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Blocaus series is back with it's 8th release, "Gods & Robots" EP by rising French artist Ruhbarb for his debut EP on the label. Involved with labels such as Materia and Odd Oven, Ruhbarb's sound is a mixture between techno, dub and ambient, nurturing a tone that is driving, groovy and dark, but always loaded with great emotional depth. Part of a promising new generation of French producers and DJ's, Ruhbarb delivers 4 fantastic cuts in his own personal style including on the B side two killer remixes from Answer Code Request and Antigone.

In our latest chapter of Spiritual Jazz, we return to the source – the Impulse! label, and the monumental influence of its most prominent artist, John Coltrane.
Since the first release in the series back in 2008, we have mapped out the growth of the spiritual sound in jazz. Spiritually energised and politically conscious, the spiritual sound in jazz music is one of the most important currents in the music. Our series has charted the growth of the style from early experiments at Blue Note and Prestige to European excursions, exiled experimentalists, and sounds from across the globe. But whenever you think of spiritual jazz, it's a fair bet that the double exclamation mark and orange and black spine of Impulse quickly comes to mind. Home to John and Alice Coltrane, Pharaoh Sanders, Yusef Lateef, McCoy Tyner and countless other musical pioneers, Impulse! was the most important and forward-thinking jazz label of the 1960s. With the music-first attitude of an independent but the clout of a major, producers Creed Taylor and Bob Thiele made Impulse the defining imprint of a crucial decade. They hand picked the top players of the moment and gave them freedom to record the music they wanted, setting out their stall with a bold slogan – 'The New Wave Of Jazz Is On Impulse!'

Here we dive deep into the Impulse! catalogue, bringing celebrated masterpieces from Alice Coltrane and Pharaoh Sanders into the arena, together with lesser known cuts from Phil Woods and John Klemmer as well as straight-up classics such from Yusef Lateef and Elvin Jones. Fifty years on and the new wave of jazz still sounds fresh, vibrant and as relevant as ever.

Black Truffle is very proud to present Peaks by Australian cellist Judith Hamann, her debut release of electro-acoustic music. Known mostly for her live performance work with composers including Sarah Hennies, Yvette Janine Jackson, Alvin Lucier, Tashi Wada, and La Monte Young, here she steps away from the cello, moving into an intimate dreamscape woven from recordings gathered over years of itinerant touring.

Peaks is a work in two distinct parts, crossfading between different landscapes and apertures; from rooftop to church, from stasis to flares of momentary romanticism. Peaks considers summits as being both above and below, reframing the idea of apex from a more intimate perspective. Hamann considers how our domestic and personal geographies might form their own apogees, meridians, or nadirs.

Assembled in 2019 while an artist in residence in Krems, Austria, Peaks begins with Hamann’s more familiar cello but soon unravels into resonant electronic interiors; Southern California nightscapes heard through windows, San Francisco bathroom fans, snatches of recordings of friends, hand organs, and engines. signal/centinela draws primarily on recordings from Hamann’s time living in San Diego, and carries with it a certain sense of nostalgia in the sense of homesickness, longing, and displacement of distance and time. Side B is composed from recordings gathered on a different continent, Europe, weaving piano with recordings of sleep, breath, church organ, and the act of climbing. under/over emerges as it recedes, overlapping moments of arrival to create another kind of ‘spire’ in the sense of spir (breath). Peaks, with its omission of any recordings from Hamann’s home of Australia, hints at how the very construction of home itself, might be restless, untethered, changeable, and malleable.

On Peaks, Hamann interrogates tropes of ambient concrète musics, intentionally pivoting formally around material which teeters on the edge of cliche. This exploration asks whether familiar frames of harmony, field recordings and narrative trajectories can excavate new territories, or be ruptured. Peaks untangles a very personal sense of tension between beauty and shame in experimental music: treating lushness and harmony as possessing potentially muscular musical properties that might wrestle with or construct senses of belonging and home.

Full length album from NYC DJ/producer ELI ESCOBAR, out on his own NIGHT PEOPLE label. 9 dance tracks plus beat interludes with a distinct New York vibe. Fans of his releases on PLANT, MONEY STUDIES and R’N'T will love it.

180g black double vinyl, first pressing limited to 400 copies.

Released during the late 1970's Disco era, Milton Wright's sophomore long player has always stood out as a singular, innovative example of the deepest, rarest grooves known to underground Soul lovers all over the globe. This often overlooked body of work has found a whole new audience who revisited the man's work retrospectively, pushing the LP into the domain of "holy grail" status amongst Black music lovers and Funk fanatics. "Spaced" has been at the top of the wants lists of serious music lovers for decades, often unattainable and commanding stellar collectors prices on-line, sometimes fetching amounts of upwards of £400. This unique LP could be perceived as being Wright's most personal work, tragically overshadowed by the burgeoning successes of his then label mates on Miami's Alston Records imprint. The sheer craftsmanship and songwriting prowess on show is undeniable, as is the top level musicianship and production, sounding ridiculously fresh almost some 40 years later. Above Board distribution has collaborated with Alston / TK Records to ensure the quality of this fully legitimate repress of this long lost Soul / Funk classic has been maintained. Remastered, reissued and represented with the full cooperation of the license holders for 2016. Do not pass up the chance to own a true gem, a pivotal, lost LP like "Spaced", now made available again to be enjoyed by all. "Magic Music".

Das für den GRAMMY nominierte Duo ODESZA und der bahnbrechende australische Produzent Golden Features veröffentlichen neues gemeinsames Album als BRONSON.

BRONSON wurde gegründet, als die ODESZA-Mitglieder Harrison Mills und Clayton Knight 2014 bei einem australischen Musikfestival auf Tom Stell von Golden Features trafen. Die drei teilten ihre gegenseitige Bewunderung für die Auftritte der jeweils anderen und blieben in Kontakt, indem sie Musik über Zeitzonen und Kontinente hinweg über Dropbox-Dateien und FaceTime-Anrufe austauschten. Das Aufeinandertreffen des Trios gipfelte in einem Treffen 2018, als die drei Künstler eine Woche in der abgelegenen Region von Berry in Australien verbrachten, um das aufzunehmen, was später das Debütalbum von BRONSON werden sollte. Wie aus den beiden ersten Singles hervorgeht, ziehen sich Elemente von Licht und Dunkel durch das zehn Songs starke Album, da das Oberthema von „BRONSON“ das dem Menschen innewohnenden Kampf von Licht gegen Dunkelheit widerspiegeln möchte. Die Platte kombiniert sowohl melodische Vocal-Songs als auch stimmungsvollere, tiefergehende Elektronika mit Gastbeiträgen von lau.ra (die, neben u.a. Nigel Godrich von Radiohead, Teil der experimentellen Rockband Ultraísta ist), dem gefeierten US-amerikanischen R&B-Sänger Gallant und dem britischen Produzenten Totally Enormous Extinct Dinosaurs (TEED). ODESZAs und Golden Features’ kombinierte Streamingzahlen reichen in die Milliardenhöhe und die beiden Acts haben jeweils mehrere Singles und Alben veröffentlicht, die mit Gold und Platin zertifiziert wurden. Die Künstler haben mit einer Reihe von renommierten Künstlern wie Sia, Charli XCX, Leon Bridges, Regina Spektor, Katy Perry und anderen zusammengearbeitet. Als hochgefragte Live-Acts haben die beiden Projekte zudem Millionen von Fans auf der ganzen Welt auf ihren jeweiligen Headline-Tourneen erreicht. ODESZA haben zudem legendäre Veranstaltungsorte auf der ganzen Welt ausverkauft, wie bspw. Die Verti Music Hall in Berlin, die Londoner O2 Academy Brixton, das Staples Center in Los Angeles und das Barclays Center in New York und waren Headliner auf Festivals wie Melt!, Coachella, Bonnaroo und Lollapalooza.

