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Hailing out of Philadelphia, PA, OT The Real has been working relentlessly to put himself on the map. Following the successful release of several projects (including The Irishman, You Are Who You Eat With, Evil Empire, and more), OT now links up with producer DJ Green Lantern to bring you Broken Glass. The new collaborative album is fully produced by DJ Green Lantern and also features heavy hitters such as Benny The Butcher, Millyz, SKNJ, Mizz, Uncle Murda and Eto. The duo showcase their talents on each of the 13 tracks with an undeniable rapport among OT's gritty bars and Green's filthy production. This one is pure hip hop through and through and a must cop for every fan and collector alike.

Pressed On Emerald Green Vinyl
Limited To 300 Copies!
OT's First Vinyl Release!

Repressed , please note price increase, all orders have been cancelled, please re-order! Pre-Revolution Psychedelic Rock from Iran: 1972 - 1979

Now-Again Records is proud to present Back from the Brink, the only legitimately licensed collection of the godfather of Iranian psychedelic rock, Kourosh Yaghmaei. Known within the Iranian diaspora simply by his first name, Kourosh’s Pre-Revolution recordings were thought lost after Islamic fundamentalists took control of Iran. They weren’t: Kourosh had protected them – along with key ephemera from the 70’s. Their collection here - spread over two CDs, a 3-LP and a 4x7” box set - bolstered by Kourosh’s first person recollections of Iran’s 70s rock scene and its death after the Revolution, tells the story of an immensely talented artist’s desire to persevere in the face of terrible adversity.
Kourosh Yaghmaei and his brothers Kamran and Kambiz were amongst the few inspired Iranian musicians determined to change Tehran’s musical landscape in the late 60’s and early 70’s. The trio, armed with rented, second-hand instruments and records by The Ventures, The Kinks, The Doors, merged Western garage rock, psychedelia and Iranian folkloric music to create a sound unlike anything that came before them. Later, inspired by the unlikely duo of Elton John and James Taylor, Kourosh’s music took a sophisticated turn, and he churned out funky, progressive rock that is as imminently enjoyable as it is impossible to categorize.
His star on the rise was knocked off course by the Revolution, and its backdrop of Islamic fundamentalists burning record companies and harassing musicians. But while most Pre-Revolution musicians – including his brothers – fled Iran in 1979, Kourosh stayed, loyal to the country of his birth. He has suffered a performance and recording ban for twenty-two out of the last thirty-two years. Yet he remains stoic and resolved to continue bolstering Iranian musical tradition.
Kourosh still lives in Tehran and is pleased that his story – and his glorious 70s recordings – will finally spread the world over.

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1968 gegründet, stiegen Nazareth von den Pubs und Clubs ihrer Heimat Schottland zu einer der erfolgreichsten Rockbands der Welt auf und erzielten dabei eine Reihe von Hits. Fleißig, ehrlich, aufrichtig und unbeeinflusst von den Launen irgendwelcher Trends, hat die Band viele große Künstler weltweit beeinflusst. Ein halbes Jahrhundert später und mit weltweit über 20 Millionen verkauften Alben rocken die legendären Nazareth immer noch!

Nazareths 18. Studioalbum "No Jive? wurde ursprünglich
1991 veröffentlicht und wird nun auf durchsichtigem Vinyl,
sowie auf CD neu aufgelegt.

1968 gegründet, stiegen Nazareth von den Pubs und Clubs ihrer Heimat Schottland zu einer der erfolgreichsten Rockbands der Welt auf und erzielten dabei eine Reihe von Hits. Fleißig, ehrlich, aufrichtig und unbeeinflusst von den Launen irgendwelcher Trends, hat die Band viele große Künstler weltweit beeinflusst. Ein halbes
Jahrhundert später und mit weltweit über 20 Millionen verkauften Alben rocken die legendären Nazareth immer
noch!

Nazareths Debütalbum "Nazareth" wurde ursprünglich
1971 veröffentlicht und wird nun sowohl auf grünem Vinyl
als auch auf CD neu aufgelegt

1968 gegründet, stiegen Nazareth von den Pubs und
Clubs ihrer Heimat Schottland zu einer der erfolgreichsten
Rockbands der Welt auf und erzielten dabei eine Reihe
von Hits. Fleißig, ehrlich, aufrichtig und unbeeinflusst von
den Launen irgendwelcher Trends, hat die Band viele
große Künstler weltweit beeinflusst. Ein halbes
Jahrhundert später und mit weltweit über 20 Millionen
verkauften Alben rocken die legendären Nazareth immer
noch!

"Move Me", Nazareths 19. Studioalbum, wurde
ursprünglich 1994 veröffentlicht und wird nun sowohl auf
rotem Vinyl als auch auf CD neu aufgelegt.

1968 gegründet, stiegen Nazareth von den Pubs und
Clubs ihrer Heimat Schottland zu einer der erfolgreichsten
Rockbands der Welt auf und erzielten dabei eine Reihe
von Hits. Fleißig, ehrlich, aufrichtig und unbeeinflusst von
den Launen irgendwelcher Trends, hat die Band viele
große Künstler weltweit beeinflusst. Ein halbes
Jahrhundert später und mit weltweit über 20 Millionen
verkauften Alben rocken die legendären Nazareth immer
noch!

"Close Enough For Rock?n'Roll?, Nazareths siebtes
Studioalbum, wurde ursprünglich 1976 veröffentlicht und
wird nun sowohl auf blauem Vinyl als auch auf CD neu
aufgelegt

100% Heavy Power Metal im Namen des allmächtigen HAMMER KING!

HAMMER KING manifestieren sich seit ihrem Debut 2015 und dem Erfolg ihres 2021er Full Length Albums Hammer King weiter als unaufhaltsame neue Macht im deutschen Heavy und Power Metal. Unter dem Banner des mächtigen Hammer King höchstpersönlich legt die Band um den ehemaligen Ross The Boss Sänger Titan Fox ihr neues Studioalbum ”Kingdemonium” nach. Das fünfte Album der Band erscheint am 19. August 2022 über Napalm Records!

HAMMER KING machen weiterhin keine Gefangenen und liefern den perfekten Mix aus schnellen Riffs, energiegeladenen Grooves und zielsicheren Refrains. Dabei widmen sie sich einmal mehr dem Mythos des göttlichen Hammer King - ein wahres Fest für Fans von Genre-Giganten wie Powerwolf, Manowar oder HammerFall. Bewaffnet mit neuen Twin-Lead-Gitarren und neuem Bassisten macht das Album dort weiter, wo das selbstbetitelte Album Hammer King aufgehört hat. Ergänzt wird das Band Universum mit kritischeren und düstereren Tönen. Nur 14 Monate nach dem letzten Albums liefern HAMMER KING ein weiteres bärenstarkes Werk ab und zeigen eine neue Seite ihrer selbst erschaffenen Fantasy Welt voll beeindruckender Mythen und Geschichten.

