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Van Halen did more than announce to the world the earthshaking arrival of a revolutionary guitarist. Performed by an enterprising California quartet that took its name from two of its principal members, the 1978 debut ripped headlines away from punk, injected fresh energy into a then-moribund rock 'n' roll scene, reimagined how heavy music and throwback pop could coexist, and invited everyone to experience the top-down pleasures of a beach-front Saturday night every day of the week no matter where they lived. Painstakingly restored by Mobile Fidelity Sound Lab, and the first of a multi-album series in an exciting partnership between the famous reissue label and Van Halen, Van Halen delivers feel-good thrills and hormonally charged desires like never before.

Limited to 12,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and allows fans to experience Van Halen's original blend of raw power, Hollywood flair, and vaudeville fun for generations to come. Playing with reference-setting sonics that elevate a 10-times-platinum landmark whose importance cannot be quantitatively measured, this definitive version provides a clear, clean, transparent, balanced, and turn-the-volume-up-to-11 view of an album that birthed entirely new styles. Since MoFi's unique SuperVinyl compound allows you to crank the decibels to your wildest desires without risking noise-floor interference, prepare to not only hear but feel Van Halen in your chest, no fifth-row concert seat necessary.

The premium packaging and gorgeous presentation of the UD1S Van Halen 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 splendor of the recording. No expense has been spared. Aurally and visually, this UD1S 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 the art – and everything involved with the album, from the iconic cover art to the meticulous finishes and, yes, of course, Eddie Van Halen's pioneering fretwork and his brother Alex's double-bass percussion.

Indeed, could a piece of music that transformed how countless guitarists approached their instrument be more fittingly named than "Eruption"? Likely not, and in just 102 seconds, Eddie Van Halen rewrote, reimagined, and reconfigured a vocabulary last significantly updated a decade earlier by fellow six-string wizard Jimi Hendrix. Akin to the Washington State legend, Eddie Van Halen developed his own techniques and tones all the while making his seismic accomplishments seem effortless. Devoid of the pretence, ego, and showiness that infected many of his imitators, the Dutch native sticks to a straightforward approach that underlines the authority, prowess, and visionary scope of his playing and then-unheard-of finger-tapping skills. Throughout Van Halen, he establishes himself as an instant idol – a savant whose otherworldly combination of breadth, poise, feel, speed, force, and melody seems beamed in from another galaxy.

As does nearly every song on the record, whose cohesiveness and dynamic put into perspective the advanced chemistry and one-for-all spirit the youthful band had out of the gates. Having paid its dues for years in bars and clubs – going as far as recording a 24-track demo for Kiss bassist Gene Simmons at Village Recorders only to be spurned by management companies that felt its music wouldn't go anywhere – Van Halen finally got a deserved break when Warner Bros. executives signed the group in 1977. The subsequent recording sessions further testify on behalf of the band's synergy and alignment. Completed in just a few weeks with producer Ted Templeman, Van Halen was primarily cut live in the studio with minimal overdubs and edits. The explosiveness, energy, and electricity remain definitive, and as heard on this UD1S set, put the group on a private stage – humming amplifiers, Frankenstrat guitar, bright spotlights, sweaty headbands, and then some.

Van Halen yielded just one hit in the form of a Top 40 single (a breathless cover of the Kinks' "You Really Got Me") but practically every song on the revered LP has become a staple. Named the 202nd Greatest Album of All Time by Rolling Stone and considered by countless experts as one of the best debuts in history, the record displays what can happen with four distinct talents gel and strive for the same purposes. In Van Halen's case, the latter almost always involved partying, freedom, sex, and, in the immortal words of singer David Lee Roth, living "life like there's no tomorrow." The celebration manifests from the opening notes of the strutting "Runnin' with the Devil" – announced with the blare of droning car horns, Michael Anthony's robust bass line, and Alex Van Halen's thumping drumming – and continues through the conclusion of the white-hot "On Fire," goosed by Eddie Van Halen's race-track-ready lines, Roth's flamboyant deliveries, and the rhythm section's cat-like pounce.

Picking out individual highlights on Van Halen is akin to trying to count all the stars in a clear nighttime desert sky: There are far too many to identify, once you see one you notice another dozen you didn't spot before, and the cluster is best enjoyed as a whole. What's evident over repeat listens is the sheer diversity, a fact that's often overlooked: The high harmonies and background funk of "Jamie's Cryin'"; the insistent cane-and-a-tophat shuffle and doo-wop shoo-bop vocal break on "I'm the One"; the throwback acoustic blues that spreads into fast-paced, single-entendre wildfire on the Roth-led standout interpretation of John Brim's "Ice Cream Man." Like the man says, on Van Halen, all the flavours are guaranteed to satisfy.

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


Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

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.

Bring back my Bass Butches! They’re bossy & they mean business. Rag-tag rhythm riders Maara and Roza Terenzi come together for a freaky friday sound swap; trading auditory secrets only a mixologist would know to conjure up a 2 track tek-trailblazer. Not for the faint hearted deejay, the record flaunts their distinct signature sounds as they reincarnate the status quo of experimental club music one snare at a time.

Percussively penetrating the core ethics of composition, the A side flirts and squirts all over a rhythm so raucous, the bass battens down the hatches. Stir the pot, rock the boat, roll the dice and ride the bass, surrender to the unruly structure as the groove gets full custody.

The bareback B side breaks rules and regulations; leading you to high-tech temptation, fast and furious with an explosive temper that can’t be tamed.

Tickling the rim of electro and bass yet ditching the doctrine, Loose Lips Sink Ships is a take-no-prisoners secret source of dancefloor dopamine, the sleek modern rendition of a ritualistic beatdown destined to weave motifs together and breed atmosphere.

It takes 2 to techno, but these are the number 1 drum degenerates of the future wave party starters.