Das für den GRAMMY nominierte Duo ODESZA und der bahnbrechende australische Produzent Golden Features veröffentlichen neues gemeinsames Album als BRONSON.

BRONSON wurde gegründet, als die ODESZA-Mitglieder Harrison Mills und Clayton Knight 2014 bei einem australischen Musikfestival auf Tom Stell von Golden Features trafen. Die drei teilten ihre gegenseitige Bewunderung für die Auftritte der jeweils anderen und blieben in Kontakt, indem sie Musik über Zeitzonen und Kontinente hinweg über Dropbox-Dateien und FaceTime-Anrufe austauschten. Das Aufeinandertreffen des Trios gipfelte in einem Treffen 2018, als die drei Künstler eine Woche in der abgelegenen Region von Berry in Australien verbrachten, um das aufzunehmen, was später das Debütalbum von BRONSON werden sollte. Wie aus den beiden ersten Singles hervorgeht, ziehen sich Elemente von Licht und Dunkel durch das zehn Songs starke Album, da das Oberthema von „BRONSON“ das dem Menschen innewohnenden Kampf von Licht gegen Dunkelheit widerspiegeln möchte. Die Platte kombiniert sowohl melodische Vocal-Songs als auch stimmungsvollere, tiefergehende Elektronika mit Gastbeiträgen von lau.ra (die, neben u.a. Nigel Godrich von Radiohead, Teil der experimentellen Rockband Ultraísta ist), dem gefeierten US-amerikanischen R&B-Sänger Gallant und dem britischen Produzenten Totally Enormous Extinct Dinosaurs (TEED). ODESZAs und Golden Features’ kombinierte Streamingzahlen reichen in die Milliardenhöhe und die beiden Acts haben jeweils mehrere Singles und Alben veröffentlicht, die mit Gold und Platin zertifiziert wurden. Die Künstler haben mit einer Reihe von renommierten Künstlern wie Sia, Charli XCX, Leon Bridges, Regina Spektor, Katy Perry und anderen zusammengearbeitet. Als hochgefragte Live-Acts haben die beiden Projekte zudem Millionen von Fans auf der ganzen Welt auf ihren jeweiligen Headline-Tourneen erreicht. ODESZA haben zudem legendäre Veranstaltungsorte auf der ganzen Welt ausverkauft, wie bspw. Die Verti Music Hall in Berlin, die Londoner O2 Academy Brixton, das Staples Center in Los Angeles und das Barclays Center in New York und waren Headliner auf Festivals wie Melt!, Coachella, Bonnaroo und Lollapalooza.

Full Pupp is 15 years old and we’re marking the occasion by inviting old and new friends to contribute a track each. Doc L Junior from Tromsø returns to our shores with a track that took us 15 years to get our hands on. Blackbelt Andersen made this fun little track for him to play out, now you can too. Bjørn was the first person I asked for music when I started the Full Pupp’s precursor label “Tamburin". It’s a true pleasure to finally have him on board. it only took 18 years. Dj Fett Burger as Dj Fett Birger rehashes an old remix he did of Prins Thomas.

Speedcore music destroyer... with a fantastic last tune that makes hard music great again !

"AVALPBOX4", Limited Edition- 1.000 Copies' 28-Page Hardback-Book: 10" Vinyl, Hand signed Programme, Tour Poster & DVD.

By the time The Beatles travelled to Blackpool for the first time,
they had toured with the legendary American singer, songwriter, Roy Orbison; recorded several BBC radio shows, including Saturday Club, Easy Beat and Pop Go The Beatles; appeared on many, highly popular television programmes; released their debut album, Please Please Me and issued their first three EMI singles, ‘Love Me Do’, ‘Please Please Me’ and ‘From Me To You’.

Their fourth, ‘She Loves You’ had just been recorded and mixed ready for release. It was an exciting time for the band so, when they reached the popular, seaside resort for the first time, on 7th July 1963, optimism was filling the air. This stunning AVA Editions collectors pack contains a 10" Record feat. two appearances made by the Beatles on the ABC television show, Blackpool Night Out; an impressive 28-page book, crammed full of previously unseen colour images of the group and a high-quality reproduction of an original, 1963 concert programme signed by Skiffle legend, Chas McDevitt, who supported the Beatles on several occasions.

Also included is a full colour A3 poster and an exclusive DVD feat. a new, 30-minute interview with him, alongside his previously unseen, candid, colour footage of the group backstage, and in performance at the ABC Theatre in August 1963.

So too is a unique, fully colorized version of their 17-Mins. appearance before the cameras for Blackpool Night Out in August 1965. For Beatles and music fans alike, this pack serves as a wonderful opportunity to own a unique slice of music history.


*** Side A: Recording 19th of July, 1964
*** Side B: Recording 1st August, 1965

After nine years of quality assured house music, FINA Records hits release number 30 with another of its forward looking offerings, this time from red hot young Frenchman Armless Kid.

Well known on his native Paris circuit, Armless Kid is now breaking out on the wider international scene. He's released his bustling, heart felt house grooves on Rekids and the legendary Classic Music Company, is a Rinse FM regular and has an anything goes approach that has won him high profile fans like DJ Harvey and The Black Madonna.

Opener Shadows is a superbly warm deep house cut with real drive in the silky smooth drums. It's perfect for cosy dance floors, while Lost Days picks up the pace with raw and hurried kick drums and dusty piano keys bringing real beauty to the groove. Brute Factor Disco pumps any party with its urgent drum programming, explosive sense of energy and dazzling disco chords and last of all, NaturaL FL Groove slips into a funky bass riff, with organic licks and authentic old school production values that make it a timeless classic in the making.

After releasing their critically acclaimed debut LP “NOW” just last September, The people at Malka Tuti felt it was the time to continue pushing the name SHARI VARI to new realms & territories... A Remix Pack was born. For the remix pack, Malka Tuti chose a few close friends of the family to give new life and new interpre- tations to the now “instant classic” songs by the Hamburg duo.... The Ep begins with Fantastic Twins’s mid tempo, Coil inspired, break-beat groove, slowly building up in emotion with warm pads and 90’s vibe acid lines to- wards an epic catharsis. Benedikt Frey takes it from there, remixing a personal favourite - New York City, turning it into a dark trip- hop inspired journey, cleaning those distinct vocals, echoing Beth Gibbons’s smokey high tones.... On the B-side we find Black Merlin’s 11 minute trippy mid tempo dance floor banger. Cuts and slices from the original vocals of the song Dance Alone, laid carefully on top of a repetitive modular bass line, and sprinkled on top - those out-worldly sounds and FX that makes the track simply HUGE. Last but not least, Düsseldorf’s very own Lucas Croon’s Dub Version, released digitally last year, final- ly sees its day on wax. 90’s Break beat beats, gated vocals and everything else that takes to make a dance floor hit the roof.

Repress!

From his earlier work with pioneering London production outfits like Bugz In The Attic, DKD, Silhouette Brown, Blakai, Likwid Biskit, Neon Phusion and Agent K, to his recent releases and collaborations with Dego and the extended 2000black family, Kaidi Tatham is one of the most quietly influential British artists of his time.