Produziert von Titan Fox und HAMMER KING, aufgenommen von Charles Greywolf im Studio Greywolf und gemixt und gemastert von Jacob Hansen in den Hansen Studios (Volbeat, Destruction).

'Youngest Daughter' is the debut album from folk-pop quartet GUISE. Spear-headed by singer songwriter Jessica Guise, it follows the release of 'The Fun Part' EP released on XMR March 2020. The album is produced and mastered by husband Frank Turner and features guest appearances from Emily Barker, Callum Green and Lukas Drinkwater. Will be released on CD, white vinyl and download. Live shows and festival appearances planned for throughout the year to support the release. As well as shows in Germany in September and main support to Will Varley on his UK tour in May 2022. *Release Timeline: Track 1 ‘Don’t Come Back’ - released as a single + IGT 25th February 2022 First single ‘Don’t Come Back’ isn’t a song about one particular person so much as a string of disastrous decisions. It’s about the brutal transience and sheer depressing turnover of romantic entanglements I found myself in living in London during my 20s, and about crashing headlong into people who just bounce off and bounce along like dodgems. It’s also about sometimes being the dodgem myself, and not giving myself too much of a hard time about it. Featuring Callum Green on drums and dear pal Lukas Drinkwater brought his marvellous upright bass to the party, and a stunning acoustic guitar solo. Track 2 'I Know When You Leave' - 25th March 2022 - IG track I wrote the words to ‘I Know When You Leave’ on a bus in Italy, and the tune came to me later back in London, Separation from the person I love is a pretty normal part of my life, but that doesn’t make it easy all the time; things are generally just a bit worse when we’re apart, and that’s what this is about. Recorded almost completely a cappella, with a subtle measure of floaty keys tumbling in towards its crescendo, ‘I Know When You Leave’’s barren instrumental landscape adds to the sense of longing and isolation at the track’s core. Features Emily Barker on backing vocals.

Born in march 2000, ANGELUS APATRIDA became in few years one of the most important Spanish thrash metal bands. Many demos and band members passed through the history of ANGELUS APATRIDA but it was in January 2003 that the band decided to write pounding thrash metal , mostly influenced by like Pantera, Megadeth, Overkill, Anthrax or Annihilator. ANGELUS APATRIDA released their 7th, self-titled album in 2021 and conquered the top of the official album charts in Spain (#1) and it also marked the band’s first ever chart entries in Germany (#49) and Switzerland (#41) . The band ’s classic album’ Clockwork’ , ’The Call’ and ‘ Hidden Revolution’ have been much sought after in vinyl format and reached ridiculously high prices online. Listenable is now happy to reissue those albums in limited edition coloured vinyls with brand new vinyl mastering and meet the huge demand ! . First come First served !

CHICAMACOMICO is a record about loss. Over a six-month span at the end of 2019/beginning of 2020, I lost my grandmother, my mother and watched as the world fell into a 2+ year pandemic that decimated businesses, relationships and dreams. This is a record about dealing with those losses. My hope is these songs serve a salve for anyone else experiencing loss. A reminder that you are not the only one that lost a friend this year, or a parent, or a loved one. There's a special kind of hope that comes from that realization. I am not alone. I wrote this record in the February 2020 on the northern coast of Hatteras Island in a small beach town called Rodanthe. In the summer, this area is an extremely popular vacation destination packed with tourists, but in the winter, it was a desolate ghost town. The perfect backdrop for the record I was trying to write. Over the course of two weeks these songs would take shape and come to life, and it quickly became obvious that the overall theme would be dark. During my stay I realized that the town used to be named Chicamacomico until the locals changed it in the name of ease and progress. In that moment, I knew I had the name of my record. We enlisted Brad Cook (Bon Iver, Nathaniel Ratliffe, Waxahatchee) to produce the record and traveled to Sonic Ranch, a world-renowned recording complex tucked in the middle of a 1,700-acre pecan orchard, in the Texas border town of Tornillo. Over the course of ten days, we watched these songs go from simple folk ruminations into fully formed band arrangements. In my sixteen-year career I have never been prouder of a set of songs, lyrically or stylistically. The songs have weight, but they aren’t weighed down. It’s a sad record, that makes you feel good. It's a culmination of nearly two decades of work. Chicamacomico sounds like nothing we've ever done yet it sits comfortably amongst the rest of our catalog. My records are chronological observations and I feel like this record perfectly represents the highs and lows of the last few years. Themes: Loss, Death, Darkness, Suicide, Divorce, Losing A Child, Losing A Parent, Losing A Spouse, Addiction, Recovery

The 2nd studio full length album from the dynamic duo!

Die Progressive Rock Band SiX BY SiX - mit Mitgliedern von Saga, The Greg Kihn Band & Saxon - veröffentlicht ihr selbstbetiteltes Debütalbum. Auf mehr als 45 Minuten Prog-beeinflussten Heavy Rocks liefern Robert Berry (Gesang), Ian Crichton (Gitarre) und Nigel Glockler ein starkes musikalisches Statement. Der charakteristische Gitarrensound von Saga-Gitarrist Ian Crichton gibt dem rundum harmonischen Longplayer den letzten Schliff.

15 Heavy Funk Rarities Presented As A Double Gatefold LP. Cold Heat is Eothen “Egon” Alapatt’s a follow-up to the famous Funky 16 Corners set he curated in the early 2000s. And like that one, Cold Heat is overflowing with great bits that had barely (or never) been heard by the rest of the world at large. Egon went through a range of rare singles, masters, and demos and came up with tunes that burn with a brightness that's undeniable. The grooves are all on the harder end of the James Brown Funky People side of the spectrum and some tracks are by names that finally got their due here, thanks to Egon, Now-Again, and some of the other funky forces doing the good work over the years.

Deep Purple’s “Bombay Calling – Live in `95“, will be released in a remastered Limited Numbered 3 LP Gatefold Vinyl as well as a Limited Numbered 2 CD Digipak, both versions including the Live-DVD! This live take had only been available on bootleg-quality DVD so far. “Bombay Calling” was recorded in early 1995 and is one of the first shows Deep Purple played with Steve Morse showcasing his virtuosic guitar skills and some of the new material would later make it onto the widely celebrated studio album “Purpendicular”. Astonishingly, the long thought lost master tapes for this unforgettable show in Mumbai were found lying around in an old cardboard box in November 1999. A true gem for any fan, they offer rare insight into the extraordinary talents of this phenomenal rock band. The Indian press gave the concert rave reviews, with many claiming it to be the best rock show ever staged in India.

LIMITED EDITION DIRTY WHITE VINYL REMASTER.
FIRST TIME AVAILABLE ON VINYL FOR 15 YEARS. 300 COPIES.

