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Straight outta Rockaway Beach, Queens, New York City, USA, THE WORLD, Prison is a state of mind, an experience, a loose collective, a band, a jam band and a bunch of psychedelic dudes who aren"t your average bunch of jambanders. All that, all at once, ALL THE TIME. You get what you"re dealing with here? No...you don"t. The only way to REALLY get it is to go to Prison -- and if you"re not from greater NYC and haven"t showed at any of the shows, here"s your best bet: their breakout album, Upstate. And whatta breakout! So high, you can"t get under it; so wide, you can"t get over it! How wide? Every song has two titles, that"s how wide. And almost everybody sings, like, all the time. That wide. Sure, you can break down the numbers -- five guys, five songs and four sides of vinyl in one gatefold sleeve -- but that won"t get you Upstate, either. Prison is the sound of everybody in the room figuring out where to go, individually and collectively. As they go through it, the meaning changes, the destination changes, the words mean something different. It"s meaning and no meaning, rising and falling, sinking and flying on the back of something massive cacophonized by three guitars, four vocals, a bass and drums. A lot of information bouncing around and enough time to really get you out of yourself! Take a look at the titles: each one a dichotomous inquest that the assembled Prison-ers march upon with fervor, glee, vengeance -- a whole spectrum of feels and perspectives woven into the jam for you to see. The Prison population changes with the seasons, and during the season this album was recorded, Sarim Al-Rawi, Mike Fellows, Sam Jayne, Matt Lilly and Paul Major were in Prison. Sarim you might know from Liquor Store, Mike"s made a bunch of scenes and records as Mighty Flashlight, Sam, who passed away in 2020 (R.I.P., brother) was in Love as Laughter -- and Paul Major you know from Endless Boogie, who Matt had roadied for -- and despite being "just a skateboarder who loves music" with no previous experience on the drums, he and Sarim inaugurated the Prison experience, like, seven years ago. Since then, it just fell together and it keeps doing so. A free thing called Prison.

Sam Records and Saga present:

A never-before released Billy Harper 1975 live recordings.

First official release with the full permission and cooperation of the Billy Harper & INA (Institut National de l’Audiovisuel).

Billy Harper Quintet – Antibes ‘75

Two days after recording the first album ever issued on the Black Saint label, Billy Harper and his quintet were onstage at the Antibes Juan-Les-Pins jazz festival. Though Black Saint is a phenomenal album and is rightfully considered as one of the finest jazz releases of the period, Antibes ’75 shows that Billy and his men gathered momentum to push the boundaries of their studio effort even further.

That night, surrounded by stars, pine woods and a captivated audience, the quintet delivered a powerful and inspired performance. Never had Harper’s signature tunes “Cry of Hunger” and “Croquet Ballet” reached such a soulful expression, and we only wish that this moment of truth would have lasted a little longer.

We are honored to present to you this concert for the first time on record, a 180g LP including a 6-page insert with previously unseen photos by Gérard Rouy and Thierry Trombert and an essay by Bernard Loupias.

Virgil Jones (Trumpet)
Billy Harper (Tenor saxophone)
Joe Bonner (Piano, arranger)
David Friesen (Double Bass)
Malcolm Pinson (Drums)

Life is nothing without love. Love is the force that drives our journey in life. Life is love and love is life.”

UK jazz master Chip Wickham follows last year’s brilliant soulful long-player Cloud 10 with a deftly crafted, reflective EP of beautiful spiritual jazz sounds influenced by the soulful sounds of Yusef Lateef. Chip’s music has always drawn from a broad world of influences from hip-hop to Roland Kirk and from classic funk to the classic ‘60s Brit-Jazz sound of Tubby Hayes. But Love & Life finds him foregrounding his wonderful flute playing and producing a perfect fourtracker of reflective, peaceful jazz that elevates and inspires as well as a trademark slice of boppish soul jazz – the jaunty Space Walk.

Elsewhere lead single Love & Life is a joyous jazz waltz with an uplifting, bouncing groove and Slow Down Look Around is introspective and intimate, featuring Chip’s signature flute with a beautiful solo from UK trumpeter Malcolm Strachan. Chip explains that the track presents “a big lesson for us to learn as the world changes around us with such speed. The technology changes but our human needs remain the same: peace, tranquillity and time to think.”

Life is nothing without love. Love is the force that drives our journey in life. Life is love and love is life.”