2008's 'In Search of Hope' is the second solo album from Tatham and the first under his own name. It pushes the musical boundaries of electronic and dance music in a way that is still rarely heard today. While the album retains its contemporary London influences, it allowed Tatham to stretch out musically in a way he hadn't done on record before. The majority of the album's tracks aren't in the standard 4/4 time signature that most contemporary dance music follows, and some switch between a handful of different time signatures over the course of a few minutes. In a way, the album could be viewed as Tatham's mission statement and a sign of what was to come from him as an artist: uncompromisingly and unapologetically sophisticated modern black music. His face melting virtuosity never gets in the way of coherent groove, melody, harmony and arrangement. Originally released on Tokyo based label Freedom School and recorded on a modest set up at his flat in south London, 'In Search of Hope' has become a holy grail record for dance music fans and jazz heads alike. Its mythical status is spurred on by the fact that it was unavailable digitally, until now, with physical copies fetching astronomical prices online, especially considering how recently it was released compared to other records that reach similar prices.

**LP FORMAT IS VERY LIMITED - PLEASE BE AWARE THAT UNFORTUNATELY THERE MAY BE CUTS TO ORDERS**

For Los Angeles' The Black Queen, the depths of isolation and loss have always functioned as a gateway to being born anew. Much has transpired since the band released their cold, cutting debut album Fever Daydream (a record that Revolver described as 'a haunting exploration of the darker side of pop music'). But throughout it all, the trio of Greg Puciato (former frontman of the now-defunct The Dillinger Escape Plan), Joshua Eustis (of Telefon Tel Aviv, Puscifer, and Nine Inch Nails), and Steven Alexander (a tech member for Nine Inch Nails, Ke$ha, and A Perfect Circle) have emerged as triumphant and intense as ever, documenting their journey via the synth-streaked industrial anthems of their sophomore release, Infinite Games.Formed in 2011 after a chance meeting between Puciato and Eustis backstage at a Dillinger show in which they both realized they were huge fansof each other's work, The Black Queen became a labor of love for its members to explore sounds and emotions that they couldn't quite fit into their full-time projects. Injecting a pained, twilit edge into slick new-wave tracks as fit for the dance floor as they are for some imagined dystopian skyline, the trio have managed to channel their scattered, eclectic influences into a surprisingly cohesive vision. 'We've got a pretty weird cross section,' Puciato says of the band's musical chemistry. 'We can go out for food and listen to Power Trip on the way there, then Baltimore club music on the way back, and then talk about how killer Maxwell's Embrya album was, and then get sidetracked and talk about the Celeste video game soundtrack, then all have to be quiet so that we can grab a voice recording of some weird sounding radio interference. It's all over the place and unusually far reaching,and there's a lot of passion for discovery.'After releasing their 2016 debut album Fever Daydream to critical acclaim however, the trio underwent several major upheavals that cast the project in a completely new light. Puciato's main project The Dillinger Escape Plan disbanded. Chris Cornell of Soundgarden killed himself while Puciato was on tour with him. Eustis put out music under his beloved Telefon Tel Aviv monikerfor the first time since his former bandmate Charles Cooper died in 2009. Thetrio's storage space was robbed. Puciato suffered a relapse into crippling anxiety and paranoia. Once again, in the face of tragedy, The Black Queen had to rebuild everything from the ground up.The first step was acquiring a new studio space, which immensely helped the band get back into the rhythm of freely collaborating with one another, and experimenting with sounds for as long (and as loud) as they wanted. The resulting album, Infinite Games, marks a massive leap forward for The Black Queen. Not only are the band's icy R&B instincts more sharply pronounced; they've also rendered their morbid electronics in more lush detail than ever before, filling out the corners of their songs with chilling ambient passages
that create a wide-screen backdrop for Puciato's eerie, tortured vocals. 'I think this album is actually hookier, but more insidious in that it reveals itself over time,' Puciato says about Infinite Games. His choice of words says something about the album's creeping, pitch-black approach to pop music.With this release, the group have also announced a new undertaking in the form of their new label, Federal Prisoner. Resisting the more marketing-centricapproach that feels standard at this point for the record label game, the goal of Federal Prisoner is to provide an outlet for projects that emerge naturally from The Black Queen's own creative endeavors and collaborations with otherartists. In a way, Federal Prisoner solidifies TBQ's commitment to creating music on their own terms, following the same organic sense of inspiration that led them to forming in the first place. As Puciato puts it, 'It's just an expression of passion and individualism in a way that opens more doors for us to create and to own what we create with minimal compromise. It's as much an act of refusal as it is a statement of intent.'Infinite Games, the second album from experimental Los Angeles synth-pop trio The Black Queen, comes out on September 28th

Sepultura’s acclaimed 1989 album, Beneath The Remains, marks the band’s major label debut on Roadrunner. Widely regarded today as a thrash-metal classic, the album perfectly distilled the Brazilian band’s potent mix of piercing melodies and pummelling rhythms.

In December 1988, brothers Max (guitar/vocals) and Igor Cavalera (drums), Paulo Jr. (bass) and Andreas Kisser (guitar) recorded Beneath the Remains in Rio de Janeiro, Brazil with producer Scott Burns. Soon after it's release in April 1989, the album was hailed by fans and critics alike for standout songs like “Inner Self,” “Primitive Future” and the title track. The album has been remastered especially for this collection.

The Deluxe 2CD Edition also features nine unreleased “mixdown” recordings taken from the Beneath the Remains sessions at Nas Nuvens Studios in Rio de Janeiro. Highlights include versions of “Lobotomy” and “Mass Hypnosis,” as well as instrumental versions “Slaves Of Pain” and “Sarcastic Existence.”

The studio tracks are complemented by unreleased recordings of the band performing live on September 22, 1989 at the Zeppelinhalle, West Germany. The concert features songs from Beneath the Remains (“Primitive Future” and “Inner Self”) and the band’s previous albums (“Troops Of Doom” and “Escape To The Void”), along with covers of Black Sabbath’s “Symptom Of the Universe” and the Dead Kennedys “Holiday In Cambodia.”

Founded by the Cavalera brothers in 1984, the group recorded two full-length albums – Morbid Visions (1986) and Schizophrenia (1987) – before signing with Roadrunner Records in 1988. Since then, Sepultura’s dynamic studio recordings and intense live performances have earned it fans everywhere.

The current version of Sepultura (Derrick Green, Paulo Jr., Andreas Kisser, Eloy Casagrande) released a new album, Quadra, on February 7 and will tour the U.S. this spring. Former members Max and Igor Cavalera – who perform together in the band Cavalera Conspiracy recently completed a sold-out European tour in December 2019.












k 2) Inner Self (Mixdown) Instrumental
[l] 3) Stronger Than Hate (Mixdown) [Instrumental]


[o] 1) Sarcastic Existence (Mixdown) [Instrumental]
[p] 2) Slaves Of Pain (Mixdown) [Instrumental]

[r] 4) Hungry (Mixdown) [Instrumental]

A1 - Bitch - Late Nite 'DUB' Addict (Original Mix)
Is a Deep / Jackin House track with driving drum parts, deep old skool organ stabs, with lots of MPC style swing. The track is an energetic groover that could well be another hit for the (Late Nite 'DUB' Addict) who owns / runs (Digital Label) (DEEP 'N' DOPE RECORDS (UK).
If you like artists / DJ's such as (DJ Sneak / Phil Weeks / Black Loops / Dub Striker / Dumuir / Demuja / Kerri Chandler /Todd Terry / Kenny 'Dope' Gonzalez / Justin Martin / Scott Diaz / Sebb Junior + Filta Freqz) This track might be for you.