17th anniversary remaster. New sleeve artwork with photos by Steve Gullick and pressed on dirty white vinyl.
Ladybird ... one perfect heavy as fuck hypnotic riff played over and over and over and over across 2 sides of an LP.
Back when Shit And Shine formed, the idea was basically to sound like their heroes DRUNKS WITH GUNS and STRANGULATED BEATOFFS, using that same basic formula. A big dumb ass catchy riff played over and over until the joke gets old ... then keep going.
Recorded live at Southern Studios, London (fun fact: the same room where BAUHAUS recorded 'Bela Lugosi's Dead'!) in 2004 with just two basses, a snare drum, a huge cardboard box and a tiny toy Casio sa-1 keyboard (using the "airplane" sound hitting the same key over and over for 41 minutes)
Some still say it's the best thing shit and shine has ever done. I'm not arguing.
Originally released on CD, and super limited vinyl waaay back in 2005. This was Shit And Shine's second release and it sold out REAL quick.
Remastered and beefed the hell up by Craig Clouse at Shit And Shine Ranch 2022.
Don't sleep on it.

Jdotbalance is a Chicanx producer from Texas currently based in Chicago. They run the GUD4U newsletter, party and mix series and have been featured for mixes on DAISYCHAIN, BIZAAR BAZAAR, PAPI JUICE, JEROME, RUMORS, and NEW WORLD DYSORDER. Here they are with a backboard smashing vinyl debut dunk full of a futuristic mix of sexy, raucous club and fast techno propulsions that showcases just how varied the energy palette of North American club music is.

“Let’s” opens up the A side with a fast techno kick and panned static flickers. Wonky pings wander left and right. This track is a true traveler…start to finish this will have the dancefloor wishing this condensed fantasy epic, inexhaustibly traversing moods and instruments, would swallow up the club and continue the stomping ride down down down the devil’s gut. A2 has a different boom but the same amount of bump. Claps dance around the 2s and 4s, showing you how to move to Jdot’s vision of gyrating, high-energy club music. A vocal sample swells like a siren. The kick moves in triplets. The peak is psycho. The track comes down just in time to pick its energy back up with big bass melodies that take it to a sonar underwater close.

Flip to the B side. “Wilin’” brings the club kicks and undulating melody that floats on top together in rhythm. Interesting rhythmic changes make you rethink your body. One can hear shimmers of the UK wobbling in to snuggle up with the ever-evolving contemporary US club landscape. “Whippit” closes out the whole shabang with a spinning, up-tempo jaunt that packs a dense punch, all bringing home the point that Jdotbalance is not messing around. CAUTION! HIGHLY FLAMMABLE TRACKS!

Collins Dictionary Example sentence: „Other ocular signs include involuntary rhythmic movement of the eyeball.“ Someone in the editorial department wasn‘t paying attention and involuntarily spoke a deeply buried truth: The movement from the eye to rhythm and from there to sound is sometimes a small, puny one.

Now Infuso Giallo provides the proof at the same time and implements his live show for last year‘s debut album „Ocular Soda“ as an audio-visual show, as intertwined senses. Visible sound, audible images. Such ideas only last when they are put to the test and scrutinised by several experts.

The duo Globus, which consists of 2/5 of the post-hardcore band PTTRNS, examines the synth hook of the second part of the double-opener „Every Waking Hour Pt.2“ by playing it, varying it, letting it sway.

In contrast, Anatolian Weapons from Athens can‘t help but immerse the ambient, Soft Machine-production-like first minutes of „Every Waking Hour Pt.1“ in a sinister black light. Staggering into a basement club filled with nocturnal shadow people and indulge in carousing. Cautiously at first, then more and more determinedly.

From Hamburg and Berlin, the „Mole Gaze“ gets a special treatment. The trio Love-Songs drags the number off to Hamburg harbour, packs it onto a steamer, deep into the bow and lets it operate the sonar there. Conrad Schnitzler would have been delighted.
Infuso Giallo, meanwhile, realises that there is nothing more boring than standing still, so he revamps „Hello World“ and gives it a rear spoiler that keeps this number in lane even at club speed.
Speaking of „keeping in lane“: Niklas Wandt, the magician, doesn‘t even try such tricks. He simply throws an acid bolt on the closer „Ocular Soda“ and waits to see what happens. Alongside breakbeats from nowhere, Albert Hoffmann himself appears on a bicycle.
„Ocular Soda Remixes“ is the first tape on the Kame House label, so there‘s only one thing to do: open your eyes and listen!

Come for the leopard, stay for the stone cold jams. Yet another thrilling, funky-prog jazzy-rock fusion beauty from Ian Carr’s Nucleus. Originally released on Vertigo in 1975, Alleycat was never re-pressed so those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has stayed relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

Alleycat was the last Nucleus album recorded for the Vertigo label. Released in 1975, it was again meticulously produced by Jon Hiseman and is every bit as sinuous as anything else the group had recorded. As far as riff-laden accidental cop-funk goes, there’s so much energy coursing through the music that at times it sounds like a live recording. It’s pretty unbeatable.

Uptempo opener “Phaideaux Corner” is a funk-flavoured opus with a groove that simply swaggers. This trademark Roger Sutton piece benefits from Trevor Tomkins’s percussive expertise and some excellent sax and keyboard soloing. Check out Geoff Castle on squelchy, stabbing Moog duties. Ian Carr’s elegantly laidback title track is a lengthy suite of magisterial themes. Typically complex, it still gets you hooked and is just riddled with the funk. Carr builds up his initially “straight” trumpet solo with later use of echo to mesmeric effect. And there’s some excellent wah-wah guitar shredding by Ken Shaw too. Nice.

The second side opens with the killer “Splat” and finds Nucleus really ripping it up. A fat, funky bass guitar riff introduces us to the track and stays with us until the end. The often mangled bass groove is pushed along by rattling drums and percussion, dropping out for some restful moments of spacey calm, and along the way picking up some lengthy keyboard noodling by Castle. So so good.

The cool “You Can’t Be Sure” is a gentle jam with Shaw on 12-string acoustic guitar, together with Carr’s muted trumpet and some marvellous fretless work from Sutton for extra colour. The album closes with Bob Bertles’ galloping “Nosegay”, written perhaps as a response to some of the faster Mahavishnu Orchestra pieces. It’s an example of well crafted jazz-rock that doesn’t compromise any of its jazziness, yet it still very definitely rocks.

This Be With re-issue of Alleycat has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The cool AF cover - that leopard was just a cat before he heard Nucleus, you know - has been restored as the finishing touch to this long overdue re-issue.