UK jazz master Chip Wickham follows last year’s brilliant soulful long-player Cloud 10 with a deftly crafted, reflective EP of beautiful spiritual jazz sounds influenced by the soulful sounds of Yusef Lateef. Chip’s music has always drawn from a broad world of influences from hip-hop to Roland Kirk and from classic funk to the classic ‘60s Brit-Jazz sound of Tubby Hayes. But Love & Life finds him foregrounding his wonderful flute playing and producing a perfect fourtracker of reflective, peaceful jazz that elevates and inspires as well as a trademark slice of boppish soul jazz – the jaunty Space Walk.

Elsewhere lead single Love & Life is a joyous jazz waltz with an uplifting, bouncing groove and Slow Down Look Around is introspective and intimate, featuring Chip’s signature flute with a beautiful solo from UK trumpeter Malcolm Strachan. Chip explains that the track presents “a big lesson for us to learn as the world changes around us with such speed. The technology changes but our human needs remain the same: peace, tranquillity and time to think.”

Simply calling Curtis Harding a soul man feels reductive. Harding's voice conveys pain, pleasure, longing, tenderness, sadness and strength-a full gamut of emotions. Today his voice takes on an optimistic lilt with his his new album, If Words Were Flowers. If Words Were Flowers is Harding's first new music since 2018, a follow up to his critically acclaimed 'Face Your Fears" album. It features songs like " Hopeful" , where Harding croons with devotion over a classic soul groove, textured with infectious horn playing, background singers and modern psychedelic flourishes. Harding fuels his psychedelic sound with the essence of Soul but isn't bound by it. Instead, his songs convey an eclectic blend of genres leaping from the many musical lives he has lived from following his evangelical Gospel-singing mother on tour around the country as a child to rapping in Atlanta, forming a garage band with The Black Lips' Cole Alexander to singing back-up for Cee Lo Green. Through these experiences he fully embraces life's darkest intricacies and conjures dynamic, addictive melodies.

Arrangement- wise, the impulse to keep things simple was a pendulum swing
away from his Grammy-nominated 2018 album, 'Evening Machines'. "I set out to
make a record that was really bare bones," Isakov says. "I wanted to go backward
a little bit, because 'Evening Machines' was such a deep dive into arrangements. I
wanted to have more of a raw experience with this one."Isakov played many of
the instruments on 'Appaloosa Bones' himself. He recorded in a studio tucked
away in a barn on his property outside of Boulder, Colorado, where he helps grow
produce for CSA members, local restaurants, and an area food bank. The
resulting album is intimate and hushed, but maybe not as spare as what Isakov
initially had in mind. The eleven songs on the album are full of lush vocal
harmonies and layers of instrumental textures that blend guitar, banjo, piano, and
various other keyboards.

Gatefold single vinyl LP with an 8 page 12" size bookelt in the other side of the gatefold.

We're thrilled to announce the return of Tobor Experiment, the visionary musical project led by the enigmatic Giorgio Sancristoforo, to the Bearfunk fold. After a twelve-year hiatus, Tobor Experiment emerges from the shadows with their second LP, "Available Forms". Picture the ethereal ambiance of a dimly lit jazz club colliding with the futuristic vibrations of a 1970s sci-fi TV show, and you'll begin to grasp the sonic experience that awaits. Giorgio draws on a whole host of musical inspirations, from the name checked Tim Gane & Letitia Sadier to the moog pioneers Claude Denjean & Jean Jaques Perrey. With the moogsploration of contemporary jazz Tobor Experiment invites listeners on an extraordinary musical odyssey where jazz meets electronica meets nu-disco.

Prepare to be captivated from the very first note of the infectious opener, "Lowpass Risotto" as Tobor Experiment masterfully combines familiar elements with their unique artistic vision. Resonating with undertones reminiscent of the timeless classic "Take Five" the track immediately grabs your attention. While the familiar drum shuffle sets a comforting foundation, Tobor Experiment takes an unexpected twist by infusing the composition with squelchy Moog lines and captivating hollow body guitar solos. The result is a harmonious blend of nostalgia and innovation that transports you to an entirely new sonic realm.

Continuing the journey, the mesmerizing 6/8 rhythm of "Up!" pays homage to the iconic sounds of Stereolab while showcasing Tobor Experiment's innovative spirit. As enchanting synth pads weave through the air, you find yourself immersed in a dream-like state, carried away by the hypnotic shifting patterns of the bass and drums.