A2 - Fight For Your Rights - Late Nite 'DUB' Addict (Original Mix)
Fight for you right is most definately got the potential to become a future house anthem.
The track has allready recieved support and airplay from (London's Own) FANTASY FM
+ Groove City Radio (Scotland / Glasgow). This can only be described as deep / classic (U.S) style Garage / House / Banger, This Deep Underground but classic house track carries an abundance of energy, the track contains spoken vocals from a influential but controversial leader which gives the track an edge which just help build atmosphere and builds tension in the track - But definately in a good way. This track is a stand out groover that screams Anthem.
If you like DJ's like (Kerri Chandler / Mr V, Karrizma / Phil Weeks / Black Loops, Art Of Tones / Sebb Junior / Louis Vega, Mood II Swing / Dub Striker / DJ Pierre / Andres /Dan Shake then this energetic / warm (90's) style classic house number will be right up your street


B1 - Confessions Of A 'DUB' Addict - Late Nite 'DUB' Addict (Original Mix)
This track is a minimal style (Deep House) track that has been influenced by the early (Rave) era and early (Chicago + Detroit) House + Techno scenes. The track has a slightly darker edge but still remains jumpy and is definately made for the danecfloor in the early hours of the morning, and has a certain wharehouse 'Feel' to it. The track contains bleeps, stabs, and 808 + 909 compressed drums. The track contains poly rythums and drums which evolve and give alot of movement within the track. This is another "Big Track" from the (Late Nite 'DUB' Addict) that has also recieved support from the (legendary) FANTASY FM.


B2 - Heroes In Our Own Home - Late Nite 'DUB' Addict (Original Mix)
The (Late Nite 'DUB' Addict) states it is no secret that his productions are heavily influenced by the (U.S) Garage / House scene of (New York) in the early (90's).
An era that he said was huge in the way the house scene defined the (Deep House + Classic House) scene that is still massively current today. The DJ / Artis's that has influenced him the most from this era is (Todd Terry / Kenny Dope / Dennis Ferrer /
DJ Sneak / Mood II Swing + MK + Kevin Saunderson. This Hip / House track is the
(Late Nite 'DUB' Addicts) take on the Garage House scene / Hip House scene of
this special era!!!

Hendrik Weber aka Pantha Du Prince (‘a fantasy character...a poetic transporter for the concept behind the music’) has carved a niche for a style of techno he calls, ‘layered and cinematographic.’ He released the Diamond Daze (2004) and This Bliss (2007) albums on Berlin dance label Dial before signing to Rough Trade and widening his audience with Black Noise (2010) and The Element of Light (2013).

On “Conference of Trees”, Pantha Du Prince explores the communication of trees and creates a sound concept based on it. What we experience here is a break through recording of experimental music, visual poetry, club culture and speculative science.

Rhyze were a funk disco band who recorded their debut album in New York and released on Sam Records in 1980. This reissue features highlights such as the fantastic title track ‘Just How Sweet Is Your Love’ (which charted in both the US R&B and Dance chart) plus the single ‘Free’ and two B Sides ‘Singing and Dancing’ and ‘I Found Love
In You’ This classic is presented on 180g heavyweight black vinyl with original artwork and printed inner sleeve.

Vinyl includes mp3 coupon. Shabazz Palaces' Black Up, the group's Sub Pop debut, was recently hailed as one of the best albums of the decade by outlets like Pitchfork, Gorilla Vs Bear, and Variety. Pitchfork summed it up thusly: "Black Up is drowned in murky instrumentals and bombastic, introspective rhymes. The sounds flirt with jazz but also root themselves in a firm understanding of silence, or the sparse magic of simplicity. The songs teem with unexpected climaxes...From great mystery exploded an album of impossible vision." That "impossible vision" has continued to confound and engage Shabazz Palaces fans over the course of four acclaimed albums and two EPs. Each release feels like an evolution, letting the music speak for itself, while slowly revealing more about its creator. With The Don of Diamond Dreams, the group's fifth album, that spirit remains, this time embracing modernism in hip-hop and rap. Featuring 10 tracks in 43 minutes, the album features the highlights "Fast Learner (ft. Purple Tape Nate)," "Chocolate Souffle," "Bad Bitch Walking (ft. Stas THEE Boss), and "Thanking The Girls." It also features contributions from singer/keyboardist Darrius Willrich, Seattle's OCnotes (who collaborated with Shabazz leader Ishmael Butler on the Knife Knights project), Los Angeles musician Carlos Overall, and bassist Evan Flory-Barnes. The Don of Diamond Dreams was recorded throughout 2019 and produced by Shabazz Palaces at Protect and Exalt: A Black Space in Seattle, mixed and engineered by Erik Blood at Studio 4 Labs in Venice, California, and mastered by Scott Sedillo at Bernie Grundman Mastering in Los Angeles.

LP SKY BLUE VINYL/LOSER-EDITION

Vinyl includes mp3 coupon. Shabazz Palaces' Black Up, the group's Sub Pop debut, was recently hailed as one of the best albums of the decade by outlets like Pitchfork, Gorilla Vs Bear, and Variety. Pitchfork summed it up thusly: "Black Up is drowned in murky instrumentals and bombastic, introspective rhymes. The sounds flirt with jazz but also root themselves in a firm understanding of silence, or the sparse magic of simplicity. The songs teem with unexpected climaxes...From great mystery exploded an album of impossible vision." That "impossible vision" has continued to confound and engage Shabazz Palaces fans over the course of four acclaimed albums and two EPs. Each release feels like an evolution, letting the music speak for itself, while slowly revealing more about its creator. With The Don of Diamond Dreams, the group's fifth album, that spirit remains, this time embracing modernism in hip-hop and rap. Featuring 10 tracks in 43 minutes, the album features the highlights "Fast Learner (ft. Purple Tape Nate)," "Chocolate Souffle," "Bad Bitch Walking (ft. Stas THEE Boss), and "Thanking The Girls." It also features contributions from singer/keyboardist Darrius Willrich, Seattle's OCnotes (who collaborated with Shabazz leader Ishmael Butler on the Knife Knights project), Los Angeles musician Carlos Overall, and bassist Evan Flory-Barnes. The Don of Diamond Dreams was recorded throughout 2019 and produced by Shabazz Palaces at Protect and Exalt: A Black Space in Seattle, mixed and engineered by Erik Blood at Studio 4 Labs in Venice, California, and mastered by Scott Sedillo at Bernie Grundman Mastering in Los Angeles.

NORTHERN SOUL ESSENTIALS!!! 2020 finally sees the long-awaited follow-up to the mega-succesful Frank Wilson 45 in our ‘Soul Essentials’ series. And they don’t come more “essential” than The Tempests “Someday”. What a fabulous record and a top notch dancer to boot! For many, “Someday” is the Northern Soul sound of the millenium, and it is! But we have to go much further back in time to find it’s roots on the scene. Back another twenty years in fact, back to the eighties to the “discovery-city” of Stafford where it was first played to an astonished and eager audience. It was originally released as an LP-only track on the album ‘Would You Believe’ on Smash Records in 1967. And what an incredible album it is offering up a number of potential B-sides for our single: the title track, plus a very credible rendition of “Ain’t No Big Thing”, “Happiness”, “I Cried For You” and “What You Gonna Do” – all totally fantastic. But, we went with the stunningly sublime and pleading “I Don’t Want To Lose Her” dripping in tortured emotion that sends shivers across the dance floor! The Tempests were originally an all-white 10-piece outfit formed in the early-Sixties in Charlotte, North Carolina. They went through a number of personel changes over the years but by the time they signed to the Mercury owned ‘Smash’ label their unique sound featured black vocalist, Hazel Martin. It is Martin’s implouringy desperate delivery that resonated instantly with the Northern Soul scene propelling the band to iconic status. Now, over fifty years on, the two standout tracks from the album are available back-to-back for the very first time! Also available the No.1 oldie “Do I Love You” by Frank Wilson.

Thundercat drops his new album ‘It Is What It Is’ on Brainfeeder
Records. The record, produced by Flying Lotus and Thundercat, features musical contributions from Ty Dolla $ign, Childish Gambino, Lil B, Kamasi Washington, Steve Lacy, Steve Arrington,
BADBADNOTGOOD, Louis Cole and Zack Fox.