Soul To Burn features highly inventive and memorable avant-rock songs by trio of celebrated musicians, Reciprocate. The germ of the notion that would flower into Soul To Burn came when Reciprocate’s vocalist/guitarist Stef Kett reflected on the idea of funk rock. It ought, he thought to himself, be the best of genres but so often in practice it ends up being the poorest. True enough. Kett decided to approach the problem from a fresh angle, multiple fresh angles, grinding angles, creating an “alt-soul” in which the soul gets to stretch and burn, applied with the power of a rock’n’roll trio but dynamism and agility, rather than cumbersome bulkiness. Reciprocate is a super-group made up of highly celebrated musicians from the UK DIY music scene – their singular, searing-hot power conjured by Stef Kett (Shield Your Eyes) in tandem with drummer Henri Grimes (Shield Your Eyes, Big Lad) and Marion Andrau (The Wharves, Underground Railroad) on bass. The result is the excellent Soul To Burn, which proceeds at a cadence all of its own, halting and blasting, ducking and weaving, zooming away from its distant cousins: Taste era Rory Gallagher or Mr Zoot Horn Rollo of Captain Beefheart’s Magic Band. That’s particularly evident on “Self Regarding Floor Sweepings”, with echoes of “When Big Joan Sets Up” from Beefheart’s Trout Mask Replica, especially with Kett’s added harmonica as the trio hit the winding dirt track, slaloming and swerving. Here is an album of full throttle soul, an avant-rock made up of ear worms so intoxicating they borrow from deep in the mind down deeper into the heart – it’s the cool, weighty groove of Tony Joe White leathering it at full throttle, fuelled by virtuosic back beats that remind of somewhere between the rolling rock of Mitch Mitchell and the fractured noisebeat of Lightning Bolt’s Brian Chippendale: immediate, innovative, virtuosic, exhilarating. Key to the impact of Soul To Burn is Grimes’ drumming, a force unto itself, which sometimes feels like it’s engaged in a creative and playful tussle with Kett’s virtuosic vibrato guitar. Take “Rhodia”, which sounds initially like a radical reworking, an anagram of Free’s “All Right Now”, on which Grimes doesn’t so much hit the groove as hammer it into the ground. Reciprocate tend to be averse to mere repetition, too full as they are of ideas, possibilities. But they know how to hit a riff, as on “Pissed Hymn”. Kett’s vocals are unconventionally impassioned - no vibrato or performative hollering. Rather they climb, up and and again up from the pit of the soul. There’s a sense throughout that this music is hard wrought, squeezed through small apertures, produced against the odds, born to trouble as the sparks fly upwards. There are quieter moments, however, such as the exquisitely beautiful “Ressypressocate”, which affirm the ultimately tender place from where this album proceeds, notes plucked like black flowers, twisted and cherished. Reciprocate demonstrate an astonishing virtuosity, nuance and musical sensitivity manifested through their deep mutual understanding and synergetic interactions. There are moments of sync and camaraderie that remind of the very late Beatles, those rare moments during the Let It Be Era when they loosened up, reassumed their old understanding. But then Kett’s lets fly with a long, looming note and suddenly we’re somewhere else again. With Soul To Burn, Reciprocate set out their stall of intoxicating, super catchy good-time, big heart music – a human album delivering a human message of love and love lost. By the album’s end, you’ll feel pushed and pulled through the mill, wiped out, blissfully exhausted, strangely serene

A collaboration between two prestigious Italian bands, the wizards of dub and the masters of big-band ska-jazz, in perfect symbiosis. An album full of dub atmospheres mixed with orchestral patterns; compelling rhythms of the ska and reggae traditions together with dilated and hypnotic electronic sounds. A recording fruit of a challenge and a celebration of music, something that is undoubtedly reflected in the spectacular outcome. 22 musicians locked in a large studio to rediscover the beauty of sharing after months away from the stage due to the pandemic, without even being able to rehearse.

The decision to record a live album was instantaneous, it was just about enjoying the energy of the moment. All tracks were recorded strictly live in the studio, without overdubs, with the aim of apprehending something unrepeatable.

The electronics, the melodies of the wind section and the vocal power come together in this work, recorded live at Deep Studio in Treviso (Italy) and mastered by Ibon Larruzea (Bilbao), full of dub atmospheres mixed with orchestral patterns.

All this merges into a unique and explosive sound in which the strength of the big band meets the deep and hypnotic beats of dub music. The instrumental "Cascade Dub" opens the album with a rootsy, majestic brass-led track.

From there on, Michela Grena, Rosa Mussin and Freddy Frenzy jump into their vocal games, inducing a trance-like state from which you can't (don’t want to) get out. A succession of untamed riddims and expansive sounds in which, in many cases, the wind section remains crouched in the background leaving the creative element in the hands of the dubmaster unit. As small depth charges "You Can Fly", "Lion", "Moon", "Beating Heart", generate submission to the beat and texture. "Mama", the successful first collaboration between the two bands, celebrates the bright sounds and colours of mother earth, a glorious song to our home. In the face of inequality, the senselessness of war, injustice, it becomes necessary to "Shine a Light" that offers hope and, at the same time, to "Give Thanks" for what we are fortunate enough to enjoy. The power of the big band merges with the heavy and deep step of the dub.


A progression of organic, pressing cadences, as in the solidest of the ska and reggae traditions and, at the same time, electronic resonances, dilated and deep. "Sinking Sand" closes the album in a sort of sonorous fencing of styles that makes us guess (as well as the title of the album itself) that WDD and NESJO still have a lot to debate. WDD began their journey as a quartet in 2014 and prior to Studio Session #1 they had already released two albums and several singles. NESJO formed in 2012 and have previously released two albums (both available on Brixton Records) and are working on what will be the recording of their next full-length.

Northeast Italy is a border area and it's easy to connect with each other in those territories made of enchanted landscapes. That energy, that desire to experiment and get involved, have made possible this ambitious project in which a ska-jazz orchestra and a dub band, each with its own language, are assembled in an amazing sonority

High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

2023 Repress

New York, early 90's, the haydays of the New York and Jersey clubhouse! With labels such as NuGroove, Nervous, Freeze, Strictly Rhythm, Henry Street Music taking all the spot light, there is Jovonn working on a small but sensational catalogue of music that somehow gets overshadowed by the popular releases on the mentioned labels. The honest productions, jazzy melodies and playful vocals (rooted in gospel) were taking things into a more musical, more spiritual way, lacking gimmicks or dispensable samples. For the real diggers, the true lovers of House music Jovonn always was a name to watch, a producer of some of their favorite NY house tracks, tracks that have a raw edge combined with a sincere human touch and pure underground house vibes. People such as Rex resident Dj Deep was a huge fan, and also collaborated on couple later productions with Jovonn. Slowly he started getting recognition from europe which resulted in a handfull of records on European labels such as Distance, Coco Soul and Estereo. Now after almost 25 years since his first release the man's small discography on his own Goldtone label and Emotive records stand out with his unique musical personality. More then 20 years after their original release dates these tunes are still very relevant and stand for many things we love about house music! We are happy to offer this selection of his hard to find early works remastered by Alden Tyrell and pressed on fresh clean high quality vinyl.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Changing Mindset is an EP developed around Tuber's title track,

This work is presented as a work of sonic craftsmanship, with a distinctive character that will make you delve towards the limits of electronic music. This sound fuses atmospheric, hypnotic and mental elements, creating a listening experience that goes beyond listening to become a total immersion into the cosmos.

-On the first remix, it denotes a special flavor thanks to the presence of Orbe, a true master in the creation of textures and enveloping sounds. Known for his skill in weaving complex sonic layers, he dives into the core of Tuber's main track, displaying an ability to transform and enrich every musical element.

