Buscar:bot

* Following on from the success of the 'Ram Reloaded' repress vinyl series, we are pleased to announce our next project in collaboration with Ram Records. As part of Ram Records’ 30th anniversary, we have put together a series of new remixes and VIP’s of some of the labels biggest releases from the early 90’s.

* For their follow up to the anthemic ‘Valley of the Shadows’ two years earlier, Ant Miles and Andy C went back in the studio under their guise ‘Origin Unknown’. Firmly under the Jungle style of attack, Ant pushed the envelope and broke the mould on bass sounds, creating the first detuned wobble oscillating sine bassline. With the famous vocal from President Nixon on the moon landing, ‘For one priceless moment, all the people on this Earth are truly one’, this track is one of the most cherished and globally appreciated tracks on the Ram roster to this day backed with the haunting roller vibe of ‘Mission Control’. Ant Miles returns to deliver two brand new VIP’s for 2024 which continue the Junglist vibe of both original mixes.

Sylvain Chauveau's debut album "Le livre noir du capitalisme" is a melancholic milestone – and a precursor of what later would become the Modern Classical genre. With his release in 2000, Chauveau created a landmark of contemporary electronic music, parallel to the first releases of Jóhann Jóhannsson and Max Richter.

Inspired by John Cage's reflections on silence and Mark Hollis' solo album of the same name, on "Le livre noir du capitalisme" Chauveau assembles contemplative, repetitive piano and string arrangements with electronic sound layers and discreet field recordings to create an other-worldly but seductive Musique Noir. Midway between ambient, jazz and post-rock, Chauveau lays out a new paradigm of electro-acoustic music that functions as much atmospherically as compositionally, and whose parameters keep the boundaries between academic and non-academic music dissolved to this day.

Originally released on the small French experimental label Noise Museum in 2000, the album got reissued by Type Records in 2008 with the English title “The Black Book of Capitalism”. Being out of print for a while, Sonic Pieces now rereleases the classic with its original French title, plus new remastering by Loop-O and in an ultra-limited, handmade edition with black bookcloth cover on both CD and vinyl.

White vinyl, limited to 650 copies. The album title hangs heavy throughout the duration of the songs themselves, a weight around the neck of its creators. Inspired by a tumultuous time for vocalist Seb Alvarez, the album is an uncomfortable listen as he grapples with then-undiagnosed bi-polar and unchecked addiction issues. Whilst the themes of shame, deception and trauma are not new to meth., they have previously been dressed up with a fictional veneer. This time around, Alvarez lays his vulnerabilities bare, offering up the darkest parts of himself. The oppressive burden of shame, galvanised by behaviours rooted in addiction and mental illness seeps into the anxiety-inducing atmosphere of the album. Alvarez chronicles the differing types of shame and rock bottom feelings from Catholic guilt instilled in him from a young age, through to the more recent deceptions of concealing the effects of alcoholism. As he details his constant internal battles and downward spirals, everything is channelled into the creative process. The result is stark, unyielding and raw. For the first time, the band wrote as a unit, indicating a shift in focus. Alvarez focussed on the lyrical and thematic elements of the album and created more room for his bandmates to thrive. The ominous sound of SHAME is littered with experimental flourishes, as meth. lean into noise rock and metal simultaneously. There is an industrial bleakness to the album that propels it along, at some points as though through gritted teeth. Operating under a remit that included avoiding a reliance on riffs, meth. instead let rhythm - specifically their drums - carry the weight and forward motion of their compositions. Recorded in winter 2022-23 by Zack Farrer at Rose Raft in New Douglas, IL, the album was later mixed and mastered by Colin Marston.

Superheaven and Run For Cover Records have teamed up to commemorate the ten year anniversary of the band's breakthrough debut album JAR. After first hitting stores in Spring of 2013, this latest update to the legacy of one of Run For Cover's most important titles comes out April 28, 2023. The eastern-Pennsylvania four piece had been building anticipation for their first full-length for years, releasing multiple EPs and playing shows with local contemporaries like Tigers Jaw and Balance and Composure. Working with producer Will Yip (Turnstile, Title Fight) at Studio 4 in Conshohocken, PA, these songs showcase a talent for writing both jarringly heavy and delicately emotional songs, mixed with the size and clarity of major label grunge breakthrough records like Nirvana's Nevermind or Failure's Fantastic Planet. The revamped anniversary edition features new, updated packaging as well as two bonus tracks - "Siblings," a Jar-era one-off single and "Lucky," a vinyl-exclusive b-side from the LP sessions.

