotin in collaboration with Montreal's Tess Roby (Dawn to Dawn) for the project's first-ever vocal track. Roby's soft cadence echoes atop spiraling air pockets of rhythmic production, lending a breezy, almost shoegaze pop feel. Throughout the single and the album, wind gusts between the compositional layers, akin to the roaming spirits of its namesake, curving around the birdsong of "Life Mask" and seamlessly reaching "Unlimited <3." The latter bumps in slow motion; disembodied whirrs from his Casio collide with 808 drums and sub-bass for a vibe that teeters on trap and instrumental hip-hop. Release Spirit rests in a dream sequence. Oscillating synth lines dance around the heartbeat of "Techno Creep," a hyperactive REM state before the digitized ambient sprawl of "My Same Size." In the final pass, Khotin imagines transcontinental travel from the glow of his screen. He recorded "Sound Gathering Trip" to soundtrack a genre of YouTube videos he's taken to that follows train routes through Europe and Japan. The scene is serene and moving; piano keys warble as static-filled sound design shimmers off the rails, from cityscapes to the countryside, an introspective ride through a world beyond his bedroom. It doubles as an apt parting image for Khotin's project as a whole: dreaming big but happiest when riffing on the details, shaping environments from the inside out. Over the last decade, he has stretched from his core in Edmonton, leaving a trace in Vancouver and beyond; but when all signs point home, he loops back to see it all from a different vantage, revitalized, refined, and free.

Canadian producer Dylan Khotin-Foote has kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014's Hello World immersed him in the heart of Vancouver's underground dance scene, and sometimes it follows, like 2018's Beautiful You, a downtempo salve for DJ fatigue. His melodic sensibility and playful ear for atmosphere remain the rippling core of the project's fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of Finds You Well, his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Ed- monton. Even before the pandemic, his pivots to softer production, and away from DJing, left him with fewer opportunities in Vancouver and club bookings overall, and as a self-identifying introvert, he was fine with that. But the change of pace did open space for Khotin-Foote to grapple with concepts of adulthood and career. At his lowest, he almost walked off this musical path altogether; instead, he doubled down on the craft _ the tone, pacing, and dynamism of new material _ arriving at a definitive full-length. With Release Spirit, Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin's dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he's never sounded better doing it. The album title borrows from the "release spirit" mechanic in the video game World of Warcraft. When players die, they are prompted to release their spirit and return as ghosts to find their corpses and come back to life. Khotin sees it as a worthy metaphor for the impending change his return home presented and the resulting process of purging artistic expectations to find his creative self again. On this go- around, he is freer, more playful, and more intentional within his palette of warped synth, breakbeats, and piano sounds _ including the classic Casio SK-1 presets he's used since the start _ mingling with wistful samples, field recordings, and other abstract snippets. For the first time, he enlisted Nik Kozub to do the mix and assist with sequencing. Khotin-Foote has long worked with the Edmonton-based musician and engineer in the mastering phase, as well as their days co-running the label Normals Welcome, and this time was able to involve his ears earlier given their newfound proximity. "I think it's my best sounding record to date." We begin on "HV Road" or Happy Valley Road, where Khotin-Foote spent time during a family vacation in British Columbia's Okanagan Lake. His plans to record crickets at night are quickly foiled by his younger siblings; the cute exchange orients the listener to a core memory of sorts, setting the tone of universally understood warmth and wonder that has defined some of Khotin's most transportive tracks. Hazy percussion takes hold, and we are swept further into the wisp of "Lovely," a grooving, melodic standout built on the interplay between the beat and human voice-like hums. Khotin knows this zone well; equally suited for a reverie or a club warm-up. The bubbling atmosphere and absurdity of "3 pz" offer a cosmic/comic interlude and also speak to reflections on his family's move to Canada two generations ago, and the audio tutorials they used to learn English. "I can only imagine my grandpar- ents repeating some of the bizarre phrases." "Fountain, Growth" finds Khotin in collaboration with Montreal's Tess Roby (Dawn to Dawn) for the project's first-ever vocal track. Roby's soft cadence echoes atop spiraling air pockets of rhythmic production, lending a breezy, almost shoegaze pop feel. Throughout the single and the album, wind gusts between the compositional layers, akin to the roaming spirits of its namesake, curving around the birdsong of "Life Mask" and seamlessly reaching "Unlimited <3." The latter bumps in slow motion; disembodied whirrs from his Casio collide with 808 drums and sub-bass for a vibe that teeters on trap and instrumental hip-hop. Release Spirit rests in a dream sequence. Oscillating synth lines dance around the heartbeat of "Techno Creep," a hyperactive REM state before the digitized ambient sprawl of "My Same Size." In the final pass, Khotin imagines transcontinental travel from the glow of his screen. He recorded "Sound Gathering Trip" to soundtrack a genre of YouTube videos he's taken to that follows train routes through Europe and Japan. The scene is serene and moving; piano keys warble as static-filled sound design shimmers off the rails, from cityscapes to the countryside, an introspective ride through a world beyond his bedroom. It doubles as an apt parting image for Khotin's project as a whole: dreaming big but happiest when riffing on the details, shaping environments from the inside out. Over the last decade, he has stretched from his core in Edmonton, leaving a trace in Vancouver and beyond; but when all signs point home, he loops back to see it all from a different vantage, revitalized, refined, and free.