-The second remix, created by HD Substance, promises to be an experience that will take listeners on a vibrant musical journey, inviting them to surrender to the beat with an infectious energy. The presence of HD Substance, backed by an extensive and outstanding trajectory in the music world, augurs a remix that goes beyond simply being listened to, it is a direct invitation to immerse oneself in the intensity of the sound and let oneself be carried away by the melody.

-The last remix, by Dinamite, adds a touch of elegance and forcefulness, completing the "Changing Mindset" EP. Dinamite, renowned for his ability to fuse musical sophistication with pulsating beats, brings with him an experience-laden perspective.

repressed !

Stuart Patterson - Giant / Faith

Limited Grey Vinyl Pressing
MOTON RECORDS INC strike back with another very tasty 3 track gem that will please everyone indeed- my fav is catsup which will be getting an airing on my radioshow


Leo Elstob
Moton back to burn with a long term LEO ZERO fave spin in the HOMO edit. 10/10


Absolute heavyweight 3 tracker from the Moton crew. They go dark, they go deep and the go sleazy. Outrageous modern dance for the true heads!" Ashley Beedle

Another killer 3 track from Moton where they do things different !
Peak time, looped up & fully charged - Dim (love the outro)
Furious strumming 80's Punk House - Homo (my fav right now)
& smooth out class - Catsup
Will be getting hammered as of now :)
Damian Charles - Pointblank.fm

Elements of Life brings a full on boogie disco tune with some 80s synth goodness. The backgrounds are provided by an all star cast of singers including Cindy Mizelle, Audrey Wheeler, Anané, Dawn Tallman, and Ramona Dunlap. The song is penned by Nico Vega, just at 19 years old writing lyrics with the soul of a person who’s been through various experiences in life. It isa statement song coming from an adolescent stating where we are in the world today with war, and encouraging all to stop fighting, “no more war”,“Let Us Shine Bright As Day”, “Let Us Find A Peaceful Way”, “Let Me Hear You Say”, these words are crying out to the world.

Remixes by Josh Milan on the Josh Milan Honeycomb versions, feeding us an early 80s tune reminding us of the seminal label West End Records. The Louie Vega mixes stay true to the Elements Of Life sound mixed with some Detroit bass groove and synth overtones. A bonus track also added to the release featuring Axel Tosca on keyboards is entitled “Los Tonos Sagrados” which means The Sacred Tones.This instrumental has the early afrobeat rhythm with Axel Tosca ripping through with an organ solo and snare hits accenting the drums and music.Take a listen and enjoy the sounds of “Let Us Shine” and “Los Tonos Sagrados” and it’ll sure to have you with your arms up and eyes closed singing along with the choon in no time!! Available soon at all streaming and digital outlets, with vinyl coming too!!

Sixteen track double LP collecting the North London drone pop band's 7" singles, one-offs and compilation tracks spanning the first 14 years of the group's existence. It includes synth pop, indie fuzz and moody motorik workouts, alongside pastoral folk sketches, dubby electronics and the occasional drone experiment. More immediate than their stretched out and slow-burning recent album tracks, the music here is taken from limited vinyl releases, album bonus tracks and music for compilations on labels as diverse as Bezirk Tapes, Second Language, Modern Aviation, and Concrete Tapes as well as the band's current home, Where It's At Is Where You Are.

With its tenth record from Fortunato Durutti Marinetti, Quindi continues to celebrate songwriting and storytelling framed by curious musicality. In keeping with the label's trajectory to date, this is an album which draws on a universal human sentimentality and presents it with an uncommon flair. In the case of Toronto-based Daniel Colussi, the man behind Eight Waves In Search Of An Ocean, his melancholic poetry cuts through with a clarity which calls to mind all-time greats from Anette Peacock through to Lou Reed and Leonard Cohen.
Turin-born Colussi has drifted through various bands, guises and styles over the past 20 years, but since settling into Fortunato Durutti Marinetti as a vehicle for his songs, he's found a strong expressive impetus which transcends genre to become entirely hinged on the power of his words and melodies. The first album under this alias was a 2020 cassette album, Desire, later pressed on vinyl due to demand in tandem with the release of 2022's Memory's Fool. On each record, Colussi has found distinct arrangements of players to set the mood, ranging from gently lilting art and folk rock through to orchestrated balladry, but Eight Waves In Search Of An Ocean widens the palette of Fortunato Durutti Marinetti to create an album in which each song feels like a tale unto itself.
Colussi's renewed approach is instantly apparent as album opener 'Lightning On A Sunny Day' unfurls, informed greatly by producer Sandro Perri's input pursuing a hybrid electro-organic sound. The addition of drum machines and synths to the musical palette bring with them the strong connotations of pop while the sax and violin sounds similarly smooth and silky, and one can't help but think of John Martyn's slide into the digital sound of Sapphire or Kraftwerk's bittersweet synthetic tenderness.
Within this sound, there's still space for the energy to fluctuate according to the whims of songs. 'The Flowers' turns inward with a soft-touch composition as delicate as the petals Colussi describes falling to the floor. 'Misfit Streams' and first single 'Clerk Of Oblivion' savour the fluid, luxuriant tone of fretless bass with all the 80s connotations intact. Colussi remains the central focus whatever happens around him, in possession of the kind of unforced charisma which drives a song deep into the listener's heart. It's at once entirely his own style and yet comforting and familiar. The lyrics might sweep you into the singer's inner world, similarly to the experience listening to late 60s Tim Buckley, or you might well inhale the mellow jazziness of the harmonic movement like you would Joni Mitchell on Hejira.
The emotional direction of each track is never linear - 'Smash Your Head Against The Wall' snarls its rhythm section before the strings sow their aching beauty to cool the song's temper, winding up as a track of distinct halves jabbing at each other. "I Need You More' leaves space for spiralling flute solos and strangely stiff, militaristic drum rolls in the midst of a sweet, slightly sad synth ballad, the final wave receding back into the tidal undulations of Colussi's unique exploration of his muse.
The artist himself dubs his musical expression as "poetic jazz rock" with a sideways glance - it's not exactly poetry, far from trad jazz and it doesn't really rock, yet the tag feels uncannily like it fits, just like the curious music it's used to describe.

Following the success of their first release, Amanita Gems is back with another four track sizzler featuring the ever-growing, Ukrainian talent - Victor.B!

Roll your sleeves and grab your kicks ‘cause this one is directly inspired by urban grooves and back alley bass-lines with a guarantee to pack a punch and deliver high caliber hip movements on the dance floor.

Victor.B is an emerging name from the Ukrainian electronic music scene. His prominence grew locally by dispensing a range of styles that were seamlessly stitched into a gnarly live set - showcasing his vivid taste and ability to possess the room during performances.

Don’t hold back on grabbing your copy!

Luigi Madonna is back on his record label Contempo and continues to showcase the darker and more underground side of his sound with the analogue grooves on this hypnotic release.