Our third release and first vinyl release is the EP ‘Hell’ from the french producer and live performer OKKOTO.

Producing for more than 10 years, he already has a solid reputation on the hardcore scene with his duo Iridium both for their releases (The Third Movement/Heresy) and live performances (X-Massacre,
Hardkase, Heresy, Konkoly Open Air…)


For his solo project, he delivers a powerful industrial hardtechno with hardcore and metal influences.

The EP includes two remixes by Métaraph and 6EJOU.

A lot of water has flown under the bridge since Błoto released their last album. Sadly, in Polish rivers it wasn't just water flowing, but also all sorts of sewage of unknown origin, which destroyed the condition of these once vibrant bodies of water; it eventually led to a real catastrophe on the Odra River, which, after all, surrounds the entire city of Wroclaw, the band's birthplace. It is time for a decisive response. Błoto is making a comeback with a seven-inch vinyl and their first singles in over two years - "Szlam" and "Ścieki".

Climate change had already led to a permanent hydrological drought, which was echoed on Erozje LP. Today, as many as 91.5 percent of Poland's rivers are in very poor condition. It is not only drought that threatens rivers, but also excessive salinity. This is precisely the kind of disaster that happened on the Odra river. It resulted in 360 tonnes of dead fish and death of the river along a stretch of almost 500 km, and the reason for that was short-sighted human activity that could have been avoided. Still, the decision was made to turn the river into a cesspool.

Two years of hiatus is far too long. During this time, reality has not let up for a moment, providing new inspiration. Szlam (eng. sludge) is the sediment that forms on the river bed and sometimes the river banks. The Polish word derives from German (Schlamm), which means swamp - or mud. Szlam is therefore a sticky and unsettling remorse that rests somewhere at the bottom of the human consciousness.

In "Szlam" and "Ścieki" tracks, you will not only hear references to Erozje, but also to Kwasy i Zasady LP. For it is also a metaphor for everything that pours out of the media, smartphones, and then flows into one's head. The constant bickering, conflicts and dirty play in political campaigns, scandals to which we are already numb. On top of this, hate speech, low-quality stupefying influencer content, resulting in an ever-decreasing cultural capital of a society that breeds conformists, individualistically-minded egoists and mindless consumers. This state of affairs spawns a society of egoists, incapable of critical reflection, questioning and rebelling against reality.

The sound and genres explored by the band are, as usual, difficult to pigeonhole. These two musical miniatures contain a lot of anxious and neurotic sounds, as well as synth glitches evoking emotions such as fear, anger, sadness and guilt. The quartet consisting of Wuja HZG, OlafSaxx, Cancer G and Latarnik managed to distill this mental state by encapsulating it in shades of breakbeat ("Szlam"), and broadly defined house music ("Ścieki").

The 7" vinyl will be released on January 08th 2024 by Astigmatic Records.

After two EPs with his punk-jazz duo La Récré, a recent solo album on Born Bad Records and two soundtracks for Monia Chokri films "Babysitter" and "Simple Comme Sylvain", Forever Pavot is everywhere yet never where you expect him to be. He now returns to BMM with a new rap album titled "Forever XP".

On the other side of the globe, LA-based rapper and street activist XP The Marxman received a beat with a nice sample from one of his producers. XP traced the sample back to Forever Pavot, and decided to reach out to him to collaborate.

That's how the atypical Forever XP album was born. Pavot's first time working with a rapper was also XP's first time working with a composer, yet they managed to blend both their universes in such a flawless way that it's like they were meant to create music together.

'“Nobody Move!”, so says Philippe Doray and his Asociaux Associés (the Antisocial Associates)! Having dynamited the end of the 70s with two radical albums – Ramasse-Miettes Nucléaires in 1976 & Nouveaux Modes Industriels in 1978, both reissued by Souffle Continu – Doray still hadn’t finished singing. Throughout the next decade he began his Composant compositeur which would document the “second period”, as he calls it, of his Asociaux Associés.

