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I wrote this album in prison. I went to the music room every week to play on their keyboards. I studied different styles of beat patterns and sound recording to be a recording engineer. I wanted to create this new sound, so I took go-go, hip-hop, house, and drum and bass to blend up a new pattern of beats with a DJ sway. So I rapped on it. I need a perfect mix sound so I used a reverb gate, small room because I was in a small room. I used my moms blankets to trap the sound waves in the room. I use a digital mic from radio shack and was rapping with a blanket over my head to trap the sound waves. I played my keys in F flat to deepen the tone. I put tom toms on it to fill the spaces with handclaps to have that snap. Then I put a reverb gate on every instrument to get the lo-fi audio sound. I mastered it with all knobs on zero. Equalizer on zero. I mastered my own sound by tweeking and listening with cheap headphones. So that's why I call myself Mix-0-Rap because I master my mix and DJ rap style with a touch go-go rapping. Thank you for supporting me and my music, I hope you enjoy this.

''Stealth' is certainly an apt title for this disarming collection of crypto-New Age. From its opening, one might be forgiven for assuming that what follows is a tableau of digital disruption, and noise in one of its less offensive iterations.
However, Takao instead presents a rich and detailed tapestry of compositions that take New Age affectations, fashioning them into something far grander. There's a penchant for the nai¨ve, the more garish of digital instruments in the vein of James Ferraro - but importantly, Takao steers away from submitting to gestures themselves nai¨ve or garish, opting instead to focus attention to a more nuanced, delicate style.
Indeed, a more intrinsic tradition to posit 'Stealth' as an inheritor of would be the Impressionism of Debussy, or even Satie, with Takao's approach drawing light and composure from his instruments at their most bare and unadorned. Ever so pleasing and atmospheric, 'Stealth' is remarkably affecting in its subtlety.' (Nico Niquo)

Warehouse Find!

Introducing Red D, the Belgian DJ and producer, one half of FCL (alongside San Soda), long standing club promoter (since 1992), owner of We Play House and general all round good guy. With releases on Ferrispark and Delusions Of Grandeur (with MCDE), remixes on Eskimo, regular sets at the likes of Panorama Bar and an RA Mix under his belt you could say things are falling into place nicely. On top of all this his FCL project continues to go from strength to strength with a new
EP dropping soon on Kai 'KZR' Alce's highly regarded NDATL label. When he sent over two originals for Freerange it was love at first listen as the simple, warm beats and emotive chord stabs of title track Chez oozed from the speakers. This sounded to me like house music in it's purest form, from the days when the focus was on a feeling rather than complex sounds or technological
trickery. And the proof is in the pudding with this one as you can feel the dance floor go into some kind of collective bubble of love whenever you play it. The second original follows drawing you into a false sense of security with familiar 707 beats and gentle pads before taking a left turn. Appropriately titled Into Darkness the blissful vibes of the intro begin to fall away as the
track reaches a breakdown and we're treated to the rudest of Chi-Town basslines taking us down a somewhat less wholesome path. Flipping over we're treated to two Jacob Korn remixes, one of each of the originals and if the A side is the good cop, we can trust the Uncanny Valley regular to deliver some pure badness on the flip. His Remix of Chez is clearly inspired by his studio hardware as you can hear the improvised and 'live'
sounding arrangement, the machines taking on a life of their own as things twist and turn in a spontaneous and unpredictable way. A rattling white noise pulse drives the rhythm whilst bubbling synths add some lightness to the pummeling
kick. Into Darkness gets the Korn treatment next and here he puts it right through the sonic mangler, tape saturation distorting the mix to within an inch of it's life. Jacob puts the focus on the bassline of the original, keeping things simple at
first before winding in layers of Juno chords and the bleepiest of synth lines resulting in the finest of raw, bassment house jams.

BIG TIME again with Deekline and Aphrodite back on with the frnechies !! Don't miss that shit baby..... Be one of the rare who can spin this label:) Chack how sold out its everywhere ....