This four-track EP blends raw sound design with industrial percussion and modulating synth lines, to create dance floor focused cuts in the style that Luigi Madonna has previously championed via Contempo.

Previous releases on Contempo have also featured tracks and remixes from the likes of JSPR, Alarico, Lobster and Marc Faenger.

"Yakamoz" opens the release with its rumbling bassline tense synths and thrashing hi-hats, before the ominous synth stabs, trippy vocals and brutal percussion of "Hydratonic" take control. "Slow Sigh" has a stripped-back style with murky atmospheric, high-speed rhythms and sinister vocal tones. "Ikigai (Jam Edit)" is an experimental track that closes out the release with its breakbeat rhythms, heavy sub-bass and glitching synth lines.

Yellow/Green Marbled Vinyl

* From Karma Recordings comes their fourteenth EP. I can hardly believe it myself as I type this but yes, Karma Recordings is up to 014. On remix duties this time around is the very talented Dope Ammo. Fusing the jungle and drum n bass styles together seemlessly we feel we have another classic in the making with this release. Taking the pianos of DJ KOS’ original Horizons Lost and overlaying some haunting vocals and then slamming into the dnb, this track is not to be missed. Then rolling right on to the second remix on the A side we just had to release on to vinyl the brilliant Sync Dynamix remix. With a style all of his own Sync Dynamix has really done the track justice with rolling breakbeats and a heavy bassline. I was originally going to title this the light and dark EP and then completely forgot while doing the artwork. However, that’s where we went with the double A side. Psycho Boy by DJ Ande is a grimy menacing track sampling the laughter of Tyler Durden from Fight Club and just gets more and more troubled all the way through. Sinister, scary and chopped, the perfect track for Halloween. Then we have been delighted to bring back the hardware talents of Dertie Bassett, always a bit dark but absolutely superb. All four tracks will take you on a journey from light to dark.

Legendary US garage band best known for their evergreen classics ‘Pushin’ Too Hard’ and ‘Can’t Seem To Make You Mine’ that detonated in the US charts in late 1966 and early 1967. Whilst ‘Pushin’ Too Hard’ was their only top 40 hit, this song has been discovered by every new generation that hear it from punk rockers of the 70s to those who are glued to their mobile phones today.

Their debut LP “The Seeds” released in 1966 contains both these tracks and is rightly feted as a garage classic. It is an essential album. As our very own Alec Palao stated, “Like the first Ramones long-player, it is one of rock’s great debuts; an album where, in spite of some obvious influences, a signature sign was sharply defined.”

Ace are delighted to serve up the deluxe edition of “The Seeds” that was lovingly curated by Palao and released by GNP Crescendo some years back. Not only do you get “The Seeds” with 12 pulsating tracks but also a bonus LP of alternate versions and a couple of unheard tracks like ‘The Other Place’ and ‘Out Of The Question’. The extended version of ‘Evil Hoodoo’ is a stone cold treat.

Both albums are housed in a gatefold sleeve with an 8-page full colour booklet with Palao’s brilliant liner notes and sensational photos and memorabilia.

There is no ‘Excuse Excuse’ not to pick up or stock this one.

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

Señor Sapo is a character created based on the Mesoamerican deity Quetzalcoatl:

while capturing Sr. Sapo atop The Pyramid of the Sun at Teotihuacan
in The Valley of Mexico; dawn…

Augie Robles (the photographer) spotted an elementary school class of around 25 children with two teachers suddenly appear scaling the momentous stair case behind our subject!

They shouted;

“Sr. Sapo! Sr. Sapo!”
the name has stuck! they wanted to have their pictures taken with Sr. Sapo? however; they did not want to touch him as they thought his skin might be “viscoso” or “slimy”?

“Q’uq’umatz” (as it is known amongst the K’iche’ Maya) goes back to the Olmec culture and represents the duality of flight to reach the skies; whereas the reptilian (in most cases a snake) represents the ability to mingle amongst other creatures of the Earth;
Among the Aztecs he was related to the gods of wind; of the dawn; of merchants and arts; crafts; knowledge and the planet Venus: as well as their patron god of the priesthood…

THE FUTURE S0UND 0f YESTERDAY is as well a construct of the imagination; a fictitious “orchestra” with many imaginary characters; KENT CHESTERFiElD; LEE NAilZ; PHATTITUDE; EPiPHANY TALEUR; ThE ClARKETTES (they actually exist in the “real” world)…

The titles:
“0de to A Tree”;
is the culmination of a night out in Berlin; “…met a young man in a bar close to the “atelier”; he said he wanted to play something on a piano; we go to the place and he plays this melody over a rhythm though not in rhythm?
…basically edited none of it; then used a series of tone generators and filters to change the sound into all the soundscapes you hear in the final piece; the title was simply a tribute to the trees…” Eric D. Clark

“is it good for Ya’?”;
is a slow pumping House song with a message in the form of a question; “is it good for you?” as in “I could do it; however; should I? you know; look in a mirror and ask the question”…
the Music came about as an experiment at NADEL EiNS Studio in Berlin; Heavy bass at around 116bpm plus Erix’s cheeky vocal stylings weaving in & out of frame (as well key) deliver a unique aural experience!

the final track:
“Elsewhere playback”
is literally the playback of a track Eric did under the guise of KENT CHESTERFIELD for a party series he did in Sacramento CA with AJ Sachs…
it’s really just a tool; the good thing is you can drop -8 (or -16 assuming your tables are tuned) to bring it to a tempo one could easily rap over OR push it up to +8 and have a dry Tech number? Either way it BANGS! Dub Plates & Mastering did a swell job!!

overall a must for any Dance Music aficionado’s collection out on October 10th on SHADDOCK RECORDS !

Seven Steps to Heaven arrived at a crucial junction in Miles Davis' career. Recorded at two separate locations in spring 1963, it served as Davis' first release in more than a year – a layoff that was then unprecedented for the jazz visionary who had issued at least one LP a year since debuting in the early '50s. Equally notable, Seven Steps to Heaven marks the point at which the core of Davis' Second Great Quintet started to assemble. The twice Grammy-nominated effort is also Davis' final studio record to blend standards with originals. And it happens to be one of the expressive, well-played albums in the jazz canon.

Sourced from the original master tapes, pressed at RTI, and housed in a Stoughton gatefold jacket, Mobile Fidelity's 180g SuperVinyl LP of Seven Steps to Heaven adds yet another step (or more) towards the bliss suggested by the album title. Playing with standout clarity, detail, tone, and balance, this audiophile reissue pulls back the curtain on the instrumentalists. Afforded the tremendous advantages of SuperVinyl – including a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition – this numbered-edition version presents Davis and Co. amid a wide, deep soundstage whose dimensions and solidity help bring the record's historical importance and musical merit into focus. Warm, organic, and present, the SuperVinyl LP of Seven Steps to Heaven is what great-sounding hi-fi is all about.