A unique voice transcending style and genre: “This album is about
love, loss, life and the ups and downs that come with that,” says
Thundercat. Thundercat has previously worked with the likes of Kendrick Lamar, Pharrell, N.E.R.D., Erykah Badu, Childish Gambino, Mac Miller, Anderson .Paak, Little Simz, BADBADNOTGOOD, Moses Sumney, Kamasi Washington and many more.

For fans of Kendrick Lamar, Childish Gambino, Flying Lotus, Kamasi Washington, BADBADNOTGOOD. Album photography by Eddie Alcazar. CD in softpack. Deluxe 140g picture disc LP housed in a 6mm spined gatefold sleeve with gold foil detail and OBI strip. Includes digital download code.

Deluxe 140g pink clear vinyl LP housed in a 6mm spined gatefold
sleeve with gold foil detail and OBI strip. Includes digital download
code. Red 140g vinyl LP housed in a 3mm spined sleeve with OBI strip. Includes digital download code. Thundercat will play his biggest UK shows to date in April.

Apollo are delighted to welcome Steve Legget & Mark Hand to the fold with their lush new single ‘If You Cannot Try’ featuring the dulcet vocals of Greg Blackman. Originally released as an uplifting bumping house track on Ramrock Records Blackman sent the stems of the release to longtime collaborator Steve Legget for a rework. Legget tore the original to pieces, deconstructing it into a much more ambiguous form. ”I’ve never been a fan of a chorus in a song,” Legget muses. "I like songs that are not direct that leave room for your imagination - Mark and I ended up building a new song around the texture of the original.”

Hand and Legget met in the early 90s at the Northern College of Art in Middlesbrough, and have collaborated at various times in the intervening years, through a shared love of Detroit techno, experimental electronic music, jazz and funk. Their creative process involves sending audio files back and forth - “The release was written in collaboration over the internet Greg in Colchester, Mark in Hartlepool, and me in St Albans."

Hand added spaced out textures and riffs from his collection of vintage Fender Rhodes and classic synths - taking the track into sunny space funk realms that comes on like a lost release from joe Claussell’s Spiritual Life label or Basic Channel jamming with Herbie Hancock.

Using their new version as the seed - Hand decided to try his own ’Teesside Techno’ version - "I wanted to give the track more of a 'machine funk' vibe with my rework” he explains. “I generally like to work by jamming with hardware - the bass line is generated by triggering the arp on my Juno 6..using triggers from a TR606 kick drum and hats replaced by a TR909.. the result being more of a jackin' electronic funk mutation!"

This continuing game of musical pass the parcel has indeed born some juicy fruit -

Scottish trumpeter Malcolm Strachan is a founder member of top UK funk/jazz-funk band The Haggis Horns as well as being one of the busiest session musicians in the UK today. In a professional career spanning 20 years, he's recorded with the likes of Mark Ronson, Amy WineHouse, Corinne Bailey Rae, Jamiroquai, Martha Reeves and The Vandellas, Jesse Glynne, The Craig Charles Fantasy Funk Band, Black Honey, The New Mastersounds and Blue Note saxophone legend Lou Donaldson. Now he's finally releasing his first solo album, aptly titled "About Time", on Haggis Records and he's going back to his original roots... Jazz.

The album is a collection of original compositions, all written and arranged by Malcolm, which are firmly rooted in the classic acoustic modern jazz style typified by the great 60's and 70's recordings on the legendary Blue Note Records label. A nice variation of themes and tempos feature throughout the album. From full-on latin vibes to beautiful ballads, soul jazz grooves to cinematic soundtrack flavours, all woven together by a great group of experienced musicians.

Malcolm's core quartet is himself on trumpet/flugelhorn, fellow Haggis Horns members George Cooper (piano) and Erroll Rollins (drums), plus Courtny Tomas on double bass. Featured guests are Atholl Ransome on tenor sax (The Haggis Horns), Rob Mitchell on baritone sax (Abstract Orchestra) and Danny Barley on Trombone. Strings are courtesy of Richard Curran and the percussionist is one of the finest session players in Europe, Karl Vanden Bossche (Incognito, Robert Palmer, Joss Stone, The Gorillaz, Sade, Blur - He and Malcolm met while touring with Mark Ronson)

Malcolm's love of jazz comes from his parents. Aged 7, his jazz musician father gave him a trumpet. From then on, jazz was his life. His musical education came via music teachers, youth jazz orchestras and jazz summer schools but mostly from his dad's record collection listening to Art Blakey and Dizzy Gillespie records and learning to improvise and solo by ear. At 18, he enrolled at Leeds College of Music and quickly immersed himself in the city's vibrant acid jazz, funk and soul scene and from making his recording debut in 1999 with The New Mastersounds, jazz was his musical passion but took a back seat to funk/soul/pop which were the day job. Until now.

Jazz is back. The wait is over. It really is "About Time" for Malcolm Strachan.

Los Afroins was the flagship salsa band of the obscure but beloved INS label from Colombia. Their 1975 LP "Goza La Salsa" is just as hard to find as their first record, and contains 10 bright and sassy salsa dura treasures that light up the dance floor with their incessant rhythms, syncopated trumpets and trombone and buoyant melodies. There are smoking covers of hits by Panama's Bush y sus Magníficos ('Salsa Al Pindin') and Bronx timbalero Orlando Marín and His Orchestra ('Está De Bala') as well as updated renditions of old Cuban chestnuts 'La Masacre' (written by Joseíto Fernández of 'Guantanamera' fame) and 'Matusa' (originally titled 'Macusa', composed by Francisco Repilado aka Compay Segundo).

The entire record makes for a very tasty and satisfying party platter filled with guaguancó, mozambique, pachanga, descarga and bolero that deserves to be more accessible and better known by today's fans of Colombian salsa who may have heard of The Latin Brothers or Sonora Carruseles, but have yet to discover the short-lived but highly sought after Los Afroins. "Goza La Salsa" is presented here in facsimile artwork and pressed on 180 gram vinyl.

“The aptly named Goza La Salsa (Enjoy Salsa) is the second album by Los Afroins, the flagship salsa band of the obscure but beloved INS label (Industria Nacional Del Sonido Ltda., Medellín, Colombia). The combo's repertoire focused mostly on cover versions hit tunes from New York, Cuba and Puerto Rico, both classic and contemporary, but for this record, their sophomore outing from 1975, their arrangements got tighter and there are more original compositions, which makes for a satisfying evolution in both style and content. Pianist Agustín "El Conde" Martínez, who would later work with Joe Arroyo and Juan Piña, led the group and did some arranging, with studio session production by INS artistic director Alfredo "Sabor" Linares. The vocals were handled by a pair of fresh-faced singers, Lucho Puerto Rico and Roy "Tayrona" Betancourt, who would later go on to fame in the 1980s, the former with his own Lucho Puerto Rico Y Su Conjunto Sonero and Conjunto Son Del Barrio (both in collaboration with Alfredo Linares), and the latter with Willie Salcedo, Reales Brass De Colombia, and Los Caribes. Additional arrangements were by Luis Felipe Basto of Los Black Stars and Luis E Mosquera, while the rest of the band was made up of INS related studio musicians. Goza La Salsa is just as hard to find as their first record and contains 10 bright and sassy salsa dura treasures that light up the dance floor with their incessant rhythms, syncopated trumpets and trombone and buoyant melodies. There are smoking covers of hits by Panama's Bush y sus Magníficos ('Salsa Al Pindin') and Bronx timbalero Orlando Marín and His Orchestra ('Está De Bala') as well as updated renditions of old Cuban chestnuts 'La Masacre' (written by Joseíto Fernández of 'Guantanamera' fame, and a hit for Cuarteto Caney) and 'Matusa' (originally titled 'Macusa', composed by Francisco Repilado aka Compay Segundo and made famous by Duo Los Compadres). This time around there are six excellent originals with the hottest pair being Lucho Puerto Rico's theme song 'Puerto Rico Power' and the percussion heavy final track, 'Alejada' sung and composed by Roy Betancourt. Just like the first album, the entire record makes for a very tasty and satisfying party platter filled with guaguancó, mozambique, pachanga, descarga and bolero that deserves to be more accessible and better known by today's fans of Colombian salsa who may have heard of The Latin Brothers or Sonora Carruseles, but have yet to discover the short-lived but highly sought after Los Afroins." Pablo E Yglesias DJ Bongohead of Peace & Rhythm

Originally released in the UK on 15th February, 1980 ‘ALABAMA SONG’ was initially written as a poem by Bertolt Brecht in 1925 and was put to music by Kurt Weill for the 1927 play Little Mahogany.