The record includes new schizo-electro songs which make the most of his association with Laurence Garcette, who also plays all sorts of keyboards. A prolongation of the first period of the Asociaux Associés, the duo updates Doray’s poetry: in reaction to the current overcast atmosphere, here are some hallucinatory fantasies to the rhythm of an infernal circle dance (« Le petit géant ») or an ecstatic waltz (“Bombés fluo”) or even coded messages stuffed into bottles and thrown into space (“Secoue le flipeur”, “Choc d’amour”).

On the bonus CD there are further iconoclastic examples: rare recordings (unpublished or even “inaudible”) of the Asociaux Associés but also by Crash, a duo that Doray formed with Thierry Müller (Ilitch, Ruth). At the controls of their experiment- bending machine the musicians multiply the possibilities: peripheral rock, arias in orbit, broken swing, industrial mantras and other joyful falsities. Enough to make you lose your mind? No... as Philippe Doray promised: it is the “jackpot qui frissonne” (the shivering jackpot) which is there to excite.'

The area was now quite empty, the floor littered with empty Evian bottles. The consensus is that the Tangerine Sunsets are a disappointment.

Mix cassette from Premature label founder Ben Galyas

Premature is a record label established in 2017 who have released Terre Thaemlitz, Scanner, and Civilistjavel!.

Ben Galyas is an artist based in London.

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! 180-gram 45 RPM double LP Mastered by Bernie Grundman from the original analog tape Contains Otis Redding's posthumous hit "Sittin' On the Dock Of the Bay" Appeared on Rolling Stone's 500 Greatest Albums of All Time, rated 161/500! Pressed at Quality Record Pressings Gatefold old-style "tip-on" jacket by Stoughton Printing Hybrid Mono SACD Mastered directly from the original master tape by Bernie Grundman The guts of the story are this: While on tour with the Bar-Kays in August 1967, Otis Redding's popularity was rising, and he was inundated with fans at his hotel in downtown San Francisco. Looking for a retreat, he accepted rock concert impresario Bill Graham's offer to stay at his houseboat at Waldo Point in Sausalito, California. Inspired, Redding started writing the lines, "Sittin' in the morning sun, I'll be sittin' when the evening comes" and the first verse of a song, under the abbreviated title "Dock of the Bay." He had completed his famed performance at the Monterey Pop Festival just weeks earlier. While touring in support of the albums King & Queen (a collaboration with female vocalist Carla Thomas) and Live in Europe, he continued to scribble lines of the song on napkins and hotel paper. In November of that year, he joined producer and esteemed soul guitarist Steve Cropper at the Stax recording studio in Memphis, Tennessee, to record the song. Cropper remembers: "Otis was one of those the kind of guy who had 100 ideas. ... He had been in San Francisco doing The Fillmore. And the story that I got he was renting boathouse or stayed at a boathouse or something and that's where he got the idea of the ships coming in the bay there. And that's about all he had: 'I watch the ships come in and I watch them roll away again.' I just took that... and I finished the lyrics. If you listen to the songs I collaborated with Otis, most of the lyrics are about him. ... Otis didn't really write about himself but I did. Songs like 'Mr. Pitiful,' 'Fa-Fa-Fa-Fa-Fa (Sad Song)'; they were about Otis and Otis' life. 'Dock of the Bay' was exactly that: 'I left my home in Georgia, headed for the Frisco Bay' was all about him going out to San Francisco to perform." Redding and Cropper completed the song in Memphis on Dec 7, 1967 with tragedy, unknowingly, looming. Just two days later Redding lost his life on a routine commute to a performance when the small plane he was in crashed. The other victims of the disaster were four members of the Bar-Kays — guitarist Jimmy King, tenor saxophonist Phalon Jones, organist Ronnie Caldwell, and drummer Carl Cunningham; their valet, Matthew Kelly and pilot Fraser. Cropper and bassist Donald "Duck" Dunn completed the music and melancholic lyrics of "(Sittin' On) The Dock of the Bay' which was taken from the sessions — Redding's final recorded work. Cropper added the distinct sound of seagulls and waves crashing to the background. This is what Redding had wanted to hear on the track according to Cropper who remembered Redding recalling the sounds he heard when he wrote the song on the houseboat. One of the most influential soul singers of the 1960s, Redding exemplified to many listeners the power of Southern "deep soul" — hoarse, gritty vocals, brassy arrangements, and an emotional way with both party tunes and aching ballads. At the time of his tragic death he was 26. ‘(Sittin’ On) The Dock of the Bay’ was released just a month following Redding’s death and became his only ever single to reach number one on the Billboard Hot 100 in January 1968. The album, which shared the song's title, became his largest-selling to date, peaking at No. 4 on the pop albums chart. "Dock of the Bay" was popular in countries across the world and became Redding's most successful record, selling more than 4 million copies worldwide. The song went on to win two Grammy Awards: Best R&B Song and Best Male R&B Vocal Performance. With the album, Redding confirmed himself as a talent lost far too soon. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