During this period Hassell was inspired by the increasingly innovative production techniques being used in hip-hop, in particular the hyper-collaged sampledelic barrage of the Bomb Squad’s work with Public Enemy, hearing it as a kind of extension of the tape splicing that Teo Macero brought to his work with Miles Davis.

He began to incorporate more of this aesthetic into his own music, playing over loops of his own performances and riffing on angular juxtapositions of noise, rhythm and melody.

The resulting sonic stew is a kind of futuristic sci-fi funk with an appropriately melted production aesthetic - instruments and samples jumping to the forefront then disappearing in the manner of the best dub records.

‘The Living City’ captures the Jon Hassell Group in September 1989, performing as part of an audio-visual installation inside the World Financial Center Winter Garden in New York City, with Brian Eno mixing the band live.

During this period Hassell was inspired by the increasingly innovative production techniques being used in hip-hop, in particular the hyper-collaged sampledelic barrage of the Bomb Squad’s work with Public Enemy, hearing it as a kind of extension of the tape splicing that Teo Macero brought to his work with Miles Davis.
He began to incorporate more of this aesthetic into his own music, playing over loops of his own performances and riffing on angular juxtapositions of noise, rhythm and melody.

The resulting sonic stew is a kind of futuristic sci-fi funk with an appropriately melted production aesthetic - instruments and samples jumping to the forefront then disappearing in the manner of the best dub records.

‘Psychogeography’ is a situationist re-thinking of the 1990 ‘City: Works Of Fiction’ album, a carefully edited sequence of alternate takes, demos and studio jams put together by Jon Hassell in 2014 using Debordian philosophy as his guide.

Fly Me To The Sun is a breathtaking German library gem from the hallowed Coloursound label. Originally out in 1983 it features two Polish composers, Andrzej Marko and André Mikola. If outré synth-funk is your thing, you need this record.

Almost blindingly luminous with positive vibes and radiant optimism, Fly Me to the Sun is a collection of funky, sun-dappled compositions for synthesizer and live instruments like drums, bass and guitar. A dope blend of beatbox driven future jazz and electro pop.

The wonderfully sleaze-adjacent opener "Dhamma" includes some grandiose piano chords amid floating ambient sounds a la Steve Hillage with slick drums entering the fray at a languid pace. "Circulation" sounds like Bowie ran into Chaz Jankel during an extended stay in Los Angeles, the Thin White Duke emerging out of a studio at 6am, bleary-eyed and clutching this filthy, bleepy instrumental of sonic smut. "Magic Scenery" is as delicate and astounding as the title suggests, a deep ambient movement conjuring halcyon images of rolling fields with abundant fauna and flora; acid-tinged visions of intense colour and natural beauty. Cool, slo-mo breaks adorn the strutting melancholy of “Longing for Tomorrow” and “Nocturnal Flowers” to close out Side A.

Skip the title track, which opens up Side B, and head straight to “Birth of a Butterfly” for a slice of creeping digi-dub-soul niceness. This should've been front and centre of that Personal Space compilation a decade ago. Raising both the tempo and the temperature, “Riding on a Sunbeam” continues in the mesmerising cosmic funk style before "Osmosis", one of the clear stand-outs, presents a fine vintage synth solo over a mellow funky rubberband beat. The closing track, "Solar Heating", warms things up with slapped bass and bold drum machine beats and the synth lends Sci-Fi vibes to the dark dub-funk-reggae rhythm.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Fly Me To The Sun comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

Emotionally, crafted by Brainislave Zivkovic and Andre Tschaskowski in 1986 for Coloursound, is arguably the most beautiful library album ever produced. A start-to-finish masterpiece of powerfully melodic music for reflection and introspection. It is, indeed, deeply emotional.