With "Astounding Stories" Tobor Experiment returns to the energetic vibes of the album opener, inviting you to surrender to a sonic tapestry rich with musical exchanges. In traditional jazz style we receive solo's from all parties. Each instrument adding its unique voice to the narrative, creating a dynamic and engaging musical conversation.

As the album progresses, "Moonscape Dust" emerges, drawing inspiration from the atmospheric brilliance of "Low." This track serves as a portal to an otherworldly sonic landscape where time and space lose their hold. Here, organic drums step aside, making way for a low-fi drum pattern that lays the foundation for ethereal synth pads. The composition invites you to explore the depths of your imagination, transcending earthly boundaries and allowing you to float in an immersive soundscape.

The album's closing track, "Monsters" has an air of "Air" about it... the ethereal synths beckon you to surrender to the weightlessness of space, just allow yourself to be carried away by the infectious rhythms, intricate melodies, and atmospheric textures that shape this extraordinary musical journey.

Each track on "Available Forms" showcases Tobor Experiment's exceptional ability to transcend musical boundaries, creating a genre-bending album that defies all expectations. From start to finish, the soundscape presented is a testament to Tobor's relentless pursuit of musical innovation. Each composition is a fusion of diverse elements, seamlessly blending organic instruments and electronic textures in a way that challenges traditional genre classifications.

The AI-generated artwork serves as a portal to an alternate dimension. Paying homage to the retro-futuristic aesthetic of 1970s science fiction TV shows, it captures the essence of the album's fusion between organic and electronic realms.

Octave One return with Never On Sunday Vol.2, an EP with new remixes from Orbital and Giorgia Angiuli next to three standout recent tracks.

The Detroit duo’s Never On Sunday alias was born in the nineties with a view to making a mix of downtempo, deeper and more thoughtful electronic sounds. After just two EPs, it lay dormant until last year when the new EP The Bearer on their own 430 West label brought it back to life to a great reception. Then came the Octave One Presents Never On Sunday album this year that collected together a wealth of originals and remixes which are now coming on 12".

First up is legendary brotherly duo Orbital - a UK antecedent to the Burden brothers who have been crafting pioneering electronic sounds for decades. Their remix of ‘Price We Pay’ feat. Karina Mia is deep house excellence. It has a bouncy groove, elastic bassline and simmering vocals that send shivers down the spine and the sci-fi synths twinkle up top. Italian multi-instrumentalist Giorgia Angiuli has long been innovating in the techno world, drawing on her classical background to craft standout sounds for the likes of Kevin Saunderson’s KMS label. Her remix is six uplifting minutes of synth arpeggios, soulful techno drums and epic breakdowns that will captivate any dance floor.

The b-side features three cuts from the Never On Sunday (Deluxe) album and opens up with 'Lifelike', a slow, pulsing dub with mysterious melodies and sinewy synths reflecting light like stars in a night sky. A textured bassline arrives to bring a real sense of tension to the melodic beauty. 'Soon After' is another cosmic cut that rides on hammering bass beneath lush synths capes and rays of hope that pierce the darkness. The blissful 'Mona' closes down with heavenly and expansive pads that shimmer and shine as rich bell sounds and choral pads bring a warm sense of atmosphere.

Never On Sunday Vol.2 is another package of deeply emotional electronic sounds.

Attarazat Addahabia & Faradjallah's album came to us as quite a mystery. Our friends from Radio Martiko got access to the studio archive of the Boussiphone label and a reel labeled “Faradjallah” was among the items they had found there. After listening to the selection of reels they borrowed, Radio Martiko felt it was not a fit for their label and helped us licensing it from Mr. Boussiphone instead. We knew nothing about the band. We just had the reel with the music but very little information. What we knew was that the music was incredible and very unique. Gnawa sounds were combined with funky electronic guitars, very dense layers of percussions and female backing vocals more reminiscent of musical styles further south than Morocco. We started asking around whether anyone knew the band with no immediate success until we asked Tony Day, a musician from Morocco who helped us during our search for Fadoul’s family. His sharp memory came through once again, remembering all the names of the Attarazat Addahabia band members and even how to contact the bands singer and leader Abdelakabir Faradjallah. After visiting him at his home in Casablanca with our Moroccan colleague Sabrina multiple times, he shared his personal story. His father arrived in Casablanca from Aqqa at the age of six and his mother came from Essaouira. Abdelakabir was born in the neighbourhood of Benjdia in 1942. Abdelakabir Faradjallah studied fine arts in Casablanca, graduating in 1962. He also played soccer in the second team of "Jeunesse Societe One". His brother-in-law Ibrahim Sadr worked for one of the biggest football teams of the time in Morocco called "Moroco Sportive Union", which allowed him to travel to France occasionally. While Ibrahim was never part of the band he brought along a few instruments from trips.