Detroit sisters The Jones Girls were a hugely popular part of Philadelphia's PIR stable throughout the 1970's and 80's.
They cut numerous sides for the label aided by the incredible production and arrangements of the infamous Gamble and Huff hit machine.
'Night over Egypt' is surely one of their most enduring, evergreen tracks. As popular today with people as it was on it's 1981 release.
A record that truly transcended genre boundaries and touched people from all walks of life and of all taste persuasions, it is a true soul classic. Often imitated yet never bettered! It's no wonder the 12" has always been sought after, sometimes commanding collectors prices on the used vinyl marketplace. The flipside 'Love don't ever say goodbye' is a sultry, Dexter Wansell produced slow-jam that ticks all the right boxes! One for the lovers out there, pure quiet storm business.
This is a fully legit reissue, made in conjunction with Above Board distribution and Sony music, sourced from their vaults using original source material and remastered and repressed to the highest standard for 2018 and featuring all original 1981 PIR label artwork.
Here's your chance to own yet another essential stone cold classic from the archives!

By popular demand, Far Out are delighted to present Estatica- remastered edition of the classic 2010 album from the original Rio beach boy Marcos Valle
Evoking his Carioca sound - where expansive orchestral sweep meets beautiful melody and complex harmony - Valle mixes perfect romantic bossa-pop with cinematic brass and strings. This recording explores a six decade career that has swung between pop, bossa nova, delicate psychedelia, jazz, and funk. Responsible for bossa classic 'Summer Samba (So Nice)' Valle has collaborated with Leon Ware, Sarah Vaughan, & Chicago, seen his track 'Ele E Ela' sampled by Jay Z for Blueprint 3, and his songs recorded by the likes of Frank Sinatra and Bebel Gilberto.

RE-PRESSED ON CLEAR VINYL!!! The long-anticipated collection of rare A-sides, B-sides, covers and unreleased outtakes from influential punk rock favorites and emo granddaddies JAWBREAKER. A twenty-track Alpha-Omega of rare and previously-impossible-to-find songs presented chronologically from their first demo in November of '88 (before they were even named Jawbreaker ) to their final studio recording, a version of "Boxcar" re-worked at the end of the DGC Dear You sessions. Beautifully packaged with inviting artwork and track-by-track commentary and lyrics (printed courtesy of AARON COMETBUS). 24-Hour Satisfaction Therapy, indeed.

The ridiculously prolific Bay Area band Thee Oh Sees are back with another full-length long-player. Warm Slime is guaranteed to please fans of their whacked-out garage / psych / punk jams. Recorded by Sacramento sultan of sound Chris Woodhouse, Warm Slime carries on in the same tradition as the group's previous In The Red release, Help, showcasing their more electrified and rocking side, in comparison to other recent home-recorded releases. The centerpiece is undoubtedly the mind-bending title track, which clocks in at nearly 14 minutes and takes up the entirety of the album's first side. It's a psychedelic epic of "Inna Gadda Da Vida" proportions! John Dwyer's guitar playing is at its quadraspazzed best here, and the vocal interplay with Brigid Dawson gives it a B-52s-at-their-least-cheesy-crossed-with-the- Troggs vibe. The results are stunning. "Thee Oh Sees incorporate the oft-referenced Nuggets stuff in a way that feels reverential. With grinding guitars and bah-bah-bah vocals, but with the punk and new-wave elements also at play, they don't feel trite or plagiarized. This is like meat and potatoes prepared by a master chef-totally familiar but utterly delicious." -Pitchfork Recorded by Chris Woodhouse (Mayyors' guitarist and producer for The A-Frames, Hospitals, Coachwhips, Erase Errata, etc.) This is one of the best sonic blasts you will trash your speakers with this year....Raw, and real! Opening track is 13 minutes long, yes, we'll take it...

Repress

Well. Where do we start with 'Deep Inside' Originally released in the golden NYC House era of 1993, this 5 tracker literally smashed everything in sight. And still does now! The epitome of an evergreen, all-time classic release. Masters At Work Louie Vega and Kenny Dope were on a major roll in this era, producing, remixing, dj-ing and everything in-between, these guys put in ridiculous work. They are joined on this EP by a roll-call of names and collaborators, Erick Morillo engineering the title track Check. Maurice Joshua on co-production duties You got it. Vocals by Ms. Barbara tucker They're there. Killer, rock hard drums Stacks of Soul Masterfully chopped up Disco samples All present. Serious stuff. Sometimes a record just manages to capture and distill the true essence of what this is all about and 'Deep Inside' is one such record, it bears all the hallmarks of golden era MAW, all the signposts of what was happening in NYC's clubs in the early to mid 90's were there within it's grooves. You know a record is good when it's still being, quite literally, hammered nearly 25 years later! Now, remastered, and reissued with the full involvement of Strictly Rhythm this seminal piece of NYC House history is made available again with all original, full sleeve artwork intact as per the 1993 original. This one's a straight up essential for any self-respecting dance aficionado. You know what to do!