David Bowie was a longstanding Brecht fan and included the song in the setlist for his 1978 Isolar II tour. The studio version of ‘ALABAMA SONG’ on the A-side of this release was recorded on July 2nd 1978, the day after the final show of the European leg of the tour, at Tony Visconti’s Good Earth Studios in Soho, London.

The AA-Side features two previously unreleased tracks; A rendition of “Heroes” track ‘JOE THE LION’ recorded at the soundcheck of the tour’s final Earls Court show on the 1st July 1978. Though rehearsed for the Isolar II tour ‘JOE THE LION’ would not make its live debut until the Serious Moonlight tour of 1983.

The second track on the AA-side is a live version of ‘ALABAMA SONG’ also recorded July 1st 1978—a different performance than the one featured on the live album Welcome To The Blackout.

Following up on their explosive and critically acclaimed debut album Free To Believe (2015, Do Right Music), Canada's premiere deep funk outfit The Soul Motivators are back with their sophomore album Do The Damn Thing. The 9-track album delivers a heavy dose of the band's signature funk sound, incorporating the soulful sensibilities of lead vocalist Shahi Teruko, who has been performing and touring with the band for the past two years and makes her recorded debut here.

From the high-octane 'Mindblastin' and 'All the Way to the Bank' to the moody ''Black Rhino' and the car-chase MSFBs-inspired 'Savalas' which show off the Motivators' instrumental grooves, Do The Damn Thing is guaranteed to appeal to the most discerning funk fans.

The band continues to broaden their definition of soul music from a spiritual, political and social standpoint, as evidenced by the album's most poignant and introspective moment, 'Modern Superwoman' featuring lyrics penned by Teruko. The Soul Motivators have toured tirelessly in their hometown of Toronto and all across the country. Their diverse crowd always turns out for their propulsive live show, and their mandate has always been the same: inclusivity, community, togetherness, and getting down on the dancefloor.

Bristol-based multi-instrumentalist producer Memotone returns to Diskotopia for the stunning full-length LP Invisible Cities, undoubtedly his most accomplished work to date, effortlessly joining the dots between Martin Denny, Yasuaki Shimizu, Nurse With Wound, and Mark Isham…

Memotone is the principal alias for Bristol-based multi-instrumentalist, composer, and producer William Yates. As a solo artist, he has released on labels such as Black Acre, Bedouin, Project Mooncircle, and Brownswood either as Memotone or under his other alias Halfnelson. In addition to doing composition work for film and television, he works as a session musician for the likes of Dmitry Evgrafov, Connie Constance, and Phaeleh. He's also part of the Avon Terror Corps project helmed by Bokeh Versions, Giant Swan. Noods et al., and is a member of ATC-affiliated Pheasantry Society. His music has been championed on the radio, a key influential medium for Yates growing up, by the likes of Gilles Peterson, Mary Anne Hobbs, Tom Ravenscroft, Nick Luscombe, and more.

Drawing from Bristol's own sonic history, from the late 80s to the present, as well as the writing of Italo Calvino, Yates has put together 10 tracks on Invisible Cities that sit somewhere between neo-classical, ambient, fourth-world exotica, and post-krautrock. The mix of different timbres of live string and wind instruments, astute synthesizer touches, and skittish drum machine strokes creates an organic and ethereal energy deftly manipulated into a delicately interwoven narrative through Yates's production prowess. Already garnered support from the music press and radio DJs, the album will strongly appeal to a wide range of music lovers and fans of Ryuichi Sakamoto, Dorothy Ashby, Alberto Iglesias, Labradford, Delia Derbyshire, Peverelist, Toshifumi Hinata and more…

Red Vinyl

Iggy Azalea is a four time Grammy-nominated and multi-platinum Australian rapper who has become one of the most accomplished artists in history. Her 2014 debut album The New Classic, which debuted at #1 on the Billboard Rap Chart - a first for an international female artist, spawned a US chart topping trifecta of worldwide #1 multi-platinum smash hits: ”Fancy” (featuring Charli XCX, 5x-platinum); “Black Widow” (featuring Rita Ora, 4x platinum); “Problem” (collaboration with Ariana Grande, 6x-platinum). “Fancy” was the longest leading Hot 100 #1 hit by a female rapper in chart history, Billboard’s 2014 Song of the Summer, iTunes Best Song of 2014, the year’s most-streamed song on Spotify, and the most-watched music video on Vevo. While “Fancy” was still residing at #1 on the Hot 100, “Problem” – Iggy’s collab with Ariana Grande – peaked at #2. Iggy had made chart history again, this time as the first artist since the Beatles to rank at #1 and #2 simultaneously with their first two Hot 100 hits. Iggy Azalea’s videos have amassed over 2.5 Billion combined views to date. 

In 2018, Iggy released her EP, “Survive the Summer,” featuring the RIAA Certified Gold track “Kream” ft Tyga as she gears up for her sophomore album “In My Defense” in 2019.

As a long-time friend of the Connected label, Le Croque makes his debut with a superb single that comes with a remix from Themba. At the forefront of the ever-growing Greek afro-house scene and part of The Madorasindahouse team, Le Croque has also released on Open Bar Music and King Street, and DJed alongside such legends as Black Coffee, Adam Port and &Me. For this release he teams up with Berlin via Munich vocalist HRRSN who came to electronic music from soul and R&B and has released on such labels as Stil Vor Talent, Suol and Noir Music. This latest partnership leads to a beautiful deep slice of electronic hypnosis on 'Melancholia.' The track has a driving rhythm that is sparse and simple, with lush keyboard refrains and vocals soaring in the drop. It is the sort of majestic and melodic offering that will make for a fantastic high point in any set, while the dub keeps things even deeper for more intimate moments. Remixer Themba has swiftly risen to prominence over the last few years and is at the forefront of the South African house scene. Here he delivers a sharp and striding groove that is joined by stabbing bass, with fading, string-like notes and dubbed vocal refrains taking things to another level as HRRSN comes into the spotlight and delivers a message from the heart. This is a subtle but celebratory house package packed with plenty of emotion.

Mhysa, the newest addition to the Hyperdub roster, is ‘a popstar for the cyber resistance’ hailing from Maryland via New York. ‘Nevaeh’ is lo-fi R&B with a bedroom feel and challenging lyricism focussed on identity and black experience for the online generation.

She started ‘Nevaeh’ in late 2017, shortly after the release of debut album ‘Fantasii’, recording at home with some input from Lawd Knows, a frequent collaborator on her Scraaatch project. It is Mhysa’s intimate reflection on the black femme experience from multiple vantage points : sex and sexuality, self-love and self-discovery, black empowerment and lineage, and pleasure or the lack of it.