As the 1970's turned into the 1980's Reggae's beat took another turn,slowing down to allow more space for the music to breathe.
The new sound became Reggae's focus and the Roots Radics one of Jamaica's finest session/backing bands were at the forefront of this radical change.
The Roots Radics were based around the nucleus of Errol'Flabba'Holt(bass),Lincoln Valentine 'Style' Scott(drums) and Eric 'Bingi Bunny'Lamont(guitar).
Holt and Bingi Bunny had previously been involved in the Morwells label set up and had cut some popular tunes such as 'Swine and Dine','They Hold Us Down' and the great 'Kingston Twelve Tuffy'.
Before this Bunny had played for one of the other great Reggae sessions band the Channel One based Revolutionaires.
It was the demise of this legendary band due to Sly and Robbie's commitments to their own Taxi label that led to the formation of the Roots Radics.
The Radics have worked with many different producers over the years including Linval Thompson with the series of alums 'Space Invaders Destroy the World' and 'Win the World Cup'.They also worked as Gregory Isaacs backing band and were responsible for the rhythms that made up his seminal 'Night Nurse' set.
We have caught the Roots Radics for this set cutting rhythms in their favourite environment the famous Channel One Studios.
On this occasion working with producer Ossie Thomasfor his own Black Solidarity label,a match made in Heaven...Enjoy..

New full length album of Franck Vigroux's uncompromising signature sound of colossal electronic music. Atotal gathers material from Franck's latest live A/V of the the same name. Working with his long time visual partner Antoine Schmitt, ATOTAL is an audiovisual performance aiming to reconstruct in order to better deconstruct the processes of imposition of will by repetition and absolute synchronism, to propose a breach to a potentially life-saving decoincidence. The total work of art, when pushed to its paroxysm of absolute coincidence of the perceptions of a captive spectator, is similar to the techniques of mental manipulation of totalitarian regimes, proceeding by annihilation of the critical mind, repetitive semantic pounding, subliminal messages. The ideal of a deterministic universe of Newton in which everything rationally stems from its causes, in which everything is predictable like a totality for Laplace’s daemon, where everything can be considered already written, has been undermined in the infinitely small of the uncertainties of Heisenberg which tell us that it is impossible to know everything about a particle, in the quantum mechanics of Schrödinger which reveals to us that the looker affects the looked-at, and in the infinitely abstract of Gödel’s incompleteness which explains to us that certain things are literally unexplainable. The show ATOTAL slips into these flaws and, like a clinamen of Lucretia, deviates the visual and audio atoms from their destiny. Mastering by Denis Blackham. Artwork by Mostafa Khaled

• Alive ‘N’ Kickin (Origin Unknown Remix)
In 1994, Andy C & Ant Miles as Origin Unknown revisited the fourth release by Red One on the newly founded Liftin Spirit Records, the sister label to Ram Records. Haunting intro pad stab lines fade away to the monumental massive impact Amen break drop that tore up dance floors worldwide. Once again featuring Val Kilmer’s vocal sample from the movie ‘The Doors’, this remix took the original to a whole new level.

• Rugged and Raw (Splash Remix)
Another cherished remix from the early years of Liftin Spirit, this time by ‘Splash’, creator of the anthemic ‘Babylon’. Time-stretched vocals lead up to another renowned Amen drop in similar ‘Babylon’ style unique to Splash. Another dance floor destroyer further cementing Liftin Spirit into recognition and respect now in parity with its sister label, Ram Records.

• Losing U (Mix 3)
A previously unreleased version found amongst the Ram & Liftin Spirit DAT tape masters. The original had only been available on a white label promo on RAM and highly sought after ever since. A special version for collectors that encapsulates the sound of 1992 Hardcore.

• Live Together
In 1992, Ant Miles had started his first label ‘Etheric Records’ which later morphed into Liftin Spirit a year later. ‘Live Together’ was originally the flip-side to ‘Its U’ that was the only release on the Etheric Records prototype. Hardcore beats and stabs pound away under the vocal “why can’t we live together”.

The latest release on Livity Sound features an extensive insight into the work of Seb Uncles, aka Eusebeia. Uncles has been releasing his work prolifically over the past six years, from self-released tapes on Rebellion Electronics through to reams of 12”s and LPs for labels like Earthtrax, Western Lore, Rupture London and re:st. While his sound has often tilted towards drum & bass and jungle, he places atmosphere and composition ahead of genre boundaries and tempo restrictions.

Cosmos EP finds Uncles stretching out over eight varied tracks for a broader experience compared to the usual Livity EP. Glacial ambience and richly layered synthesis guides the record overall, at times leaving drums behind altogether, but even at its mellowest you can sense the overbearing bias towards soundsystem music. The melancholic electronica of ‘Becoming’ gets underpinned by dread bass, and ‘Solace’ places a haunting steppas-esque refrain in the midst of heavily dubbed downtempo. When he does turn to full-tilt drumfunk edits on the likes of ‘Hopes & Dreams’ and ‘Love + Light’, he approaches them with subtlety and finesse, matching rhythmic flair with melodic progressions which lend themselves to introspective listening as much as full dancefloor immersion.

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

Samy Ponsar aka War has been a firm favourite and valued member of the Utopia family, so it was only a matter of time until his first solo body of work for them would surface. It also happens to be the first dubstep / 140 bpm offering from the label, completely taking things away from the drum & bass things for a beat.

An ice-cold body of work showcases Sam's impressive and continuously growing dexterity both in the idea and engineering spheres alike. The EP is laden with his well-known style and distinctive approach to writing music. As the artist harnesses room-shaking low end frequencies and bone breaking beats, we're invited on a trip filled with jazz and noir soundscapes between 110 and 140 bpm, served on a solid White 10” with full colour sleeve designed by War himself.

Here we have one of the most sought after tracks from DJ Rap’s back catalogue, Run To Me! The A-Side has the original unreleased 1992 version of this stone cold classic, and it is backed up by the amazing Underground Rave & Dub remixes. Whether you are a diehard hardcore or jungle fan you will love this! Just yet more proof that DJ Rap has been part of some of the biggest tracks in rave history!

DJ Sarin is a new name for most, but it is a new project from an artist that has been with Kniteforce & Knitebreed for some time now. Otherwise known as TNO Project, Sarin has made a great name for himself in the breakbeat hardcore scene and he is now moving into a more classic style of jungle. No one is surprised that he doesn’t disappoint! The amen drums are chopped within an inch of their lives and then backed up with hoovers and pads. This is the sound of many a dark jungle rave from the mid 90s brought up to date. Keep an eye for more because we see a big future for DJ Sarin.

DJ Revive has been a long time label friend and a very talented producer, and we are honoured to finally have this long awaited EP released Second Drop. He has an energy about his music that makes people dance, and this breakbeat hardcore record will have you toe tapping and head nodding for sure! These tracks are a great homage to the 1994/95 sound and DJ Revive draws influence from some of the biggest names of the era whilst finishing it all off in his own style.

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

2099 is the debut EP of the talented Figi who is on a mission to bring Boogie back to the 21st century. The EP is a clash of time. Taking sounds from the 70's/80's on a trip through space, traveling through wormholes, ending up with bass-driven disco tracks with a strong eighties feel inspired by proto-house. '2099' is recorded using sessions of musicians playing the ideas of the young producer. The entire album has been recorded in separate takes: layer by layer. And as a special guest you'll find San Proper on both vocals and guitar.

after great rework of jan jazz classic “watarase” by fumio itabashi,henrik schwarz,kuniyuki, joe claussell reconstructed “watarase”.

it’s an epic cosmic jazz fusion.joe claussell meets kuniyuki are always best.

on b side, it’s a rare minyo(japanese folk song) version of watarase. it’s a live version that fumio itabashi played with the local orchestra and minyo singer. a lot of diggers have been wishing to be released on vinyl.

so this release is one of the most important catalogue on studio mule.