Destruction, killing, is all that’s in sight. Unleashed in 1988 at a time when Death Metal as a genre was still at its infancy and the vast majority of bands were yet to release their first album, BOLT THROWER’s debut In Battle There Is No Law! already hit the nascent underground with full force. Only preceded by a handful albums like DEATH’s Scream Bloody Gore, NAPALM DEATH’s Scum or NECROPHAGIA’s Season of the Dead, In Battle There Is No Law! is widely considered a landmark record and ranks among the very first Death Metal albums ever.

Consisting of 8 tracks and clocking in at just around 28 minutes, the album originally released by Vinyl Solution is arguably BOLT THROWER’s rawest and most primal effort. Despite the uncompromisingly rough sound and their Crust and Punk influences still being rather obvious, the characteristics BOLT THROWER would go on to be hailed for, are already represented albeit in rather crude form, though. Rather than to its detriment, it’s this very unfiltered roughness that`s somewhat missing from their later albums that gives In Battle There Is No Law! its special unmistakable charm. Instead of putting emphasis on distinctive melodies and mid-tempo groove, the songwriting leans more towards all-out attack.

Outer packaging like a book with a hardcover 321x321 mm glossy coated
Inside 2 cardboard printed inner sleeves glued to the inside of the packaging
On the left, the inner sleeve will contain the vinyl
On the right, 4 out of 15 lobby cards (250 gr) will be inserted randomly (like pic of a movie)
A16 pages printed booklet will be included and glued inside in the center of the packaging
Limited edition numbered

repressed !

Repress!

180 gram coloured vinyl now at new price. Spacemen 3's debut album "Sound Of Confusion", released in 1986, was a blistering affair - establishing their love of the two-chord song and also expressing their admiration for the likes of MC5, The 13th Floor Elevators and The Stooges. Sound of Confusion was 7 tracks of overdriven assault, with a strange bleakness and despair creeping through the hypnotic sprawl. R Hunter Gibson would later say: "It boosts the value of unlit rooms, unpaid debts and unfeigned terror and it would rather tackle the gradients than settle for level best. New digipack. Tracks : 1 Loosing Touch With Your Mind  2 2.35, 3 Little Doll, 4 MaryAnne, 5 Roller coaster, 6 Hey Man, 7 OD Catastophe.

x 500 only very limited ONE OFF PRESSING

Two gems from the vaults of the Semper camp. Taken from the mega rare Themes for television, sport and Aerobics' released on the Pixie Records. Dynamite Cuts is releasing these two as a limited edition.
DYNAM7010
Track A - Pretty Lady' wonderful synth vibe with a whole lot of soul, no drums or heavy grooves, just a rare touch of smooth sunshine on a 45.
Track B - Universe (Exterritorial Search Contact Tones)' Its all about this beauty, a magic moment in time. So much soul in such a short track. Has Hudson and Duke vibe, never before on 45 vinyl must have vinyl both taken from Master tapes

2026 Repress

The classic I-f tracks. Including Secret Desire, Playstation#2 and the new and never released ''You and yours-us and ours''...

In 1949 Miles Davis, Gerry Mulligan and Gil Evans - they'd never met before - gravitated together with the natural
affinity of kindred souls. Combined, they gave each other a spiritual boost that resulted in many all-night sessions of
earnest discussion, writing and playing-productive work on new musical ideas, new voicings, new concepts of jazz.
Their first appearance startled a delighted jazz public, and marked the birth of the cool. Today, these famous Miles
Davis instrumentals are as exciting as ever, and here are in all their glory.

Elvis, the record, was released in October 1956 and remained at US No.1 for five weeks. For Elvis, the man, an
incredible year was drawing to a close: he made his first album, saw his records become available all over Europe,
made his television debut, appeared in his first film, and celebrated his first US No.1 single. It seemed inconceivable
that things could get any better, or that the fan fever could grow even more hysterical. But with the release of this, his
second record, Elvis had proved beyond doubt that he was here to stay. And this was just the beginning...