And there's nary a passage on this 1963 landmark that isn't great. That Davis manages to make it feel so cohesive and seamless is a testament to the inspired performances and engaging compositions. Davis didn't draw it up the way it unfolded. No matter. He held trump cards that stayed up his sleeve for the next three decades: A drive to be nothing less than superb, a refusal to settle for mediocrity, and standards to which nearly no other composer or player could match. "The toughest critic I got, and the only one I worry about, is myself," Davis wrote in the liner notes. "The music has to get past me."

Davis' demanding approach partly explains why he switched up his band between the first and second sessions – and underscores how fast his mind was racing with new ideas. Seven Steps to Heaven acts as the stable bridge between the transitional period that followed the dissolution of his First Great Quintet and formation of the Second; without it, Davis perhaps doesn't invite then-23-year-old Herbie Hancock and a still-teenage Tony Williams into the fold. The trumpeter not only got his men – he preserved in amber for the only time (well, magnetic tape anyway) the chemistry and vibe he achieved with pianist Victor Feldman, drummer Frank Butler, tenor saxophonist George Coleman, and bassist Ron Carter.

That line-up gels for half of the six songs on Seven Steps to Heaven. Captured in Los Angeles April '63, the quintet stretches out on a luxurious reading of the late '20s New Orleans staple "Basin Street Blues"; lays on the romance for a candlelit stroll through the '40s standard "I Fall in Love Too Easily"; and explores the rounded contours and melodic crevices of the early blues "Baby Won't You Please Come Home." The performances are refined, elegant, emotional; the band lets the feelings linger and gives the listener time to absorb the colours and textures.

A month later, Davis returned to New York City with Coleman and Carter, and partnered them with Hancock and Williams. Tellingly, the quintet tried its collective hand at the title track and "Joshua" – Feldman-penned songs already recorded in Los Angeles – as well as the yearning "So Near, So Far." Those are the tunes that comprise the other piece of Seven Steps to Heaven, with the revised quintet's liquid pulse, articulate dynamics, and timing shifts a harbinger of things to come.

It's also worth mentioning that the interpretations of the bounding "Seven Steps to Heaven" – a showcase for Davis' trumpet – and interlocking "Joshua" netted considerable radio airplay and attracted the attention of other contemporaries who covered the songs. Keeping Carter and Williams as the rhythmic engine, and Hancock as the anchor between solo flights and structural motifs, Davis would soon soon welcome Wayne Shorter into the family and transform jazz. Again. The aptly – and, in hindsight, perhaps prophetically titled Seven Steps to Heaven – is how he got there.

High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

Repress!

Following on from last years successful RSD 7 Inch, Idlers are proud to release the title track from the JBs 1988 debut album 'Straight Out The Jungle' that has never had a full release on 45 before. Backed with the more relevant than ever 'Black is Black'. More golden era hip hop on 7! With a Picture sleeve.

Ova Doce self-released a highly sought after EP in 1992 called ‘Feel The Rush’ which he used the money that his parents gave him for his 18th birthday to fund. His Dad hated rave music, so to annoy him, Nathan AKA Ova Doce sampled Bob Dylan in one of the tracks. Surprisingly his Dad quite liked it and was intrigued by his sons work. Fast forward 28 years and that track, along with others from the EP and some unreleased tracks written in 1992 were put out on Vinyl Fanatiks.

Amen Brother is the young brother of Vinyl Fanatiks and its ethos is to put our brand new hardcore, rave and jungle tunes by original artists from that era (though this USP is changing in 2022). Ova Doce has arrived on label brining his authentic Walsall rave sound with him, creating 4 brand new tracks, though a few are actually sketches created back in the 90’s that he recently finished off.

Think Acen, think pitched up chipmonk vocals, think being off ya ‘ead in a field raving ya tits off! Now check this EP and feel the rush!

Back on OGE we have the mystical Tommy Vicari Jnr under his V.I.C.A.R.I guise, Four magical tracks that have been supported by some of the biggest names In the business.

Limited press.

Felipe Gordon is a Colombian producer based in Bogota. He’s one of the most famous faces of latin american underground house music. He built a track record of pure house productions from the mid-2010s up until now, being Laurent Garnier-supported and releasing records with the most notorious house labels around the globe (Royal Oak, Razor-N-Tape, Toy Tonics, Local Talk, Shall Not Fade, etc.) His unique sonic touch, intertwining elements of raw analogue sounds from his synth collection and a strong hip-hop sampling background are allowing him to explore and revisit his influences to craft a solid musical signature.

The Vinyl Chill collection is back with a new voule dedicated to House Music. Relax & chill down in a cosy atmosphere with a fine selection of really cool tracks by Kid Francescoli, Somechords or Üm...

Calibro 35 unleash the new OST for the second season of TV series BLANCA, to be released on limited edition LP on December 1st 2023.

Italian cinematic cult outfit CALIBRO 35 announces the release of the ORIGINAL SOUNDTRACK of the second season of BLANCA, the TV series produced by Lux Vide in collaboration with Rai Fiction, broadcast in prime time on Rai 1 starting from Thursday, October 5th 2023 and directed byJan Maria Michelini and Michele Soavi. The soundtrack will be released worldwide on limited edition, crystal clear LP next December 1st via Milan based label Record Kicks.

The new thrilling episodes of Blanca Season 2 follows the success of the first season, that was aired worldwide on Netflix, M6 France and Telecinco Spain. Accompanying the journey is once again the original music of CALIBRO 35 the Italian "cult" cinematic combo active for over 15 years and with a fan base that includes superstars such as Dr.Dre, Jay-z and Damon Albarn. Made up of 20 tracks in total, the OST was entirely composed by CALIBRO 35 that created the sound universe of BLANCA: an impressive and choral work, which has engaged all the components of the band for a long time, giving the them the opportunity to develop a very vast soundscape.

"It's the first time that we deal with the creation of a 'season 2' and we discovered that the creative process can be very different" Calibro 35 says. "In the first season, we had to build from scratch a sound and musical world consistent with the idea that Jan had (Michielini, director and showrunner of the series); this time, however, we had to develop that already existing world further, in order to describe the new stories and new different characters of the second season. There had to be undiscovered musical territories, that forced us to step out of our comfort zone." The result is that on the 20 tracks of the ost, the heavy dose of Calibro's signature funk grooves of tracks such as "Badanti, "Carignano", "Cambio di Stagione" or "Sampierdarena" is mixed with more moody and soulful tunes, world music, opera and atmospheres à la John Carpenter. Amongst the album's highlights worth definitely a mention the Opening and End titles that feature the voices of Arya, MEI and Tahnee Rodriguez. Essential contribution to the recordings were made by Francesca Biliotti - mezzo soprano of the Monteverdi Choir, Valeria Sturba - exceptional multi-instrumentalist of the avant-garde music group OoopopoiooO, Rahma Hafsi and Elisa Zoot.