(feat. Claire Davis)

300 copies pressed

The A side was released back digitally in March. "Hope To See You Again" Which is an original song with Claire Davis on lead vocals

Better things is coming out digitally 15th July and it will be on a Ltd edition 45 vinyl. The Pre-Orders for the vinyl will be starting soon.

The B side is a killer version of her classic tune, "Better Things" The soulful vocals of Claire Davis are accompanied by jaunty horns and keyboards, and the cool groovebefits the positive lyrics ("I'm a better woman than I have been")

Introducing The HP's. This talent-studded Hamilton-based funk/soul collective is poised to make major moves with the release of their debut 45. The group is the brainchild of drummer/bandleader 'Parkside' Mike Renaud, the founder/owner of noted Canadian music company Hidden Pony Records & Management. A life-long fervent fan of funk and old school soul, Parkside has assembled a crack team of musicians and vocalists dedicated to his vision of breathing vibrant new life into these classic forms. Drawing inspiration from the likes of James Brown and The J.B.'s and Sharon Jones and The Dap Kings. The title pays tribute to Renaud's hometown, Hamilton, and The H.P.'s sound

honours The Hammer's core characteristics of rugged authenticity. Get ready to get Gritty!

— The HP's have partnered with UK based soul label LRK Records for the release of their latest single "Hope To See You Again", featuring Canadian soul singer and LRK alum Claire Davis

— "Hope To See You Again" arrives digitally March 31st, 2022 with the 45" expected summer 2022

— The 45" single will also include a cover of the Sharon Jones & The Dap Kings classic "Better Things"

The HP's.

To the Canadian music industry, 'Parkside' Mike Renaud is best known as the founder and owner of Hidden Pony

Records & Management, now widely recognized as one of Canada's premiere talent-development labels and artist

management companies. Past and present artists on Renaud's roster include Said The Whale, The Elwins, The Dirty

Nil, Hannah Georgas, Imaginary Cities, Jeremy Fisher, Odds, and many more.

Not many are aware that this popular industry power player actually got his start in music as a drummer in a '90s

Montreal soul/funk band called Parkside Jones (the source of his nickname). When he moved over to the business

side of music, beginning with top indie label Aquarius Records, Mike Renaud packed the kit away, launching himself

into the biz with full passion, commitment, and skill.

Mike has now resurrected his kit (after 20 years), honed his chops, and emerged as the driving force behind The

Renaud recalls the spark that reignited his love of playing drums: "The first time I played them in 20 years was at the

memorial for industry comrade Jon Box at The Opera House in Toronto. I was talked into playing with Chris Murphy

Sloan, Terra Lightfoot, and the Dirty Nil guys on a version of 'Handle With Care.'"

This renewed love affair would lead to Mike's vision for The H.P.'s. From his teenage years, his favourite musical

genre has been classic soul and funk, and he has an encyclopedic knowledge of these styles. Heartened to see the

growing international community building around these sounds, Mike decided to make his own creative contribution to

the form. He recruited musical and vocal collaborators from his hometown (plus a couple of Toronto imports) for the

project, and The H.P.'s were born.

The group name, The H.P.'s, pays homage to James Brown's legendary band, The J.B.'s, with these initials

referencing Hidden Pony. The album title is a tribute to Renaud's hometown, Hamilton, and The H.P.'s sound

honours The Hammer's core characteristics of grit and authenticity. Mike actually spent some time co-managing the

current J.B.'s.

The late Sharon Jones, a key inspiration for Renaud, is honoured via a killer version of her classic tune, "Better

Things." The soulful vocals of Claire Davis are accompanied by jaunty horns and keyboards, and the cool groove

befits the positive lyrics ("I'm a better woman than I have been").

Giving this cover extra resonance are the memorable encounters both Davis and Renaud had with Jones back in

2015. A documentary portrait of the soul great, Miss Sharon Jones!, had its world premiere at the Toronto

International Film Festival (TIFF), and Claire Davis was doing a house concert playing DapKings songs that night.

The band came across the party and jammed along, then, when one of the Dap Kings backup singers couldn't cross

the border, Claire got the call to fill in at Sharon Jones' headlining show at Hamilton's Supercrawl fest.

In a cool twist of fate, Mike Renaud was one of the organizers of that show, and was tasked with looking after

Sharon. The two bonded instantly and deeply, as Mike recalls. "While driving her to soundcheck, Sharon confided in

me that her cancer had returned. She didn't want anyone to know, as the documentary was about her conquering it,

and she didn't want people to be bummed out at the news. It was my 40th birthday that day, and Sharon actually

stopped her show to sing me Happy Birthday in a soulful way!"

Shakethehoof added "Hope To See you Again' to their playlist musicto/shake-a-hoof/the-hps-ft-claire-davis-hope-to-see-you-again-the-hoof-chats/

"BETTER THINGS" has gone straight into the UK Soul chart breakers at No 8

Akae Beka's inimitable style of rich, deep, multi-layered songwriting, uncompromising devotion to RasTafari and soulful healing melodies developed over decades performing with St. Croix based band Midnite and countless recordings. At the point of his untimely passing in 2019, he had released over 70LP's. He is without a doubt one of the most prolific reggae artists ever known.

The stellar production trinity that is Zion I Kings have been involved collectively and individually in creating some of the most highly regarded contributions to the vast Akae Beka catalogue. Ride Tru, originally released digitally and on CD in 2014, stood every chance disappearing into the all eclipsing shadow of the LP released by them earlier that year, Beauty for Ashes, which had been named by iTunes as the reggae album of the year. A monumental achievement for undiluted, uncompromising RasTafari roots reggae music this side of the millennium. So needless to say, the bar was high and Vaughn Benjamin and Zion I Kings must have known that, as they managed to raise it higher again.

Ride Tru continues in the same form, rootsy, soulful, refreshingly polished and authentically raw, the threads of anciency that any devout reggae lover will be looking for and the threads of modernity that keep it alive and appealing in the modern day. A uniquely regal tapestry that has become synonymous with music created from the unity of Zion I Kings and Vaughn Benjamin

Following 8 years of anxious anticipation, for the countless Akae Beka fans that are also vinyl connoisseurs, this LP is now being released on as a 12" vinyl LP courtesy of Before Zero Records. This offers the listener not only the chance to enjoy this LP in an analogue form, but also the chance to hold the artwork as a 12" square masterpiece, created by the hands of Ras Marcus, the artist who gave the powerful visual presence that became synonymous to much of the I Grade / Akae Beka works over the years.