FOLLOWING THEIR RECENT REUNION, THE DELGADOS REISSUE THEIR FOURTH STUDIO ALBUM HATE ON COLOURED VINYL AND CD TO MARK ITS 21st ANNIVERSARY

Ushering in a new era of emotionally vulnerable and cinematic songwriting for celebrated Glasgow group The Delgados, 2002’s Hate is the group’s most ambitious recorded statement to date. Recorded amidst a backdrop of personal change and international crisis, Hate’s internal alchemy transmogrifies darkness into light. It’s an enclosed universe full of tragedy and magic, a swirling galaxy of lush orchestration, misanthropy dealt with kindness and black humour. Above all it showed a band coming to terms with their fragility with a new power and grace.

In Hate, the band’s ambition saw them striving to reflect the breadth of human experience, both the joy and tragedy of living in tumultuous times. Initially commissioned by The Barbican in London to compose music for a film about artist Joe Coleman, the instrumental music that instigated Hate was laden with darkness from the outset. The Delgados’ worldview has always been informed by nuance, an oblique but incisive lyrical perspective but on Hate a new rawness is woven throughout the songs. Coleman’s original subject matter - portraits of troubled historical figures like Ed Gein, Mary Bell and Jayne Mansfield - influenced the tonality of the music but the songs were written against a backdrop of international tumult and personal life changes for the band members. Beginning writing sessions following a family bereavement in drummer Paul Savage’s family, Hate was then recorded while both Alun Woodward and co-singer/guitarist Emma Pollock were expecting new additions to their young families, the latter with drummer Paul Savage. In the background to the recording process were the attacks on the World Trade Center of September 2001 and their aftermath. In this context, it’s remarkable that an album was made at all, let alone one so grand and compassionate. It’s a masterclass in restraint and imagination.

Hate sounds like the world in all its ugly glory. Recorded in Glasgow and New York with Tony Doogan, Dave Fridmann and the band as producers and using over 20 additional musicians, Hate grabs the baton from the group’s breakthrough critical and commercial success The Great Eastern. Bolder, broader and more all-encompassing than anything the band had previously attempted, the album’s palette is furnished by a string section, brass and reed instrumentation, a choir and electronic elements augmenting the core group of Emma Pollock, Alun Woodward, Paul Savage and Stewart Henderson. Far from being over the top, the group’s skill is in attention to detail, in honing and refining each arrangement, allowing each element its space.

It’s a fine balancing act that pays massive dividends. Woodward’s new lyrical vulnerability is spotlighted on tracks like The Drowning Years, which throws elegiac string arrangements against the narrative of characters living in darkness, punctuated by couplets that bring a real-life documentary feel to the narrative. All Rise brings a black comedy to the idea of a confessional before a transcendent, choir-led refrain brings ecstatic resolution to Woodward’s vocal in its highest register. On the single All You Need Is Hate, Woodward’s trick of subverting the Beatles standard showcases the dark humour at the centre of Hate. Here The Delgados’ perversity is in full flow, nurturing a glowing light from darkness, the resolving melody and Fridmann production recalling contemporaries The Flaming Lips (whose Michael Ivins assisted in mixing) or Mercury Rev. The perversity is the surging serotonin induced by the group while singing the lines “Hate is everywhere, inside your mother’s heart and you will find it there. You ask me what you need? Hate is all you need.”