She describes the album as “a prayer for Black women and femmes to be taken to or find a new and better world away from the apocalypse ... a safe space, a sort of negro heaven.” ‘Nevaeh’ is deeply personal but easily relatable, its intimacy heightened by scattered acapella moments and interludes referencing black pop culture, where Mhysa’s delicate voice is laid bare, while other tracks reprise the melancholic R&B her mother raised her on, updated through a queer lens.

Conversely, several of the album’s tunes have found space in Kode9’s club sets over the last year, like the mischievous ‘Sanaa Lathan’ and skeletal ‘w_me’. Of this record’s progression from the last, Mhysa sought “to be more vulnerable and experiment with vocal range … to write more complicated vocal melodies that would be harder to do”, with her production now experimenting with new techniques, and (often self-taught) live instrumentation, as is her family tradition.

In opposite to other Nigerian acts which hardly got known beyond the borders of their homeland, BLO were always very popular in the Western world. Accompanying Ginger Baker of CREAM fame was the first step to break them into the western popular music market of the 70s and what followed could be called an African fairy tale.

Still this, their fifth album from 1979, waited a long time for a proper reissue, especially on hot black wax with originals in good conditions fetching prices of 300 € and more. For fans of 5th Dimension, The Temptations, Hot Chocolate, Earth, Wind & Fire. First ever and long overdue official reissue of this long lost Nigerian disco classic from 1979. Fifth album by one of The most outstanding Nigerian 70's afro beat acts.

Wah Wah 45's are proud to present "Cages", the third album from southern soul boys The Milk. Having released "Favourite Worry", their critically acclaimed sophomore album and first for independent label Wah Wah 45's, in 2015, the band are able to trace the seeds of the latest LP back to their recording sessions with producer Paul Butler (Andrew Bird, Michael Kiwanuka, Nick Waterhouse) almost five years ago, blending elements of soul, funk and rock together to create their own unique sound, inspired by some of their favourite artists such as Bill Withers, Traffic and the Isley Brothers.

"I can't wait to hear you write songs that look outward" - these words from Paul subconsciously had a lasting impression on the band. To atone for more inward-looking sentiments on "Favourite Worry", there had to be a shift in perspective. During the formative stages of the new album The Milk started pursuing a Nichiren Buddhist practice. The values and principles they discovered during this have informed every aspect of the record.

"We wanted to write an album that looked outside of the walls, to people, society and the environment - embracing real freedom in musical expression by utilising more complex rhythmic structures, extended harmony and dissonance to paint an original and authentic-sounding record" explains If their debut, "Tales from the Thames Delta", was inspired by hedonism and "Favourite Worry" by introspection, "Cages" is an impassioned conversation with the world. Racism and division are all on the rise. British society is being pulled apart by forces that seek to divide us and rip the compassion and empathy from our minds and hearts. We have become distracted from the more urgent challenges of boundless consumerism, climate change, and the mental health emergency reeking havoc on our streets.

We are the birds in the cage, tied by cheap thrills and fake news to a limited world vision that is no longer fit for purpose. The good news? We can all choose to challenge this view. "Cages" is equal parts the dark black shadow of how far we've fallen and the blazing sunlight whose rays of hope can still change the world. Four life-long friends, Ricky Nunn (vocals), Mitch Ayling (drums) Luke Ayling (bass) and Dan Le Gresley (guitar) formed their first band when they were still at school in Essex, playing countless working men's clubs, and finally became The Milk.

The band have built up a following of dedicated fans around the UK, which has resulted in them selling out venues such as Scala, Koko and Shepherds Bush Empire. Keen to get back on the road where they feel most at home and where the guys really shine, the band offer up a compelling set of diverse styles, matched with an ability to effortlessly intertwine songs together, gives their music a continuous feel to it. Since signing to Wah Wah 45's, the band released their second album "Favourite Worry", which became one of BBC 6 Music's albums of the year, sold out London's Union Chapel, toured with the Fun Lovin' Criminals and completed a sell-out UK tour climaxing at London's KOKO in Camden town. ... More live dates coming very soon!

As electronic musician Lorenz Brunner sketched his vision for the first Recondite full-length on Ghostly in five years he took a step back to assess who and where he was as an artist. 2013’s Hinterland accelerated a progression — he’s since been touring around the world and releasing music with labels such as Hotflush and his own Plangent Records — yet, for him, the album cast a shadow of pressure that widened over time. As with most art forms, perhaps especially music, there is an expectation to change, to creatively pivot elsewhere with each project. After careful consideration, Brunner rejects this notion with his new work, opting alternately to use the icy Hinterland as an aesthetic and tonal template for a like-minded map of evocative compositions aptly titled after the German word “stillstand,” now presented as Dwell.

“I am coherent with what I do, even if I’m not reinventing myself,” Brunner says contentedly. In regards to the album title, he adds, “It’s like when you’re on a hike and you stop and look at the scenery; you may know which path you want to go next but right now you are dwelling.” The title also doubles as a reference to everyday domestic life, a restorative haven for Brunner between tours. Like Hinterland, he incorporates a subtle range of field recordings to intensify the textural atmosphere. While he worked at home on “Mirror Games,” Brunner noticed the buzz coming from across the room, where his wife was using an electric toothbrush, naturally harmonized with the track. He decided to push that frequency further and record the device directly, syncing vibrations for added urgency across the propulsive piece as well as parts of the ambient “Interlude 2.”

Windswept, moody, and melodic, moments on Dwell linger with emotional resonance. The title track sends an eerie synth loop through a field of techno kicks. The beats recede for a breather four minutes in as if to survey the surroundings. If Brunner pivots anywhere — possibly just a new perspective afforded by being confidently stationary in his craft — it’s by leaning more into hip-hop structures. He’s an avid rap fan and his love for those production techniques is notably present on “Nobilia,” a queasy shuffler (titled in reference to the Super Nintendo game Secret of Evermore), “Interlude 1,” which skitters in lockstep with contemplative synth chords, and “Surface,” an isolatory, ruminative sequence. The closer “Moon Pearl” soothes and shimmers like its namesake, a cherished gem in The Legend of Zelda series that allows carriers of the gem to retain their shape and essence in the Dark World.

In an era where constant reinvention and highly self-reflexive brand awareness reigns supreme in the music industry, Brunner as Recondite does something many artists try to avoid, he dwells in his own established identity, one that has garnered him a devoted fanbase. His murky electronic productions, built around mirage-like pads and clipped drum programming, have proven to be highly functional and spectrally enveloping; Dwell is not a return to form, it is a further study of the shapes, it is the modes, and the structures Brunner has trademarked.

As electronic musician Lorenz Brunner sketched his vision for the first Recondite full-length on Ghostly in five years he took a step back to assess who and where he was as an artist. 2013’s Hinterland accelerated a progression — he’s since been touring around the world and releasing music with labels such as Hotflush and his own Plangent Records — yet, for him, the album cast a shadow of pressure that widened over time. As with most art forms, perhaps especially music, there is an expectation to change, to creatively pivot elsewhere with each project. After careful consideration, Brunner rejects this notion with his new work, opting alternately to use the icy Hinterland as an aesthetic and tonal template for a like-minded map of evocative compositions aptly titled after the German word “stillstand,” now presented as Dwell.

“I am coherent with what I do, even if I’m not reinventing myself,” Brunner says contentedly. In regards to the album title, he adds, “It’s like when you’re on a hike and you stop and look at the scenery; you may know which path you want to go next but right now you are dwelling.” The title also doubles as a reference to everyday domestic life, a restorative haven for Brunner between tours. Like Hinterland, he incorporates a subtle range of field recordings to intensify the textural atmosphere. While he worked at home on “Mirror Games,” Brunner noticed the buzz coming from across the room, where his wife was using an electric toothbrush, naturally harmonized with the track. He decided to push that frequency further and record the device directly, syncing vibrations for added urgency across the propulsive piece as well as parts of the ambient “Interlude 2.”