Yet the majority of the instruments they could not afford to buy were build by Faradjallah and Abderrazak, Faradjallah's brother who passed away early. For instance they had built a Spanish guitar and a drum made of wood barrel and sheepskin by themselves.During the 1950s Faradjallah was booked as a singer for surprise parties with friends. He started to write his first songs including "L’gnawi" in 1967 and wanted to make people discover Gnawa culture, or maybe rather his take on the culture to be more exact. Faradjallah recalls his first interaction with the genre in the streets of the Dern neighbourhood, where he used to go to elementary school. Gnawa is one of the essential musical genres of Morocco. It combines ritual poetry with traditional dances and music linked with a spiritual foundation. Musically a lot of influences originated from West Africa as well as Sudan. Gnawa is usually played by a selection of specific instruments such as the qaraqab (large iron castanets centrally associated with the music), the hajhouj (a three string lute), guembri loudaâ (a three stringed bass instrument) and the tbel (large drums). People would put shells on their clothes and instruments and use incense at their parties. "Sidi darbo lalla - lala derbo khadem..." came from Gnawa verses Faradjallah used to sing when he was 14. The lyrics tackle a global (im)balance of power and the question of social status in this course. The band Attarazat Addahabia was formed in 1968. The original line-up included 14 members, all from the same family. They played their first small concerts here and there starting in 1969. Later in 1973 they performed bigger shows for instance at the Municipal Theatre followed by the "Al Massira Show" at Velodrome Stadium in downtown Casablanca. Their first album "Al Hadaoui" (the one you are listening to) was recorded at Boussiphone studios in 1972 and was never released before. Nobody seems to remember the exact reason why Boussiphone ended up deciding not to put the album out. The album's title track also served as the basis for Fadoul's "Maktoub Lah", who frequented the same circles as the band for some time.

Their shows sometimes could go as long as 12 hours, starting at 5pm in the afternoon, with an occasional break here and there. In the 1980s the band took a brief break. Faradjallah recalled the reason for that break like this: "Zaki, the bands drummer, had fallen in love with a young girl from Mohammedia. Soon after, he fell very ill. The group members were convinced that the girl had given him ‘s'hor’ (a kind of local Moroccan version of "black magic"). For four years, the whole group stopped playing. It was unthinkable to find another drummer to replace Zaki, even temporarily." So they waited four years for Zaki to "get back on his feet" before going back on stage. Apart from very few gigs here and there Faradjallah stopped playing music in the mid 1990s. Some members from the younger generations formed a new band and still play frequently to this day. Faradjallah runs a television repair shop coupled offerings beverages and snacks in the Belevedere /Ains Sbaa district of Casablanca. While Faradjallah was primarily a musician, he would work for the local cinema and paint their posters for new movies by hand and he designed all artworks and cover posters of the band.

And this eventually led to him participating actively in our first exhibition dealing with Habibi Funk’s work in Dubai 2018. He helped us by creating calligraphic complementations on large photo prints for that show.

Repress!

The boys from Munich are back on RNT with a 4-tracker of serious flavor! 'Express Lane' launches the 12' on the disco highway for a wild ride of cheeky vocals, horn stabs, and vocoded synths, then veers south for some North-African New Wave with 'Libyan Sun'.The B side kicks off with the Afro-disco monster 'Don't Oho', already a staple in RNT sets and then finishes with the minimalist electro-soul bounce of 'Emergency Loop'. Sure-shots, the lot of 'em!

'We're All Improvisers Now' is the debut solo album by New York/
Montreal-based performer Tommy Crane, a tranquil, introspective journey through boundary-traversing ambient jazz, buoyed by the creative elan of an artist in full experimentation mode.