It’s a dark magic that pervades Hate, indeed it’s almost the driving force throughout the album. Flipping minor to major and back again, Favours is fuelled by fear and violence before blasting into the heavens with the gauche line “and you’re feeling fine,” operating in stark contrast to the verses’ tone. Album opener The Light Before We Land finds Emma Pollock in the aftermath of recent family trauma. Her vocal is effortless; a study in steady restraint against the massive, Fridmann-patented drum sound powering Savage’s playing and Henderson’s instantly recognisable melodic basslines. Coming In from the Cold is Pollock in full flight, lifted to the heavens by wide-screen, instrumental texture. Her presence on Hate highlights her knack for lyrical impressionism, the timbre of her voice lending itself to drama while always retaining a mystique. Never Look At The Sun, inspired by the Coleman painting The Big Bang Theory (itself an explosives-themed study), revels in paranoia, her performance ringing out in the eye of the storm conjured by the swirling arrangements. It reaches the peak of a redemptive arc while seemingly parodying the very idea of redemption.

Hate was the sound of The Delgados completely fulfilling their potential, a fully realised vision buoyed by the weight of coming through a darkness into light. For its 21st anniversary, the album is being reissued on the band’s own Chemikal Underground on coloured vinyl and CD. Hate is all you need

The French deep house label D3 Elements is now a decade old and to mark the occasion it has assembled a superb three part EP series featuring plenty of talents both new and old. The second EP kick off with some Japanese stylings from Koizumi Yukiko and his piano laced bongo workout '526'.

Taelue sets off on a deep and heavy bassline pulse that will make floors march and Nemanja Krstic's 'Aquae Sulis' brings some jazzy chord work and bubbling funk bass for a nice heartfelt vibe. Gnork shuts down with a skittish, stripped back broken beat that makes this another diverse offering.

Jason Grimez is a Cincinnati-based DJ and producer. He has a long history of record collecting, sampling, and creating new sounds with analog gear. Grimez works with some of Cincinnati's finest studio musicians to create raw, soulful, instrumental hip-hop under the moniker Doctor Bionic. The next LP, In The Infinite, is due out 12/01/2023 via Chiefdom Records. Grimez fell in love with music during the golden era of early 90's east coast hip hop - when digging for jazz and funky samples were the backbone of beats. He became comfortable scratching on a pair of 1200s and sampling records with an MPC 3000 in high school. After years of collecting music and working on his sound behind the scenes, he has compiled a huge discography of original songs. In 2015, Grimez started his independent label Chiefdom Records. His studio persona Doctor Bionic was one of the first to see a release on the new imprint. The project features a studio band of session musicians. Grimez is responsible for writing, recording, producing, mixing, and releasing the records. He gathers a group of musicians in his studio, presents a few ideas, and hits record. Due to a rotating cast of musicians and ever-changing inspirations, no two sessions are alike. "There's no set pattern," Grimez explained. "I'll invite some session players and have them jam on a few ideas. Sometimes we'll start with a drum break and add melodies over top. It's mostly improv, and I can always go back and chop it up." One common thread is the fresh, original sounds. "I like to call it Organic Groove," he shared. "I'm inspired by all kinds of music - instrumental hip-hop, soul, classic rock, jazz, you name it. When we get in the studio, all of the pieces add up to a new sound." In The Infinite features some of the best players in the Cincinnati music scene. Cameron Brown played guitar on several tracks. Brian Batchelor-Glader, an award-winning pianist, was also involved. All 12 tracks provide the perfect backdrop for hanging with a group of good friends or cruising in the car. The drums are solid, consistent, and lay an effortless foundation for all kinds of instrumentation. Jazzy trumpet lines, ethereal keyboards, choppy soul guitar licks, and much more. "Do You Remember?" (track 2) heroes a busy, poppy guitar and a head-bobbing bassline. The record scratching and tape-recorded drum tones on "Plastic Art" (track 7) feels like a hip-hop instrumental from the early aughts. From top to bottom, this record has a lot to offer. Pick up a copy of In The Infinite on vinyl or stream the album on 12/01/2023