Windswept, moody, and melodic, moments on Dwell linger with emotional resonance. The title track sends an eerie synth loop through a field of techno kicks. The beats recede for a breather four minutes in as if to survey the surroundings. If Brunner pivots anywhere — possibly just a new perspective afforded by being confidently stationary in his craft — it’s by leaning more into hip-hop structures. He’s an avid rap fan and his love for those production techniques is notably present on “Nobilia,” a queasy shuffler (titled in reference to the Super Nintendo game Secret of Evermore), “Interlude 1,” which skitters in lockstep with contemplative synth chords, and “Surface,” an isolatory, ruminative sequence. The closer “Moon Pearl” soothes and shimmers like its namesake, a cherished gem in The Legend of Zelda series that allows carriers of the gem to retain their shape and essence in the Dark World.

In an era where constant reinvention and highly self-reflexive brand awareness reigns supreme in the music industry, Brunner as Recondite does something many artists try to avoid, he dwells in his own established identity, one that has garnered him a devoted fanbase. His murky electronic productions, built around mirage-like pads and clipped drum programming, have proven to be highly functional and spectrally enveloping; Dwell is not a return to form, it is a further study of the shapes, it is the modes, and the structures Brunner has trademarked.

As electronic musician Lorenz Brunner sketched his vision for the first Recondite full-length on Ghostly in five years he took a step back to assess who and where he was as an artist. 2013's Hinterland accelerated a progression he's since been touring around the world and releasing music with labels such as Hotflush and his own Plangent Records. His new album uses the icy Hinterland as an aesthetic and tonal template for a like-minded map of evocative compositions aptly titled after the German word "stillstand," now presented as Dwell. Windswept, moody, and melodic, moments on Dwell linger with emotional resonance. The title track sends an eerie synth loop through a field of techno kicks. The beats recede for a breather four minutes in as if to survey the surroundings. If Brunner pivots anywhere - possibly just a new perspective afforded by being confidently stationary in his craft - it's by leaning more into hip-hop structures. He's an avid rap fan and his love for those production techniques is notably present on "Nobilia," a queasy shuffler (titled in reference to the Super Nintendo game Secret of Evermore), "Interlude 1," which skitters in lockstep with contemplative synth chords, and "Surface," an isolatory, ruminative sequence. The closer "Moon Pearl" soothes and shimmers like its namesake, a cherished gem in The Legend of Zelda series that allows carriers of the gem to retain their shape and essence in the Dark World. Recondite does something many artists try to avoid, he dwells in his own established identity, one that has garnered him a devoted fanbase. His murky electronic productions, built around mirage-like pads and clipped drum programming, have proven to be highly functional and spectrally enveloping; Dwell is not a return to form, it is a further study of the shapes, it is the modes, and the structures Brunner has trademarked.

Double cyan blue vinyl in a gatefold sleeve. Two printed inner sleeves and a six panel oversized booklet. Download card enclosed. The vinyl includes the Deluxe track listing - 17 tracks in total.

U2 return with their hotly anticipated new studio album 'Songs of Experience'. The Island Records priority release completes a stellar year for the Dublin band, following their return to stadiums with the critically acclaimed, sold out 'The Joshua Tree Tour 2017' playing to 2.4 million fans in just 51 shows across Europe and North and South America, as well as the successful 30th Anniversary re-issue of 'The Joshua Tree'.

Recorded in Dublin, New York and Los Angeles, Songs of Experience was completed earlier this year with its subject matter influenced by Brendan Kennelly's* advice to Bono, to ...write as if you're dead'. The result is a collection of songs in the form of intimate letters to places and people close to the singer's heart: family, friends, fans and indeed himself.

Songs Of Experience is the companion release to 2014's 'Songs Of Innocence', the two titles drawing inspiration from a collection of poems, Songs of Innocence and Experience, by the 18th century English mystic and poet William Blake.
Produced by Jacknife Lee and Ryan Tedder, with Steve Lillywhite, Andy Barlow and Jolyon Thomas, the album features a cover image by Anton Corbijn of band-members' teenage children Eli Hewson and Sian Evans.

'The Blackout' and 'You're The Best Thing About Me' were the first songs to be made available from the album. 'You're The Best Thing About Me' is the band's first UK Top 20 airplay record in a decade and has also been remixed by Norwegian superstar DJ and producer Kygo.

*Brendan Kennelly - Irish poet, novelist and Professor Emeritus at Trinity College, Dublin.

• 1972 Debut solo album from the frontman of Chairmen of the Board
• Featuring ‘All We Need Is Understanding’ and Every Couple’s Not A Pair’
• Fans of Chairmen of the Board will quickly find the sound recognisable, with 4 songs overlapping with ‘In
Session’ and ‘Bittersweet’. The album was produced by Johnson, Mayner, Perry and Weatherspoon
• Detroit soul classic reissued on 180g heavyweight classic black vinyl with printed inner sleeve and original
artwork

Microdosing is a series of compilation 12”s selected by Julienne Dessagne aka Fantastic Twins, and designed in collaboration with French visual artist Geff Pellet. Microdosing is a collective experiment aimed at helping you fighting back your modern obsession with happiness. You may deserve a nice day but the day does not need a nice you, nothing should be forced, everything is permitted. Microdosing will provide you with sonic healing weapons on regular basis and at irregular dosage. Those doses will favour psychedelic social techniques against self help tyranny, creation over soma, provoking over numbing, our outer-selves over our inner-selves. Microdosing refuses the fatality of the pleasure principle. Life is a struggle, time to embrace it. —— “The cure 4 pain is in the pain” The Microdosing community is an endless Tibetan geometric tattoo on a thousand backs, a black well opening on infinite space. Let us embrace the void in our lives as it is fruitful. Cooper Saver hails from L.A, a city of fallen angels. “Phase 0” is a demonic weapon of choice, its beauty rising from urban ashes. Borusiade’s “Worlds” is an industrial mantra, tribal rhythms driving you through the seven circles of agony, the voyage being the destination itself. Zillas On Acid’s “S-Test” slowly pours acid into your retina, its groove showing you that the blind are the true see-ers. Scott Fraser’s “Deliria” concludes this chapter with the serenity only known to true martyrs. This is not a soothing piece, just the realisation that peace comes from eternal damnation. Microdosing is happy to lead you through the dances that know no threshold. To the chant of “the only cure for pain is in the pain”, you will travel further through an empty eternity. (Ivan Smagghe)

Mit ihrem sechsten Album kehren die Casady-Schwestern Bianca und Sierra zum bewährten Erfolgsrezept
ihrer früheren Releases zurück. Im Gegensatz zu den mehr psychedelisch-elektronischen Erkundungen der
beiden letzten Veröffentlichungen "Tales Of A Grass Widow" (2013) und "Grey Oceans" (2010), streift
"Heartache City" wieder durch staubig-poetische Gefühlswelten längst vergangener Tage. Ihren Anfang
nahmen die zehn Tracks von "Heartache City" wie gehabt im südfranzösischen Landgut der Casadys, wo
sich die beiden Geschwister ein lauschiges Studio eingerichtet haben. Dort sammelten sie Ideen und
schrieben Songs, die sie bei Gelegenheit mit minimalem Equipment, antiken Instrumenten und Vintage-
Spielzeug vertonten und ganz nostalgisch mit einem alten 4-Spurgerät aufnahmen, nur zu zweit, rein
akustisch und ohne digitalen Firlefanz. So entstanden relativ reduzierte Songs, die ihren Weg letztlich in
Argentinien in die Händen ihres Produzenten Nicolas Kalwillwith, und um eine Prise Buenos Aires
angereichert, ihren krönenden Abschluss fanden.