Described by Rolling Stone as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years", Milan-based Calibro 35 enjoy a worldwide reputation as one of the coolest bands around. Active since 2007, during their long career they were sampled by Dr. Dre on Compton ("One Shot One Kill" feat. Snoop Dogg), Jay Z ("Picasso Baby"), The Child of Lov & Damon Albarn ("One Day") and Demigodz ("The Summer Of Sam"). They played major venues and festivals all over Europe and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Rokia Traoré. The BLANCA OST is the latest of many activities concerning cinema for CALIBRO 35: the band has been completely immersed in the world of soundtracks since the very beginning and they have recently worked on other productions as well, both as Calibro and individually. Last June, the band released their 8th studio album, NOUVELLES AVENTURES, recorded in Naples at Auditorium Novecento. With the new LP the group has made full use of their knowledge and resources, refined and enriched over the years, back to making "Calibro's music": a unique mix of funk, progressive rock, alternative jazz and wide-spectrum cinematic music the public has known them for in fifteen years of career.

FIVE CLASSIC ARETHA ALBUMS PRESENTING AN EARLY-’70S PORTRAIT OF THE QUEEN!

Also Includes A SIXTH BONUS LP of Session Alternates, Outtakes & Demos!

Original Albums Remastered From the Analog Master Tapes by Grammy® Award-Winning Engineer, Chris Bellman at Bernie Grundman Mastering Produced by Grammy® Award-Winner Cheryl Pawelski with Liner Notes from Billboard’s Gail Mitchell & British Ambassador of Soul, David Nathan Includes the hit Young, Gifted, & Black, released in 1972, which hit #2 on Billboard’s R&B albums survey and #11 on the Billboard Top 200 as well as being certified GOLD.

Aretha won the 1972 Grammy Award for Best Female R&B Vocal Performance the album ranked at number 388 on Rolling Stone’s 500 Greatest Albums of All Time.

Also includes This Girl’s In Love With You which features the first commercial release of “Let It Be,” and came out 2 months ahead of The Beatles. Both this album and Spirit In The Dark feature the Muscle Shoals Rhythm section and an appearance by Duane Allman. Along with production on both from Jerry Wexler, Tom Dowd & Arif Mardin.

“This one might’ve been in us from the start”, says John Hancock. He’s talking about ‘Echos’ - his, Becky Williams, Finn Bjarnson & Ryan Raddon seventh Late Night Alumni longform. Predominantly known for blending electronic and organic elements into their music, the album represents a departure from the band’s largely house-led sound. An all-acoustic affair, in many ways though ‘Echos’ is a natural extension of LNA’s DNA. “Most of our songs”, John continues, “are written in the organic/acoustic realm and then produced with electronic flavours to create our sound. In those intimate song beginnings though, there’s a magic all its own. We’ve long wanted to do an album that captured and augmented that initial intimacy.” Which is indeed what Becky, John, Finn & Ryan have now done. The quartet have dug back into their twenty-year, six-album history and selected eleven tracks that they felt could most benefit from this song-spotlighting treatment. With their original acoustic intros as cues, they’ve taken them to their natural conclusions. A Sliding Doors-type feast for LNA enthusiasts both new and established, or indeed all lovers of downtempo, downtime, live instrumentation-led music, ‘Echos’.

After a stellar release on Saoirse's label trUst—which caught the attention of DJs like Ben UFO, rRoxymore and dBridge—Ryan Aitchison aka Mella Dee is back on the dials for another outing of quality tech ‘aus fodder.

Rug Cutters Vol. 1 kicks off a slew of upcoming dancefloor weapons from the Warehouse Music boss. Visually underlined by his own original artworks, the EP shows off Mella Dee’s signature flair for whipping up raw, no-nonsense ingredients into irresistibly infectious grooves.

Vol. 1 starts strong with ‘Cutting Snakes (Keep on Moving)’, a track that screams instant classic with its shuffling beat and fat, sassy synthline. A2 track ‘Bumps (You Say)’ dives deep into those bassbin vibrations—it’s big, rude, and dead set on shaking up even the swampiest of dancefloors. Together, these cuts are not messing around.

On the flip, ‘Cutters (They Don't Get It)’ plays with the more futuristic, percussive end of the techno continuum. Drum breaks slither over each other, while a minimal vocal and bass hook locks everything down. Finally, ‘Pay No Mind (Who Am I)’ pulls the EP back to euphoria. This one will have the club cruising to its cocktail of flirty chord stabs and soulful house vocals—you’ll never want to go home.

Luckily, it won’t be long before we get one more tune from Ryan Aitchison—with plenty on the horizon, ‘Rug Cutters Vol. 1’ is also a taste of what’s to come. Stay tuned!

With their 2018 debut album, ”Windborne”, Oslo based trio Kanaan quickly established themselves as one of the most important groups in the youngest generation of psychedelic impro-rockers. As accomplished players – all three educated in jazz – they marry fiery energy with musical intricacy, and possess a rare ability to balance power and delicateness. They devote as much energy to exploring airiness and atmosphere as they do to intensity. On this set the trio join forces with Causa Sui guitar player and producer Jonas Munk, for a series of semi-improvised sonic excursions. Recorded in Jonas Munk's Odense studio, where most of the El Paraiso magic happens, the band explores a looser side of their sound. Jonas Munk joins on guitar on every track, and occasionally synths as well, unlocking new modal possibilities and a Grateful Dead-esque dual-guitar flow that suits the band well. These four tracks unfold in a panoramic slow burn, only occasionally exploding in blazing leads. They know just when to hold back and when to let loose. On the final track, ”Urgent Excursions To The Tundrasphere”, the four eventually let it all rip, creating a complete sonic meltdown. For fans of freeform psychedelic rock this is as essential as it gets.

Kanaan from Oslo, Norway is back with their 2nd album in 2020. Following the impromptu Odense Sessions with Causa Sui guitarist Jonas Munk released in February, Double Sun is a different beast all together: Treading the same path as their 2018 debut Windborne, Double Sun is a studio effort in the best sense of the word. Perfectly balanced on the edge of dynamic improv, throbbing beats sizzled in scorching fuzz and topped off with deeply layered soundscapes. This album sees Kanaan reach a new plateau. Kanaan presents a unique perspective to psychedelic rock, painting with a wide palette that includes jazz and post-rock. Double Sun devotes as much energy to sonic colour as it does to groove and energy. The spirit of experimentation is everywhere: From the savory, pastoral sounds of opening track Worlds Together, to the soaring exploratory paths of the two-part title track. In the creative process, Kanaan dived deep into the possibilities of the studio, adding intricate layers and twists and turns to these tunes: acoustic guitars, percussions & synthesizers embrace and enhance the Norwegian modern day version of a power-trio.