Lovely Is Today (Edit) by Eddie Harris b/w September 13 (Edit) by Deodato | Galaxy Sound Co. — GSC4540, test pressing | Hot off the presses via the always-on-point @galaxy_sound_company crew. This will mark number 40 in the GSC45 series. Every release has been stellar, elevating it to the rarified “buy-it-on-site” status. If you love hip-hop, broken beats & top-class edits, anything w/ their stamp on it — you know it’s going to be top notch. They’ve got a bottomless discography full of that good ish, & here comes another addition to the cannon in the form of a pair of glorious jazz-funk nuggets.

Side A is an edit of “Lovely Is Today” by Eddie Harris, which is taken from his brilliant 68 soul-jazz LP “Plug Me In”. Chicagoan Harris pioneered the usage of amplified electric Varitone saxophones. It features a stellar line-up: Ron Carter (bass), Haywood Henry (baritone sax), Jodie Christian (piano), Garnet Brown (trombone), James Bossy (trumpet), Grady Tate & Richard Smith on drums, &, of course, Harris on tenor sax. Here the edit trims off the intro noise & extends the breaks recalling hip-hop songs it sampled: “2 Deep” by Gang Starr, “Intro” by Mobb Deep, “It Ain’t Hard To Tell (The Stink Mix)” by Nas, “What’s My Name Yo?” by MC Lyte, among others.

Side B is an edit of “September 13” by Deodato, taken from his self-titled jazz-funk 73 LP. Deodato, aka Eumir Deodato De Almeida, is a Brazilian artist known for his range of production work for Kool & The Gang to Björk, as well as TV & film scores & collabs w/ Milton Nascimento, Ithamara Koorax & Marcos Valle. Heads will know this one as the source for heaters like “In The House” by Pete Rock & C.L. Smooth, “Park Joint” by Camp Lo, “Epoca” by Gotan Project, “Don’t U Know” by DJ Rels aka Madlib & “Track 13” on Beat CD #2 by J Dilla.

Batov Records' Middle Eastern Grooves 45s series welcomes the latest addition to its eclectic roster - a two-track EP from Eje Eje, the psych and funk inspired project from Şatellites band leader and producer, Itamar Kluger. Featuring the tracks "That Rainy Down" and "Coral Sex," the EP showcases Eje Eje's unique blend of Middle Eastern melodies, soulful grooves, and psychedelic sounds.

On the A-side "That Rainy Down," The electro baglama player takes the lead, building and building as if, “he is pushing himself to his limit”, says Itamar, “seeking catharsis as he walks to the edge of the cliff with confidence”, whilst the a baladi rhythm plays like an immense march of drummers. On the B-side we find the funkier "Coral Sex", which according to Itamar tells a story of a drunk tramp bothering the refined and self-important occupants of an exclusive hotel lobby. Reflecting this friction, the track juxtaposes a silky and sophisticated R&B sound, with loosely, pr even drunkenly, played take on rebetiko, a traditional Greek music associated with the poorest of city dwellers, played on a long-necked Greek lute known as a bouzouki.

As each track develops, new layers are revealed, inviting the listener to delve deeper. The effect is intentional. As Itamar says, "there is this kind of music that hooks you in a different way every time you hear it, different places in the songs lighting up in different colors, like slowly revealed layers. In our (Eje Eje) case, it is just such a hazed blend. It could make a very specific atmosphere, color a very specific movie scene that is lost in time or yet to be directed, or a very specific moment with your headphones on a long bus to the desert."

Itamar Kluger is best known for his work with the Şatellites, a six-piece band whose blend of Turkish folk and psych with funk and disco won them champions and listeners across the globe, from KEXP in Seattle to BBC Radio 6 Music, and FIP in France.

Eje Eje’s first 45 promises to be at least as quirky and original, if not more so, since the project is even more unshackled from traditional concepts of a band.