Released in 2016, It’s Immaterial found Black Marble refining its coldwave and synth-pop foundations into a warmer, more melodic expression of isolation, longing, and quiet resilience. Guided by Chris Stewart’s unmistakable baritone and a palette of analog synths, pulsing basslines, and minimalist rhythms, the album feels simultaneously nostalgic and forward-leaning. Its songs drift between shadowy introspection and subtle hope, creating a cinematic atmosphere that’s both intimate and hypnotic.
With It’s Immaterial, Black Marble deepened its signature sound, offering a collection that resonates like a faded memory—soft, hazy, and endlessly replayable.

"Melodies twist inward and out of the comfort zone, but never overstep their boundaries or demand extra attention they don’t deserve. The fragments that have been found, from beginning to end, click and fall into place almost effortlessly. It’s surprising how nothing feels forced." - Drowned in Sound

Sonor Music Editions proudly presents an absolute Italian mood music grail and one of the best Library Music recordings ever - A.ALESSANDRONI's RITMO DELL'INDUSTRIA n.2, a true legend in the field. This is the maestro most prized and sought-after album, produced in 1969 on the small Grand Prix label, part of the Leonardi publishing group. A mindmelting record featuring some of the most killer driven beats ever! - dark vibes and haunting atmospheres with constant and moody Industrial rhythms, filled with tons of drum breaks, trippy Scat vocals and eastern inspired obsessive grooves. Music has been remastered from the original stereo master tape and the back sleeve will feature deluxe liner notes written by Mr. Jonny Trunk. HOLY GRAIL ALERT!

Donovan Philips Leitch is a Scottish singer-songwriter and guitarist who in the 1960s developed an eclectic and distinctive style that blended folk, jazz, pop, psychedelia, and world music. He emerged from the British folk scene and reached fame in the UK in early 1965 before replicating this in the US the following year, baring the fruits of the blossoming, successful, and eventually long collaboration with record producer Mickie Most.

Fast forward to 2018 and we're very pleased to say we're re-issuing these wonderful albums on our own state51 Conspiracy label - these are the first two of five, with another special release to follow in 2019. All five were cut at Abbey Road, pressed on 180g audiophile vinyl and lovingly re-created to replicate the original releases. They are all strictly limited to just 300 copies for the world too.

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’

Bunny ‘Striker’ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby
purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home-made mixing console, and his impressive collection of jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

Tapper Zukies 'Peace in the Ghetto' album would be the first release as part of his new deal with Virgin Records.This came about through a trip organised by the label to Jamaica in 1978 to sign up the cream of the crop of Reggae artists,for the new Virgin Front Line label.
Personnel on this trip included John Lydon (Rotten) of the Sex Pistols ,whose band had just split up.
The Peace in the Ghetto album deals with the political situation in at the time,the peace initiative between the gangs and Political Parties.
Paying tribute to some of the gang leaders Claudie Massop ,Buckie Thompson and Tony Welsh who helped make this process happen.
But whatever the subject matter Tapper Zukie chose to hang his songs on,you know he always does it in a fine style......Respect

A heavyweight classic! 'Don't Laugh' is one of those records, you know you've heard it, you may not who, what or where, but you know it!

The original Winx mix is a classic, often imitated, never bettered, but the real gem here is Richie Hawtin's manic, almost borderline sinister 15+ minute reworking.

Monster doesn't do it justice, tweaked out, narcotic, minimalist jacking gear. A dope combination of severe LOW end and some bracing sine waves that cut straight through. This one will surely test any club sound-system, if the venue is built for it you will know! This is one for the real heads, pure late night business oft overlooked for the more famous A-side, but trust us - Hawtin's mix will smash any dance! Oh, and there's an insane laughing acappella for those who want to mix and blend! Reissued, remastered and re-sorted for 2017 by Above Board Records with the full involvement of Nervous Records NYC.

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Francois Kevorkian is a name that should need no introduction. With over 40 years in the game FK has occupied numerous roles in his long and storied career - drummer, DJ, A&R man, remixer and producer - his skills know no boundaries. Having DJ-ed during the nascent days of club culture in NYC alongside Walter Gibbons, Larry Levan and more, Kevorkian has been there from day one. Years spent in the seminal clubs of the day sharpened his ears and his prowess behind the mixing desk saw him become the A&R man at the legendary Prelude records in the early 80's, this in turn led to him working with everyone from The Eurythmics, Depeche Mode, Erasure, D-Train, Yazoo, The Smiths, Kraftwerk and many many more. A true NYC original and legend, Kevorkian is still active today and the respect he commands amongst his peers has never waned, his adventurous extended DJ sets, seminal mixes and remixes and his open ears and open mind have ensured that he will go down in history as a musical pioneer.