Using sensory percussion and a battery of synthesisers, Crane creates a sequence of lucid sonic environments, where the real and synthetic meet, overlap and reappear disguised and opaque.The title's double meaning is immediately apparent; the album is an uncommon take on improvising from a performer incorporating ambient sensibilities and the title also accurately describes the situation many artists found themselves in amidst the pandemic. For Crane, the
pandemic provided a rare gift of time that allowed him to explore his love for electronic and analogue production.

"I don't think I will ever make a record like this again - this was one big
experiment," he says of a project with DIY trappings. After eventually returning from Italy where he was teaching drums and improv classes as Siena Jazz Institute, Crane settled in Montreal with his Canadian partner. At the beginning of the lockdown, he created a spaceship- like rig in his spare room comprised of assorted synths and 'sensory' percussion (which assigns new sounds to drums).

The album features welcome contributions from colleagues phoned in from afar, including saxophonists Logan Richardson and Charlotte Greve, guitarist Simon Angell and bassist Jordan Brooks.

Pink Siifu’s latest release, GUMBO!, is another sprawling Afrocentric vision from one of the boldest voices in contemporary rap. Following up on 2020’s NEGRO, the album’s songs are as rich and varied as its titular stew. Siifu’s boundless style makes for an unpredictable but rewarding ride across the album’s 18 tracks, as he explores the diverse sounds of his influences and breaks new ground with a unique class of co-stars.

Siifu, born Livingston Matthews and raised between Alabama and Cincinnati, has already notched a conspicuous list of collaborations in his burgeoning career, from legendary producer the Alchemist to Australian electronic group the Avalanches. Siifu also embodies various inspirations through a range of alter-egos, often producing under the moniker “iiye,” or as half of the duo B. Cool-Aid with Ahwlee, both of which appear on GUMBO!.

The variety of guest features and production on GUMBO! only elevates Siifu’s ability to push the boundaries of genre and song structure. “Voicemails Uptown” (produced by Soulection’s Monte Booker) is the second of two back-to-back posse cuts, sporting five plus vocalists each. “Lng hair dnt care,” the album’s first single, was produced by Ted Kamal, who first garnered attention for his outside-the-box edits of contemporary rap staples. And while several of the album’s tracks are well within his bag, the jazzy, drumless loop on “Fk U Mean/Hold Me Dwn” could’ve been a cut off of his collab album with Virginia rapper Fly Anakin, FlySiifu’s.

Though rife with standout tracks, GUMBO! is greater than the sum of its parts. Siifu’s ambitious range and impressive pool of features create an otherworldly listening experience. Overall, it reflects an intense desire for self-expression and creative growth, one which he shares with many of his influences. Like Outkast, Sun Ra, Baraka, or Bad Brains, his unique soundscapes re-imagine a genre without restrictions, breaking new ground in search of artistic and personal freedom.

"For her 3rd Blue Note album Twenty One recorded in 1994, the brilliant pianist and composer Geri Allen joined forces with two masters—bassist Ron Carter and drummer Tony Williams—for a dynamic trio date.
Allen’s stunning lyricism, as well as her boundless harmonic and rhythmic creativity, shines on this 12-song set that presents originals like “Feed The Fire” alongside choice standards and pieces by Thelonious Monk.
This Blue Note Classic Vinyl Edition is mastered by Kevin Gray, and pressed on 180g vinyl at Optimal."

RAWAX proudly welcomes MOVE D to the family!
We are very honored to present you the legend from Heidelberg
on the sixt edition of our RX Series!
Highly recommended!

Cumgirl8 met in a sex chat 8000 years ago in another metaverse. Made up of Lida Fox (bass), Veronika Vilim (guitar), Chase Lombardo (drums) and Avishag Rodrigues (guitar), the band render the immersive and chaotic energy from cyberspace into our world, coming together to make a boundary-less sound that brilliantly stretches across the likes of ESG, Cocteau Twins, Suicide, CSS, B-52s, The Shangri-Las, Chris & Cosey, Madonna, and many more.

RAWAX proudly welcomes MOVE D to the family!
We are very honored to present you the legend from Heidelberg
on the sixt edition of our RX Series!
Highly recommended!

Following his collaboration with Al Storm, Euphony brings his decades of skill and experience to a slightly more underground, but equally powerful EP. Every track on this one is a winner, from the bouncing madness of Hardy Party to the more subtle but equally devastating 8990, this EP is four tracks of perfection!