“How does an artist follow an album considered by many to be the best reggae album of 2014?..... you get right back in the studio with the same brilliant production team and follow that album a few short months later with one that nearly eclipses it entirely.”
Midnight Raver — Worldareggae

“...remarkable for the clarity of Tippy’s mix and the contrast between the hardness of Lloyd Richards’ drums and the softness of the guitars, keyboards and brass. The woozy analogue warmth of an old Augustus Pablo production – Son of Jah Dub - for Worry Free demonstrates how well Vaughn sits on the sounds of the original masters (an avenue that should be pursued further). Another veteran guest is the late Style Scott - who beats out one of his final patterns on How I & I Carry On.”
Angus Taylor — United Reggae

incl. mp3
A deepening sense of life, love, health, loss, and luck shaped the outlines of Tuttle’s fifth, and most collaborative album to date. Following a surprising exhilaration and exhaustion from the hitherto most innocuous of moments in mid-2020 - a half-hour drive to collect an online order, the furthest distance he’d traveled in months; Tuttle commenced working on new musical ideas loosely based around navigating the aftermaths and interregnums of a restless era. “I was thinking about what’s going on in the world and how localised it has become for so many of my friends in different places,” Tuttle explains. “Not in a negative way but more so focusing on how lovely it is when things are good.”
Thinking of musician friends and peers around the world – each confined to their own immediate surroundings – Tuttle’s generative and collaborative musical practice became a silvery through-line, connecting American innovators Steve Gunn, Chuck Johnson, Luke Schneider and Michael A. Muller (Balmorhea), to French/Swedish violinist Aurelie Ferriere and Spanish guitarist Conrado Isasa, back to Australian friends such as Voltfruit (aka Flora Wong and Luke Cuerel) and Darren Cross (Gerling) – among many others – each fitting seamlessly into Tuttle’s vibrant musical world.
Whilst previously a feature of Tuttle’s music, the exploration of space and texture found within Fleeting Adventure feels particularly vast and generous. The involvement of Chuck Johnson and Lawrence English mixing and mastering the album respectively, as with their work on Tuttle’s previous and breakthrough album Alexandra (Room40, 2020), inspired Andrew to develop songs that are as serene and patient as he’s ever sounded. Stripping elements back, the idea of pulling the songs apart somewhat, was just as important as adding the work of Andrew’s collaborators. “It is spacious through intent, process and assistance,” he confirms. "I thought carefully about what instruments - both what I played and what I asked others to provide based on my unadorned banjo track - would best work with what I was wanting to create.”
The road to Fleeting Adventure has been both long and short, but it sits as a tender and perhaps even vital reflection of an era in progress, in retrospect and in anticipation. A poignant contemplation on the many bonds that make up our lives from friends and family to the myriad places we inhabit and pass through along the way. The idea that an adventure doesn’t necessarily have to be a grand statement Andrew Tuttle has gathered up a number of his contemporaries and crafted something quietly spectacular, a new beginning to familiar habits.

“Tuttle’s plaintive banjo is encircled by an array of majestic sounds: serpentine electric guitar from Steve Gunn, enveloping electronics courtesy of Balmorhea’s Michael A Muller, violin swirls from Aurelie Ferriere , and the gentle saxophone of Joe Saxby. The result is a lush and unabashedly beautiful sonic landscape.’’ 8/10 UNCUT LEAD REVIEW
Andrew Tuttle's new single New Breakfast Habit is the perfect sonic condiment for the most important meal of the day. A banjo flecked ambient/cosmic journey with a psychedelic video courtesy of Matmos
His new album 'Fleeting Adventure' is the soundtrack of the world re-emerging and getting a release on Basin Rock (Julie Byrne, Aoife Nessa Frances, Johanna Samuels) this summer.

Isoviha was recorded four years ago, inspired by ideas that Sasu Ripatti (aka Vladislav Delay) had been reflecting on for a long time. This album is a counterpart to his two Rakka albums which were a personal reflection on the nature and sound-world of the northern Arctic wilderness, 1000 kilometres north of where he lives on the Finnish island of Hailuoto. It's an area he loves to explore, trekking out alone to enjoy its rugged power. However the sound world of Isoviha is a return to man-made civilization. Musically Isoviha presents a more complicated world than Rakka; overloaded and unpredictable, audio archaeology that layers and juxtaposes everyday sounds into intense sculptures of noise and drone. As a musical observation internally and externally, it's influenced by the heightened anxious intensity Sasu feels when returning from the empty wilderness. The ratcheting up of urban noise on Isoviha is built with insistent loops that seem to malfunction the faster they spiral and the dangerous overwhelming potential of ordinary objects and events: shimmering, hammering, crowds, radio distortion, ancient backfiring engines. It's hypermodern musique concrète, married to a jazz drummer's intuitive sense of rhythm. Going back even further in time but still tethered to the local, Isoviha also means 'the great wrath' and refers to a time in Finland under Russian occupation in the 1700s. A time when all the Islanders of Hailuoto were killed, apart from a single couple who were left to bury the dead. As if time is non-linear, the response to toxicity and madness that drives the album feels even more appropriate now than when it was written four years ago and confirmation that the horrors of the past still darken the present.

Shelter Press and INA grm are pleased and moved to present two previously unreleased recordings of Peter Rehberg, two live performances given at the GRM which, each in their own way, vividly illustrate the extent of his sonic palette.

On 22 July 2021, Peter Rehberg passed away, leaving a great emptiness in his wake. Many initiatives have already celebrated or will soon celebrate his memory and the titanic work he put at the service of so many artists - a whole musical community, in fact - through Editions Mego. INA grm, Shelter Press and Stephen O’Malley, who are continuing some of the collaborative Editions Mego sub-labels (Recollection GRM, Portraits GRM and Ideologic Organ), wanted to pay tribute more specifically to the musician Peter Rehberg, and to his immense talent.

Peter Rehberg, as an artist, has collaborated with the GRM on numerous occasions, both with Stephen O’Malley (as KTL) and solo. This release features two concerts given for the GRM, each time as part of the Présences électronique festival. The first concert, given on 15 March 2009 at the Maison de la Radio in Paris, marked the first collaboration between Peter Rehberg and the GRM and the beginning of a long and fruitful friendship. The second concert took place on 6 March 2016. Between these two concerts, 7 years have passed, 7 years in which the ties between Peter Rehberg and the GRM have been strengthened, 7 years in which Peter Rehberg’s music has flourished. What is striking in these two concerts is how Peter Rehberg’s unique musical sensitivity and ‘grammar’ can be heard beyond the instruments. For while the first concert is pure laptop music, the second is extended to the field of modular synthesis. However, in both concerts, the elements that are so personal to Peter Rehberg’s music are present and combine in a layering of sonic abrasions, raw sensations and a sensitivity that is as much about formal awareness as it is about the invocation of overwhelming emotions, even though a little hidden behind a radicality that is always a bit provocative. Peter Rehberg offers us a “portrait music”, a music that gives some clues about the personality of its author and whose absence continues to deepen an inconsolable sadness.