Branislave Zivkovic handles the majority of Side A. Opener "Morning Light" evokes exactly that feeling, with a gorgeous and plaintive acoustic guitar solo combining with alto flute to stunning effect. Its immediate counterpoint, "Sundown", in no less arresting but brings with it an after-dark drama of almost Lynchian proportions, again drawing upon guitar and flute but with a slightly more melancholic, even sinister edge, also calling to mind Ry Cooder's score for Paris, Texas. It truly captivates when the strings arrive. Remarkable.

The reflective cello solo with swelling strings at the heart of "Pastoral Walk 1" ensure this track is aptly titled, with parts 2 and 3 adding more agitation - via keys and percussive elements - to great effect. "In The Garden 1" presents an elegiac cello solo whilst its second part elevates the romance. The four-part "Soft Thoughts" suite invites further introspection via reflective alto flute and guitar. Fans of The Durutti Column will need to seek this.

Andre Tschaskowski enters proceedings with three tracks at the end of the Side A. All of them aces in the pack. "Grief", whilst sorrowful, uplifts in its second half through beautiful keys. Equally hopeful are the two-part "Personal Mood" sketches, both dreamy exercises in optimistic ambience.

Tschaskowski controls the entirety of Side B. "Woodland Mood", with its pastoral flute and cor anglais and "Reminiscence", with its classical, emotional strings, both beguile. The piano and strings-heavy "Sentimental View" suite is one of the most beautiful, atmospheric things you will ever hear, particularly its second part. "Moonset 1" with it's wonderful Joe Pass-esque guitar is tense yet easy, the beauty elevated further with the introduction of strings and horns. The more restrained "Moonset 2" is pared back to its divine, sweeping essence and should surely have been sampled by now. To close out an album of almost impossible refinement, the brief 2-part "Emotional Tension" salvo brings both increased stress before resolving itself and the LP with a piano motif and atmosphere of serenity. Blessed relief.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Emotionally comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

Half a year after the Dutch DJ/producer’s debut release on his new Maximalist_Minimalist imprint, SAMA makes his return with MXMN002. Cementing the venture into his new, gritty sound, the release sees his pitch-perfect production moulded into another set of four hard-hitting, club-ready techno tracks.

Leading the release, ‘End All’ combines gritty shakers, hard kicks, and synth stabs for an eerie, atmospheric lead track. ‘Kill The Heat’ follows with dark arpeggiators over modulating rhythms and robust drums. On the flip, ‘Forced To Revolt’ kicks off the B-side with an intense vibe, placing the focus on evolving and interweaving synthesis, before ‘Tripping Over Wires’ closes the release with its groovy percussion and trippy melodic sensibilities.

It's album time for Sam Goku aka Robin Wang: "Things We See When We Look Closer" is the second album from the Chinese-German artist, releasing nearly two years after his debut album "East Dimensional Riddims", that combined traditional Asian instruments and field recordings with his own modern take on dance music that focuses on fluid rhythms, beautiful melodies and ambient haze.

Based in Munich, things came together naturally with Permanent Vacation as a label for the DJ and producer. Not only sharing the same hometurf, but also a certain eclectic approach on music. After two EPs on the label, that found their way into DJ Sets from the likes of Ben Ufo & Four Tet, DJ Voices, Call Super and many more, Robin is drawing ever wider circles with his new album.

On eleven tracks he is refining his unique approach in his productions, probably described best as a deeply nature-rooted and aethereal sound from twinkling ambience over bright, bouncy kickdrums to shuffling breaks. Robin is hunting for the bigger picture by taking a closer look. Finding new life in the different microcosms and gaining new perspectives on things by switching the angle and developing a meditative and psychedelic swirl.

Welcome to another fine episode of SIRS aka »Sounds in real Stereo«! After last years' arrival on LARJ with his »Arrived EP«, Berlin based versatile DJ & producer Daniel Klein is back with »Travel To HDF.Y3D« - an utopian (or more likely dystopian) ode to space travel:

The last few remaining humans are traveling with 140bpm to the most distant galaxy in the universe on a mission to seek out a new space for mankind to live after many years of exploiting good old Mother Earth. What sounds like a horror scenario if you start thinking about it, SIRS manages to wrap up in quite a positive musical message. Thus »Travel To HDF.Y3D« becomes that hopeful uplifting slightly dreamy tune we all need these days - not unlike Christian Bruhn's theme of a certain Captain called Future back in 1980 …

It's also nice to have two more versions of such a strong tune at hand: The first one is a true first one for »Cocktail D'Amore« DJ BUDINO as she comes up with her first remix and production work ever. Budino's approach is a slightly darker, maybe indeed more dystopian one. The synthesizer bass lines dominate her remix and by getting rid of the original's playful melody she creates a very special melancholic feel.