Rewind to 1995. Kevorkian's 'Wave Music' imprint has come into existence with a handful of releases. No-one could imagine that his self-produced 'FK EP' - the next release on the label - would be a stone cold classic. Easily one of the most consistent, exciting and solid EP's to come out of NYC during this golden era of dance music. Across 4 tracks we are taken on a sound journey through a world that is undoubtedly informed by FK's time as an engineer, DJ and most importantly, a music lover.

EP opener 'Hypnodelic' brings us into this world, a deep, driving cut that fuses the dubbed out vocals of Freddie Turner against FK's keyboards and immaculate drum programming, oozing cosmic electronic soul, this track was destined to be a future classic. 'Mindspeak' also boasts some tough drums and with a respectful nod to Chicago is an incredibly mixed and arranged peak-time cut that will drive your dancefloor into deep space again and again. 'Edge Of Time' welcomes us to the flipside of the EP, wild Latin percussions, tablas and old school horn stabs drive this monstrous cut, not to mention cavernous dub FX and that huge bassline that just doesn't let up. Essential. 'Moov' rounds things out on a more subdued, stripped back vibe. Reversed percussions and spaced-out synth chords lace this beautifully understated and warm track, one that builds into a crescendo of melodies and hypnotic rhythms and the perfect way to close what has been a truly special musical journey.

This essential reissue of the 'FK EP' has been fully licensed, sanctioned and remastered in conjunction with FK from the original master sources by Optimum Mastering, Bristol UK, repressed onto high quality vinyl and packaged as the 1995 release was. A truly classic record indeed, available again for 2018. Welcome back Wave Music!

Ordering for 2026 repress

Under one of his most notable guises, Larry Heard is pleased to present a new album for 2018. 'Cerebral Hemispheres' is his first full length album as Mr. Fingers in almost 25 years. Famous as one of the most important heads in the dance music around the world, Larry has enjoyed a successful career as a producer, remixer, collaborator, vocalist and DJ spanning 35 years. Due for release on his own imprint Alleviated Records, 'Cerebral Hemispheres' features 14 new pieces of music that allows the listener to fully immerse themselves and dig deep into Larry's musical world.

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Anthony Naples returns with his second full length album, "Take Me With You", arriving first as a 'Mixed Version' cassette inspired and commissioned by the Good Morning Tapes series, followed by Digital, Vinyl and even Long Sleeve T-Shirt formats.

Originally conceived as a D.J. mixtape dedicated to friends and the time spent with them in the morning hours after the parties over (or beginning) - it quickly morphed into a soft focused meditation on all things warm and intangible.

'Take Me With You' fires off in all styles - the opening triptych of the extra-cosmic 'Alto', post-rave pianos of 'Goodness' and slow-dance-inducing 'Drifter' bring the attention inward — taking cues from a host of personal favorites including: 'Space' LP by Space, The Theater Of Eternal Music, Panda Bear's 'Person Pitch' , Atlas Sound's 'Let The Blind Lead...', Arthur Russell's 'World Of Echo', Suzanne Ciani's 'Buchla Concerts: 1975', The Microphones 'The Glow Pt. II' & 'Mount Eerie', A mixtape of Krautrock from DJ Ivan Berko and most definitely Holger Czukay, 'Take Me With You' is a fresh turn for Naples as he ascends into a blend of his most personal work to date — touching on trip-hop, psychedelic pop, ambient house, and much more along the way.

Make no mistake - 'Take Me With You''s message is undoubtedly about escapism, given away by its happy-abductee cover art done by the legend Biscuit— but first and foremost it reflects on that lingering feeling one gets when walking away from the ones they love.

Basket of Light is the most progressive and complex release by the British folk-rock group Pentangle. Traditional English folk songs are reinterpreted with a mix of jazz, pop and rock influences. Everything their previous works promised is fulfilled here. The album opener 'Light Flight' has become their signature song. If there is a prog folk masterpiece then it is Basket Of Light. Pentangle proved they could release a progressive, ground-breaking work without keyboards, much studio trickery or even electric instruments.

The original Pentangle was active in the late 1960s and early 1970s. The original line-up includes Bert Jansch (vocals & guitar) and John Renbourn (vocals & guitar).