Live performances by Peter Rehberg at le Centquatre-Paris for INA grm’s Présences électronique festival, recorded on March 15, 2009, and March 6, 2016.

Mastered by Giuseppe Ielasi
Cut by Andreas Kauffelt at Schnittstelle, Berlin
Photo by Magdalena Blaszczuk
Sleeve design by Stephen O’Malley

Seit ihrer Gründung 1968 haben Deep Purple weltweit über 100 Millionen Alben verkauft und mit Songs wie 'Smoke On The Water', 'Highway Star', 'Space Truckin', 'Hush', 'My Woman From Tokyo', 'Perfect Strangers' oder 'Knocking At Your Backdoor.' Klassiker geschaffen, die unzählige Bands beeinflusst haben und immer noch beeinflussen. Acht Jahre nach ihrem letzten Studioalbum "Rapture Of The Deep", eine Zeit in der die Band unzählige Shows gespielt hat und exzessiv getourt ist - die letzte Tour im Herbst 2012 hat alleine in Deutschland über 60.000 Tickets verkauft - hat sich die Band entschlossen ein neues Studioalbum einzuspielen. Ian Gillan sagt dazu: " Vor 2 Jahren wäre es falsch gewesen, vor 5 Jahren wäre es falsch gewesen! The time is NOW. Wir hatten das Gefühl es ist an der Zeit was Neues zu sagen und das haben wir getan. NOW What ! ist eine der wichtigsten Aufnahmen, an der ich jemals in meinem Leben beteiligt war.'

Mit Produzent Bob Ezrin, der sich neben diversen Kiss oder Alice Cooper Alben auch für die Produktion des legendären "The Wall" von Pink Floyd verantwortlich zeichnet, ist es Deep Purple gelungen ein Album einzuspielen, dass die Perfektion und Eleganz von - Perfect Strangers' hat und die wilde Freiheit von - Made in Japan' widerspiegelt.

During the last four years, MentPlus has released a string of sold-out 45s, cassettes and digi-singles including Stormy Nights EP and LP, A Spoonful EP, "Cali Summers"(feat. Planet Asia), and "King of Kings"(feat. Blu) to name a few. He's been featured in URB, OkayPlayer, DJ Booth, 2DopeBoyz and many more.

‘Reich’s music expands from minimalist austerity to more full-bodied passages and back again. Reminiscent of his earliest work, it is very beautiful.’ – Financial Times

‘The music has tender energy, and an undercurrent of melancholy. Its droning tones sometimes seem to be pulling apart – like taffy, or like Richter’s stretching spaghetti stripes of color.’ – New York Times

Nonesuch Records releases the first recording of Steve Reich’s Reich/Richter, performed by Ensemble intercontemporain and conducted by George Jackson. The composition was originally written to be performed with German visual artist Gerhard Richter and Corinna Belz’s film Moving Picture (946-3).

Reich describes Richter’s book Patterns, which served as source material for the film: “It starts with one of his abstract paintings from the ’90s. He scanned a photo of the painting into a computer and then cut the scan in half and took each half, cut that in half and two of the four quarters he reversed into mirror images. He then repeated this process of ‘divide, mirror, repeat’ from half to quarter, eighth, sixteenth, thirty-second, all the way up to 4096th. The net effect is to go from an abstract painting to a series of gradually smaller anthropomorphic ‘creatures’ (since the mirroring produces bilateral symmetry) to still smaller very fine stripes.

“Belz described the film in terms of ‘pixels’. It begins with two-‘pixel’ stripes and the music begins with a two-sixteenth note oscillating pattern. When the film moves to four ‘pixels’, the music moves to a four-sixteenth note pattern, then to eight, and sixteen,” the composer continues. “After that, I began introducing longer note values – initially eighth notes, and later to quarter notes. By the middle of the film, when the images move from 512 to 1064 pixels, the music really slows to dotted half notes. Finally, as the ‘pixel’ count begins to diminish, the music moves back into more rapid eighths and then ending with the most intense rapid sixteenth movement.”

After more than one hundred performances of Reich/Richter at The Shed in New York in 2019, it was performed in London at the Barbican by the Britten Sinfonia conducted by Colin Currie and then in Paris at the Philharmonie, where this recording was made. The Austrian ensemble Windkraft Tirol, led by Kasper de Roo, will perform Reich/Richter on September 8 at Szentrum, Silbersaal in Schwaz, and the LA Phil New Music Group, led by Brad Lubman, performs the piece, accompanied by Richter and Belz’s film, at Walt Disney Concert Hall in Los Angeles on April 1, 2023.

Nonesuch has recorded every new piece of music by Steve Reich since 1985, beginning with The Desert Music and continuing through 2018’s Pulse/Quartet, resulting in twenty-two albums and the two box sets Phases in 2006 and Works: 1965-1995 in 1997. The label will put out a collection of his complete works in 2023.

Reich released a book last month, Conversations, that includes dialogues with past collaborators, fellow composers, musicians, and visual artists who have been influenced by his work, including: David Lang, Brian Eno, Richard Serra, Michael Gordon, Michael Tilson Thomas, Russell Hartenberger, Robert Hurwitz, Stephen Sondheim, Jonny Greenwood, David Harrington, Elizabeth Lim-Dutton, David Robertson, Micaela Haslam, Anne Teresa de Keersmaeker, Julia Wolfe, Nico Muhly, Beryl Korot, Colin Currie, and Brad Lubman. Booklist said in its review, ‘Iconoclastic American composer Steve Reich is singular in his own right, and when he is in conversation with other equally iconoclastic composers, conductors, sculptors, musicians, percussionists, and video artists, sparks not only fly, they sparkle. Reich and his colleagues conduct lovely give-and-takes during which they share stories, creative approaches, and viewpoints. Reich's Conversations is the best kind of eavesdropping.’

Steve Reich has been called ‘America’s greatest living composer’ (Village Voice), ‘the most original musical thinker of our time’ (New Yorker), and ‘among the great composers of the century’ (New York Times). His music has influenced composers and mainstream musicians all over the world. Music for 18 Musicians and Different Trains have earned him two Grammy Awards, and in 2009, his Double Sextet won the Pulitzer Prize. Reich’s documentary video opera works – The Cave and Three Tales, done in collaboration with video artist Beryl Korot – have been performed on four continents. His recent work Quartet, for percussionist Colin Currie, sold out two consecutive concerts at Queen Elizabeth Hall in London shortly after tens of thousands at the Glastonbury Festival heard Jonny Greenwood (of Radiohead) perform Electric Counterpoint followed by the London Sinfonietta performing his Music for 18 Musicians.

In 2012, Reich was awarded the Gold Medal in Music by the American Academy of Arts and Letters. He has additionally received the Praemium Imperiale in Tokyo, the Polar Music Prize in Stockholm, the BBVA Award in Madrid, and the Golden Lion at the Venice Biennale. He has been named Commandeur de l’Ordre des Arts et des Lettres and has been awarded honorary doctorates by the Royal College of Music in London, The Juilliard School, and the Liszt Academy in Budapest, among others. ‘There’s just a handful of living composers who can legitimately claim to have altered the direction of musical history and Steve Reich is one of them’, states the Guardian.