Into the best Balearic tradition boldly steps Milan’s Rollover crew. As well as a regular party in Milan, the Rollover DJs (Tiberio Carcano & Rocco Fusco) have been making edits and releasing tunes over the past several years, but with this release there has been a step change in ambition. The latest collection of songs has been produced in a studio with actual musicians and songwriters, but with the ear of an experienced DJ. The best of both worlds. It was recorded almost exactly one year ago in December 2022, with the cream of Italian players, including bass player and Jovanotti collaborator, Saturnino, sticksman Sergio Carnevale, vocalist David Blank and guitar and synth boffin Lorenzo Morresi, who’s helped the guys with production. It follows in the tradition of a new generation of Italian musicians, like Nu Genea, Mystic Jungle Tribe and also DJs like Volcov. The lead single, ‘What Do You Live For’ was what Rocco & Tiberio describes as, “a funky track inspired by the early 1980s” and grooves so hard, with Blank’s message hitting right in the solar plexus. This will be followed by a pair of bangers, ‘Change My Mind’, a mid tempo disco chugger that is a tribute to LTJ Experience, the Bologna DJ Luca Trevisi, while ‘Never Found The Way’ heads towards Arthur Russel, before pealing off directly to the dancefloor. There’s also a Bawrut remix that adds some urgency and darkness to proceedings. The package is completed by lovely artwork by Riccardo Corda, whose work has adorned the Nu Genea releases. Is it Balearic? We think it is.

Hailing from Hawthorne, California, Thee Heart Tones are the newest band to join the Big Crown roster. Just out of high school their music has both the innocence and charm of young love and the intensity of young heartbreak. Their forthcoming debut album was recorded at Diamond West Studio in five days with producers Leon Michels and Tommy Brenneck. This first set of songs on this unstoppable two-sider give a glimpse of what is to come while their album is getting the finishing touches.

The A side “Forever & Ever” is an instant classic that lifts your mood and gets you moving. Lead singer Jazmine Alvarado’s unmistakeable and incredible voice dances over the band’s backing track while she professes her desire for a sincere and lasting love. The groove will get everyone on the floor swaying and the chorus sticks in your head long after the needle bumps up against the label.

The B side is their rendition of the classic “Sabor A Mi” which brought the house down live at the LA Big Crown Showcase when they performed it for the first time. Not an easy tune to take on, Jazmine does it justice and Thee Heart Tones put their version right up there with the best of them.

Mirage is a cosmic collaboration between the Silver Apples and Makoto Kawabata of Japan's Acid Mothers Temple. Packaged in a deluxe jacket printed with metallic silver ink. This album is dedicated to the memory of Simeone Coxe who died September 8, 2020 while this project was being assembled. Dragonfly's First Flight, taking up the full side A, features Simeon Coxe and Kawabata Makoto jamming over familiar Silver Apples hypnotic rhythms. Fans of both groups will delight in the interplay between Simeon's keyboard and Makoto's drone guitar feedback soloing. Side B ranges from free-form freakouts to ambient poetry readings by Simeon with Japanese translation spoken by Makoto. Future Reminiscence, which closes side B, sounds like a long-lost Silver Apples

We're both over the moon and at the same time sad to have this track with us on Food Music, as we wave goodbye to one of UK house music's most talented duos. After releasing their sublime 'Tell Ya Something' with us, Mak & Pasteman will be calling it a day to focus on personal projects and what a way to sign off.

This looped up disco thumper tops the tree when it comes to the right vibe and production, and as if this wasn't enough, house legend Junior Sanchez joins the digital package with a huge rework and completes the perfect send off for Craig and Matt.

Thanks for choosing us to close your huge musical chapter - and we hope you won't be missing for too long!

Repress!

After the roaring success of the Gallery’s launch, stand back, take a swig of that free champers and admire the 2nd exhibition of Art masterpieces to grace these walls.

Exhibit A - an intergalactic acid workout, heavy on the synths and delicately finished with a masterstroke of alluring vocals.

Exhibit B – another rare work of art, restored and rejuvenated, cosmic credentials in check. An extensive palate of pulsating arps and blistering bass mixed with stratospheric keys and a powerful Italo vocal that’s had collectors the world over baying to put in a bid.


Both exhibits are now up for auction. Bid big!