Leipzig based PANTHERA KRAUSE's take isn't quite that different from Budino's as he too focuses on the darker vibes of this journey in space. It's his added extra dose of punch that surely will keep dancers on the floor for sure.

The former »Space Ibiza« resident SIRS now takes over the controls again with »Summer Desire« which too is destined to rule dancefloors not only in Ibiza but all over the world with its lovely airy vibe.

»Travel To HDF.Y3D« returns for one last time in form of the spoken word prolog - a nice extra tool to play with.

Cryptically-named duo JOHN - comprised of John Newton (drums, lead vocals) and Johnny Healey (guitar, backing vocals) - return with their first new music since the release of their acclaimed third album Nocturnal Manoeuvres . It comes in the guise of the blistering 'Theme New Bond Junior', the A-side of a new 7" single, b/w 'Hopper on the Dial'.

Set to undulating guitar riffs and a greater sense of dynamics than ever before, 'Theme New Bond Junior' finds JOHN tackling the questioning feelings that arose as the band returned to the live circuit once venues began to open their doors as they embarked on a rapturous 30-date UK tour in autumn 2021, as well as recent festival slots at Green Man, End of the Road, Latitude, a main stage appearance at Bearded Theory’s Spring Gathering and a memorable return to the mainland at Belgium’s historic ROCK HERK.

“The arts function as a mirror of our wider culture, and it’s been interesting to see how the acceleration of the present affects most aspects of our lives - including the production of art and music," says Newton. "The track was a gestation on the speed of consumption: this includes both the constant update/obsolescence of physical products and their resulting affect on the human attention span.”

One amp. One mic. One person. Countless hooks. That’s the Dazy formula. Since first releasing the single Bright Lights b/w Accelerate in August 2020, Dazy mastermind James Goodson has been writing, recording, and releasing new music like a man on the hunt to find the best pop hook, and he won’t stop until he’s put all of them into his songs. Show- casing a unique set of influences, Dazy’s sound marries thumping drum machine beats, blasts of feeding back guitar, and sugar-sweet hooks into something that sounds like God- flesh covering Oasis—or maybe the other way around. With lean songwriting that recalls Teenage Fanclub but a home-re- corded production style better suited for Big Black, Goodson builds a constant churn of abrasive, consuming noise and then makes it catchier than anyone else would ever dare to.

Deep Listening 2019 - 2022 features the best of Richard Norris' recent ambient, downtempo and deep listening music.
This reflective, meditative take on electronic music has been a daily practice for the musician for some years, and has resulted in numerous releases on the Group Mind and Inner Mind labels. Included are a number of 'Music For Healing' tracks, part of an ongoing series of releases specifically created for relaxation and anxiety relief. The results have been quite phenomenal. People have given birth to this music, and there have been many reports of people using this music to help anxiety, stress and bereavement.

Richard Norris is well known for his work with Soft Cell's Dave Ball in the Grid, and Erol Alkan in Beyond The Wizards Sleeve, as well as many solo releases, productions and remixes. He has been called 'the electronic musician's electronic musician', and the results are all over this double album, with warm analogue bubble baths heavily featured. Dive in...

effgee releases the third EP on his imprint fellice – Deep House meets Jazz with a warm, analogue touch. The three tracks featured include various production approaches: “New Disco Groove” evolved over time from a more Disco sounding track into a groovy and dreamy Deep House trip, whereas “Pain & Wine” and “Lying to yourself” take things in a slightly more Jazzy direction. “Lying to yourself” also contains recordings from effgee’s live drumming, with an emotive, Jazz influenced break beat groove.

New England rock band Four Year Strong have announced a re-recorded version of "Enemy of the World” complete with an updated depiction of the album art. The album originally came out over 10 years ago and was a breakout record for the band. Now it sees new production and 4 extra b-sides. "We decided to re record EOTW first and foremost to be as cool as Taylor Swift, but secondly because we wanted to be able to repress the vinyl and offer it to fans that haven’t been able to get it since the record came out." says Alan Day. He continues "It was really interesting to revisit all of the songs down to every detail, getting to kind of relive it in a way. We recorded the drums with Will Putney (who worked on the original EOTW as a engineer), did the rest by ourselves at Dans house, and then had Will work his magic on it and mix and master it. We had just worked with Will for the first time since 2010 on our new album Brain Pain, and figured it would be perfect to work with Will as he knows FYS old and new more than anyone. So give it a listen, come out to the tour, and party like it’s 2010 again."