LP reissue of Collective Calls, the first duo LP from Evan Parker and percussionist Paul Lytton. Mythically alluded to as ‘An Improvised Urban Psychodrama In Eight Parts”, Collective Calls utilises electronics, pre-records and homemade instruments to wryly in/act self investigation. Having just recorded the cliff jumping Music Improvisation Company with Derek Bailey, Christine Jeffrey, Hugh Davies and Jamie Muir, Parker was at the point where he was thinking, ‘what’s the next thing?’ On Collective Calls, only the 5th release to appear on the newly minted Incus label, percussionist Paul Lytton arrives with an arsenal of sound making sources to push Parker into ever new territory. Recorded in the loft of The Standard Essenco Co on Southwark Street by Bob Woolford (Topography of the Lungs, AMM The Crypt), Collective Calls has more in common with noise or music concrete than with jazz; sitting comfortably alongside Italian messrs Gruppo di Improvvisazione Nuova Consonanza or the husband-wife duo of Anima Sound. According to Martin Davidson, it was a Folkways record that Lytton was obsessed with around the time of this release - Sounds of the Junkyard - its track titles like “Steel Saw Cutting Channel Iron in Two Places” working to give you a good idea of the atmosphere of Collective Calls. Paul Lytton had encountered the use of electronics in music in 1968 when he was invited to play drums on the recording of An Electric Storm by White Noise (along with David Vorhaus, Delia Derbyshire and Brian Hodgson). He had seen Hugh Davies using contact mics in the Music Improvisation Company, and soon set about assembling a Dexion frame akin to drummer John Stevens’, except that his own was armed with several single-coil electric guitar pickups, long wires and strings with connected foot-pedals to modulate pitch. Influenced as much by Stockhausen, Cage and David Tudor as he was by Max Roach and Milford Graves, Lytton’s percussion is abstract, expressionist and at times totally mutant. Sometimes rolling extremely fast, then screeching almost backwards over feedback, Lytton gives Parker room to play some of his weirdest work. Parker is listed as performing both saxophones, but also his own home made assemblages, including one dubbed the ‘Dopplerphone’ - a length of soft rubber tubing (activated by a saxophone mouthpiece and manipulated to alter the rate of airflow) attached to a longer length of clear plastic tubing (whirled around the head whilst being played) ending in a plastic funnel. Thickening the brew even more, Parker would also add a cassette recorder, on which he would play back collected sounds and previous recordings of the duo. Imagining the set up in a 70s loft, it’s an assemblage more akin to what today's free ears might see at a Sholto Dobie show, spread out on the floor of the Hundred Years Gallery, the shadow of Penultimate Press lurking in the corner. It’s a testament to Parker’s shape shifting sound - the ever present link to birdsong being at its most warped here - terrifically free and unfussy, wild and loose from any of the dogma that might come in later Brit-prov years

"Detroit Stories" is the name of this cool social project happening in Motorcity, USA, aka Detroit. It's a rad way to capture and show off the history and present of the city and its peeps. They're doing it by interviewing OG residents and immigrants from way back, the ones who lived through all the ups and downs of the Motor City. You've got stories of good times, hard work, opportunities, but also struggles, violence, and social movements that shaped Detroit's rise and slow fall. This city's always had a lot to offer in terms of music, culture, and beyond.

And guess what? DJ and producer Luca Fronza gets in on the action, finding some of those interview podcasts. He's turning their stories, the vocals, and speeches into some killer beats, with the distinctive motorcity raw house touch that we absolutely love here at Flexi. And to top it off, you've got a remix by the master himself, Prins Thomas! It's gonna be lit!
All tracks (except B2) produced and composed by Luca Fronza Remix of “Gipsy” is by Prins Thomas

»In Words« is the first solo album by the Danish musician, composer, and visual artist Alexander Tillegreen. The album represents a series of varied electronic music pieces while also carrying examples of ongoing work with psychoacoustic phenomena. Composed partly of material taken from his artistic practice as an installation artist and his ongoing interdisciplinary artistic research into psychoacoustic phenomena, Tillegreen investigates subjective sonic perception and the negotiation of language. Particularly, these investigations are done through the use of the phantom word illusion, originally discovered by music psychologist Diana Deutsch. Parts of the album were conceived when Tillegreen was the first artist ever in resident at the Max Planck Institute for Empirical Aesthetics. Triggering the brain’s tendency to interpret language-based auditory illusions as meaningful information and as words within the mind of the listener, Tillegreen’s unique sound works unfold like a kaleidoscope of phonetic mirrors which render possibilities to reflect upon the listener’s own psychological and culturally situated linguistic embeddedness. Gender-distorted voice perception, speech and language borders are all challenged and thematized throughout Tillegreen’s work. The listener’s head and bodily movement drastically affect the listening and the word interpretation. Their psychological subconsciousness, recent events, memories, and expectations as well as the listener’s motion in space all become co-creative and co- composing factors in a reactive and choreographic process of listening. The polyrhythmic seriality of spatialized syllabic structures is accompanied by elements of heavy bass drops, high-frequency tensions, undulating synth lines, and hypnotic effects. Some of the many compositional potentials of the phantom word illusions are exercised and unfolded in selected tracks throughout the album. The notion of language borders is approached from an entirely different and even more “anti-logocentric” perspective on the “eponymous” closing track »Assimilate (in Words)«, where the listener experiences the struggle and collapse of interpersonal communication through conversation. Other parts of the album represent more diverse approaches to abstract electronic music. »In Words« morphs soundscapes into glacial, spherical passages of ambient backdrops, while at other times emphasizes raw tectonic blocks of hyper-panning drones that erupt into high-velocity outlets of energetic, granular fields. Tillegreen is alternating between cyclical, minimalist, hypnotic approaches and complex, glitchy polyrhythmic melodic structures that shift and melt into evocative ambiences. The phantom words and the nature of Tillegreen’s musical visions progressively demand more of the listener’s attention and represent the artist’s ongoing artistic work and scientific research into psychoacoustics and language. While »In Words« is a highly conceptual album, the musical bandwidth is extensive.