180 GRAM AUDIOPHILE VINYL
- LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON ORANGE COLOURED VINYL

Desmond Dekker recorded some of his best known songs together with his backing group the Aces (consisting of Wilson James and Easton Barrington Howard). Their debut album 007 (Shanty Town) includes their single of the same name, which made him Jamaican music's first outernational superstar, reaching the 14th place in the UK charts. You'll hear how the Ska music from the mid-60s is developing to the Rocksteady sound. This was 'Ska' or 'Blue Beat'—(or its new name for the slower tempo 'Rock Steady'), and the lyrics come from the Calypso-Mento method of telling about current events in music. So in a groovy way, Desmond, James and Barry (the Aces) have given a report of love, politics, nagging women, the celebration of the Fifth anniversary of Independence, and gang warfare. This is were it all started before Desmond became the international star.

Even before Bob Marley and Jimmy Cliff Jamaica already had their own international superstar, Desmond Dekker was his name. Famous because of his international hits, such as 'Israelites' (1968) and 'It Miek' (1969).

007 (Shanty Town) is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

Rekids begins 2016 with the launch of an exciting new talent. South Korea-born DJ and producer Peggy Gou has been honing her production skills since her days in London. Having moved to the UK capital at age 14, she began producing tracks at a prodigious rate while studying university, honing her sound and refining her skills with advice from some of the city's most renowned DJs and producers until she had crafted an initial selection that will form her debut EP, set for release Rekids in January 2016.

Now based in Berlin, Gou has drawn on her years of DJing to help shape a sound that draws on Detroit & NYC house, as well as the African rhythmic sensibility and boogie funk influences she shares with Early Sounds duo Nu Guinea, with whom she had piano lessons and sought production advice from as her music took shape. In addition to her work as a stylist and fashion producer, Gou has also drawn on her art & design abilities to create the EP artwork.

The Art of War 12" includes two original productions plus a remix from White Material's Galcher Lustwerk. The original mix of Troop centres on a funk bassline which propels its dream-like tropical groove, while Lustwerk's remix re-purposes the track as a Fred P-esque jazz-infused star-gazer. The EP's other original production, In Sum, again asserts Gou's talent for raw, propulsive rhythms and subtle melodies.

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Maceo Plex teams up with Gabriel Ananda to deliver the momentous 'Solitary Daze'. An awe-inspiring piece of music; Maceo and Gabriel have pulled out all the stops in creating this anthemic masterpiece. A sure fire dancefloor destroyer! The original is also deftly remixed by Barnt and by North Lake.

The A Side features North Lake's infectious deeper remix whilst the flip features Barnt's epic revision of the original. Both of which create fantastic versions of the original version, taking it off into new stratospheres. Another great single from Ellum, who seem to be going from strength to strength.

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A defining moment in dance music history was the day that Roy Davis Jr. teamed with vocalist and writer Peven Everett in 1997 to create this deep, ethereal, soul-music gem that helped launch an entire musical movement known affectionately as Speed Garage. The "Live Garage" mix is the most popular but the other mixes have grown in popularity over time. It is hard to believe that this record is almost 20 years old yet it still sounds as fresh today as it did so long ago. Truly a classic that deserves to be celebrated by a new generation of dance music lovers. Gabriel Play!

2023 Repress!!

Pampa is a new label from old pals DJ Koze and Marcus Fink, dedicated to releasing club music that's seriously danceable without recourse to the tried and tested ingredients.

Repressed!!

Peggy Gou is proud to announce the launch of her own independent record label, Gudu Records. The label's first release will be the Moment EP - a two-track 12' featuring the tracks 'Starry Night' and 'Han Pan'.
'Moment' sees Gou continue to explore the charismatic facets of her musical and personal identity, drawing on her Korean heritage and language and her love for house & disco's Eighties heritage, with particular nods to the output of labels such as Prelude and West End Records in the decade's nascent years.
Gou's own singing voice, known to so many from last year's 'Once' EP, returns here to confidently guide the rhythm on 'Starry Night'. Mixing both Korean and English vocals over a tumbling cascade of percussion and piano house keys, the track builds to incorporate layers of instrumental samples and subtle acid lines. Romantic, anthemic and timeless in its feel, it reaffirms Gou's skill as a songwriter with appeal that resonates beyond crowded dancefloors, not to mention language barriers.
'Han Pan' follows as an instantly rhythmic affair that draws energy from a memorable and delicately tuned pan-drum. Alongside some expert and understated arrangement, as well as another, contrasting vocal performance, 'Han Pan' transmits a different but equally powerful energy.