Pierre Boulez founded the Ensemble intercontemporain in 1976 with the support of Michel Guy (who was France’s Minister of Culture at the time) and the collaboration of Nicholas Snowman. The Ensemble’s thirty-one soloists share a passion for twentieth and twenty-first century music. Under the artistic direction of Matthias Pintscher, the musicians work in close collaboration with composers, exploring instrumental techniques and developing projects that interweave music, dance, theater, film, video and visual arts. In collaboration with IRCAM (Institut de Recherche et Coordination Acoustique/Musique), the Ensemble intercontemporain is also active in the field of synthetic sound generation. New pieces are commissioned and performed on a regular basis. Resident of the Cité de la musique – Philharmonie de Paris, the Ensemble performs and records in France and abroad, taking part in major festivals worldwide.

George Jackson, winner of the 2015 Aspen Conducting Prize, came to attention after stepping in at short notice with Orchestre de Paris, where he stepped in for Daniel Harding. Recent highlights include leading Ensemble intercontemporain at Festival Romaeuropa, the Rainy Days Festival in Luxembourg, and Festival D’Automne in Paris, as well as conducting the RTÉ National Symphony Orchestra, the orchestra of Opéra de Rouen and the world premiere of Tscho Theissing’s Genia with Theater an der Wien. His varied operatic experience includes performances at Opera North, Hamburg State Opera and Opera Holland Park, as well as conducting a new production of Hänsel und Gretel at Grange Park Opera.

Here we are at the dawn of a new compilation series and we’re kicking things off with an absolute gem that features a selection of hard-to-find records (some impossible to find) and some that have been hiding in plain sight all along. They all share common qualities, being that they are beautiful, soul quenched songs that sing of love, peace and unity.

‘With Love: Volume 1’ has been compiled by Miche and presents a curated selection of rare Brazilian, gospel, modern soul and jazz-fusion fire. We have Brazilian rarities by Alcione and Quientaessencia, UFO gospel by Keith Chism & Light, the jazz-funk/AOR sounds of City Lites taken from a Radio Station album, and the anthemic feel-good emotional soul of Belita Woods to name but a few.

Tracking down artists and musicians from the past is an art form. Like a seagull swooping for treats, sometimes the prizes are easily found, and at other times, it’s the result of very late nights trolling through Facebook profiles, message boards, hitting dead ends and following red herrings, and yet still the search goes on. This compilation is a true labour of love with all the artists tracked down and licensed by Miche. It has long been an ambition of the London based musical connoisseur to compile an album, and like anything that requires craft, care, and knowledge - it takes time. There are many twists and turns in the hunt for those records that make your jaw drop.

In 2018, when just 24, Miche became a music programmer for London’s illustrious Spiritland group of venues. From this musical sanctuary, he was able to listen, learn and meet some of the best selectors from around the world. It was a musical education, and he was particularly drawn to the deep sessions by DJs such as Mark Taylor, George Arthur, Kev Beadle, Patrick Forge, Dr. Bob Jones, and Colin Curtis to name a few. He also used this time to begin running his re-issue label Discs of Fun and Love with co-owner and friend Frederika.

Sometimes the cynical knock compilations, there is certain snobbery amongst some about the original pressing, but music shouldn't just be about lucky collectors giving over large sums of money to record dealers. It's also about a bridge to the past, a celebration of the legacy of somebody’s art, and a second chance for initially overlooked work to shine. As with all the best compilations, it has been compiled with love…

Here we are at the dawn of a new compilation series and we’re kicking things off with an absolute gem that features a selection of hard-to-find records (some impossible to find) and some that have been hiding in plain sight all along. They all share common qualities, being that they are beautiful, soul quenched songs that sing of love, peace and unity.

‘With Love: Volume 1’ has been compiled by Miche and presents a curated selection of rare Brazilian, gospel, modern soul and jazz-fusion fire. We have Brazilian rarities by Alcione and Quientaessencia, UFO gospel by Keith Chism & Light, the jazz-funk/AOR sounds of City Lites taken from a Radio Station album, and the anthemic feel-good emotional soul of Belita Woods to name but a few.

Tracking down artists and musicians from the past is an art form. Like a seagull swooping for treats, sometimes the prizes are easily found, and at other times, it’s the result of very late nights trolling through Facebook profiles, message boards, hitting dead ends and following red herrings, and yet still the search goes on. This compilation is a true labour of love with all the artists tracked down and licensed by Miche. It has long been an ambition of the London based musical connoisseur to compile an album, and like anything that requires craft, care, and knowledge - it takes time. There are many twists and turns in the hunt for those records that make your jaw drop.

In 2018, when just 24, Miche became a music programmer for London’s illustrious Spiritland group of venues. From this musical sanctuary, he was able to listen, learn and meet some of the best selectors from around the world. It was a musical education, and he was particularly drawn to the deep sessions by DJs such as Mark Taylor, George Arthur, Kev Beadle, Patrick Forge, Dr. Bob Jones, and Colin Curtis to name a few. He also used this time to begin running his re-issue label Discs of Fun and Love with co-owner and friend Frederika.

Sometimes the cynical knock compilations, there is certain snobbery amongst some about the original pressing, but music shouldn't just be about lucky collectors giving over large sums of money to record dealers. It's also about a bridge to the past, a celebration of the legacy of somebody’s art, and a second chance for initially overlooked work to shine. As with all the best compilations, it has been compiled with love…

New pressing of 500 on black vinyl with download. “Dub Housing" appears harsh, impenetrable and repellent... it seems to be working on some hidden internal logic, from some parallel (and disquieting) universe. On subsequent listens, the "logic," if indeed the tapping of the subconscious and intuition can be called "logic," becomes clearer; the album remains baffling, infuriating, haunting, menacing and ferociously funny...” Jon Savage, Melody Maker / “A voyage into unchartered space. Unfathomable, inscrutable, unmissable” Uncut / Pere Ubu reissue their second album ‘Dub Housing’ on Fire Records. Originally released in 1978, the same year as their debut ‘The Modern Dance’, Pere Ubu continue to tear up the rule book, chew it up and spit it out with glorious splendour. Mesmerising critics, fans and musicians along the way, their follow up has been repeatedly regarded as one of their best and captures Pere Ubu in one of their earliest incarnations. ‘Dub Housing’s assaultive noises and melodic rock still annihilates the senses setting Pere Ubu apart from their peers with vision and an inimitable ability to push boundaries. For this reworking, Paul Hamann at Suma has transferred from the original 2-track analogue mix tapes to digital at the highest resolution available, which is at least four times the resolution of the original. The tracks have carefully been re-mastered by sonic architect Brian Pyle so as to capture the unique qualities within.