Ltd. Gold LP. In den Annalen der Rockmusik gibt es nur wenige Sänger, die eine so ausdrucksstarke Stimme haben wie Dan McCafferty. Als charismatischer Frontmann der schottischen Band Nazareth war McCafferty an mehr als 25 Alben beteiligt, veröffentlichte Hits wie 'Love Hurts', 'Dream On', 'This Flight Tonight' und 'Morning Dew' und tourte auf der ganzen Welt. Nach einer einzigartigen Karriere von 50 Jahren ist Dan McCafferty am 8. November 2022 im Alter von 76 Jahren gestorben. Sein Name wird in Erinnerung bleiben, seine großartigen Songs werden weiterhin auf unzähligen Rock-Radiosendern auf der ganzen Welt gespielt. Unentdeckte musikalische Schätze wurden in McCaffertys Privathaus Archiv aufbewahrt. Einige davon sind nun auf der posthumen Hommage zu finden: 'No Turning Back - In Memory of Dan McCafferty'. Die bisher unveröffentlichten Songs "Occident" und "No Turning Back" sind Originalaufnahmen aus den späten 1990er Jahren, die McCafferty mit dem deutsche Regisseur, Komponist und Musikproduzent Christoph Busse aufnahm. Der bisher unveröffentlichte Track 'Children's Eyes' stammt aus einer Kooperation mit dem Komponist und Produzent Detlef Wiedeke. Alle drei Titel zeigen die stilistisch enorme Bandbreite seiner rauen Rockstimme. Mit 'Into the Ring", "Starry Eyes" und "Sunny Island" folgen drei Stücke aus einer besonders ereignisreichen Karrierephase des schottischen Musikers. Die Songs wurden 1987 auf seinem inzwischen längst vergriffenen Soloalbum "Into the Ring" veröffentlicht. Das Album entstand zwischen den beiden Nazareth Klassiker "Cinema" (1986) und "Snakes'n'Ladders" (1989. Abgerundet wird "In Memory of Dan McCafferty" mit "Going Home" aus dem Jahr 1993 und aus dem gleichnamigen Album des kurzlebigen Projekts Seasons, mit original schottischem Dudelsack, Fiddles, Flöten und Schlaginstrumenten. Das Lied basiert auf dem Stück "Largo" aus der 9. Sinfonie "Aus der Neuen Welt" von Antonín Dvo?ák. Außerdem gibt es zwei aktuelle Coverversionen der Nazareth-Evergreens 'Love Hurts' und 'Dream On' als Bonustracks, gesungen von dem griechischen Sänger Panos Kalifis, dessen Stimmfarbe der von McCafferty verblüffend ähnlich ist. Last but not least: Auf dem Albumcover prangt ein Foto des jungen Dan McCafferty, während das Booklet zwölf Bleistift- und Kohleillustrationen enthält. "No Turning Back - In Memory of Dan McCafferty" ist ein musikalisches Must Have für jeden McCafferty/Nazareth und Hard Rock Fan.

In March of 2022, Car Seat Headrest brought their “explosive” (Brooklyn Vegan) live show to Brooklyn Steel in New York in support of their 2020 LP ‘Making a Door Less Open.’ Across three back to back nights, the band played revved up versions of tracks spanning their extensive back catalog. On December 8th, CSH will release a collection of recordings from those performances which includes fan favorites “Beach Life-In-Death,” “Crows”, “Something Soon,” and “Drunk Drivers / Killer Whales.”

In March of 2022, Car Seat Headrest brought their "explosive" (Brooklyn Vegan) live show to Brooklyn Steel in New York in support of their 2021 album "Making a Door Less Open." Across three back to back nights, the band played revved up versions of tracks spanning their extensive back catalog. On December 8th, CSH will release a collection of recordings from those performances which includes fan favorites "Beach Life-In-Death," "Crows", "Something Soon", and "Drunk Drivers / Killer Whales."

We Release Jazz is sooooo happy to announce the release of a very limited edition double LP for Boillat Thérace Quintet’s 1974 Montreux Jazz Festival performance, with 3 bonus studio tracks! This gem from the Geneva, Switzerland band follows the acclaimed WRJ reissue of their self-titled album (1974) and My Greatest Love (1975), their full-length with Benny Bailey. The 300-copies-only white sleeved DLP comes with the classic obi and features fully remastered audiophile-ready recordings.

Captured live at Montreux Jazz Festival, July 3rd 1974, this rare audio treat features Boillat Thérace Quintet fan-favorites including their infamous homages to Swiss Marmite ("Cenovis"), and Geneva's public transport line Tram 12 ("1224"), as well as remarkable renditions of timeless jazz numbers by Freddie Hubbard ("Straight Life" and "Backlash") and Chick Corea ("Spain").

Additionally, the double LP offers 3 bonus songs taken from the ensemble’s sessions for their self-titled debut: superb takes on Herbie Hancock’s "Dolphin Dance", Wayne Shorter’s "Adam’s Apple", and Claude Engel’s "5th of July, Dulong Street".

All in all it’s a beautiful soul-jazz/modal fest full of flair and heart, one that perfectly encapsulates the vibrant and inventive Swiss jazz scene of the 1970s. A must have for fans and collectors.

This new album from We Release Jazz follows the label’s celebrated releases of the Ryo Fukui catalogue (Scenery, Mellow Dream, A Letter from Slowboat, Ryo Fukui in New York, My Favorite Tune), Hiroshi Suzuki’s seminal Cat album, and Le Cercle Rouge soundtrack by Eric Demarsan among other jazz wonders.

Renowned Berlin-based music discovery platform COLORSxSTUDIOS will release their new vinyl compilation album, ‘MOVE:FEEL1’, just in time for the holidays.

The limited-edition double disc gatefold vinyl will feature 16 beloved A COLORS SHOW tracks, both recent and from the archive, including London-based rapper Kwengface’s ‘Freedom’ that was released earlier this year, critically-acclaimed Malian artist Fatoumata Diawara’s ‘Nterini’ from 2019, and Dominican-Italian star YEИDRY’s breakout 2020 hit ‘Nena’.

The album is truly international—it will feature songs sung in six different languages (including English, Swedish, German, Bambara, French, Vietnamese, and Spanish) and represent artists from 15 different countries across the world.

‘MOVE:FEEL1’ reflects and celebrates the launch of COLORS’ new ‘MOVE’ and ‘FEEL’ playlists that are now available across all DSPs. Updated monthly, these playlists will curate COLORS’ genre fluid output into cohesive listening experiences that cater for varying emotional states.

The songs on the ‘MOVE’ playlist—and hence on the ‘MOVE’ sides of the vinyl—are uptempo, bold, sexy and energetic, and aim to set the tone for daring and unapologetic enjoyment. In contrast, the tracks on the ‘FEEL’ playlist and discs are downtempo and emotive. They are for relaxation, and to help listeners contemplate their internal and external environments

Designed by COLORS’ in-house creative team, the vinyl cover is mirrored, meaning its appearance adapts depending on the light and colors it reflects. This was an important decision to ensure the cover represents all of the featured artists, who all performed their A COLORS SHOWS against different colored backdrops. The mirrored material also enables the audience to literally (and hopefully metaphorically) see themselves in the album.

Each side of the mirrored cover is adorned differently: while the “MOVE” side features embossed lines, stripes and slashes indicative of motion, the more introverted “FEEL” side is debossed with goosebump-like grooves. Even with their eyes closed, people will be able to feel which side of the album is which, adding an extra sensory layer to the listening experience.
MOVE:FEEL1’s design also prioritizes sustainability, using no single-use plastics for its packaging.