This special vinyl box set contains all four PARTYNEXTDOOR studio albums - including the first album, Partynextdoor, never before issued on vinyl until the release of this completist collection. PARTYNEXTDOOR producer, songwriter and singer from Ontario released his self-titled, critically acclaimed mixtape in July of 2013 led by the singles “Over Here” and “Break From Toronto.” Contributions to “Own It” and “Come Through” on Drake’s Nothing Was the Same album and a deal with OVO Sound followed. He’s since written songs and/or produced cuts for Rihanna, Drake, Nipsey Hussle, Jay Electronica, Post Malone and many more

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7” single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low profile while making his heartfelt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with.

The first thing you notice listening to Les Imprimés is the high level of musicianship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a Hip Hop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is as an artist on his own terms.

Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experience behind the boards he built his own studio on the island of Odderøya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape.

However, "it wasn't until COVID, when things locked down, that I was really able to find the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his influences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine."

It is his sound, his fingerprint, his sensibility, that makes his music hard to categorize. He has crafted an album of songs with different energies that all fit together to make one gorgeous record. The lead single “Falling Away” starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On “Still Here” he professes his resilience through life’s twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like “You” and “Our Love” mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens’ lyrics and delivery leave you singing the melodies long after they finish. “Love & Flowers” finds Martens in a moment of clarity with a song that fits the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like “Muse” and “Chess” that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens’ lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There’s an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

The concept of strict musical genre has arguably been dead for decades, and the latest offering from Danish powerhouses Gustaf Ljunggren and Emil de Waal once again reinforces this notion. Their third collaborative album "Stockholm Kobenhavn", a spacious, cinematic and boundaryless exploration of their shared musical connection is set to release on July 7th on April Records. Emil de Waal has been one of Denmark"s leading drummers for three decades. Gustaf Ljunggren initially studied the saxophone at the Rhythmic Conservatory of Copenhagen, where whispers spread throughout the school that he was the best saxophone player in town and yet never practiced. His career has seen him prove that he can bring grace, musicality and heart to any instrument he touches, from the pedal steel guitar, to the bass, piano, and more. In the words of Danish multi-instrumentalist Kresten Osgood, "Although an instrument may be new to him he is able to play it like he has had a lifetime of experience working with it. Over the years I think the only instrument I haven"t seen him play is the drums." "Stockholm Kobenhavn" has a vast array of influences including Jazz, Americana, Film Music and Electronica. It is full of space, coaxing the listener into a meditative state and inviting them to drift away with their own imagination. The record plays as a series of open-ended sketches or moods, absent of big defining melodies or familiar song-like structures. Each piece evolves over time, providing musical interest in the form of rhythmic ideas, rich harmony, texture, and repetitive melodic patterns from a guitar or rhodes. Imaginative electronic production techniques combine the warm sounds of acoustic instruments with a constantly developing palette of otherworldly textures and effects. Grounded by an unwavering pulse, the combination of programmed beats and acoustic drums provide the hypnotic foundation over which the pair explore and challenge their common musical ground. The album closes with an intimate recording from a performance at STUK in Belgium, with a comforting guitar-led Americana tune bringing the listener back into the room and sharing in the joy the duo have felt in playing together over the past twenty years.

Singer-songwriter house, outsider or campfire dance. Katerina’s full-blown debut EP for Running Back melds cultural images of both places she calls home. Alternatively hailing from Helsinki or Sofia, she serves ethereal vocals, heartbreaking melodies and the chilly melancholic strains of the north to meet an optimistic and at times cheerful mood, paired with pop music themes, heavy bass lines and an upbeat drum section. Six tracks of idiosyncratic and independent dance motifs (including two ambient takes) that all go against the grain of the fast pace of life today, cheap thrills and unnecessary kills. All symbolized in the lyrics of the lead song Get To Know You or the instrumental love ballad Rain In Her Eyes and bound together by Marsu The Cat or Time Machine. An EP with the depth of an LP, lots of weight and even more character. Powerful, wonderful and more durable than the remains of one day.

Samosa Records reaches its 30th release in style, and who better to mark the occasion than label boss De Gama with the superb ‘Tropical Gangster’ - a three tracker slice of vinyl heaven that’ll blow you face first into your summer paddling pool.

Opening this super-tropical affair on the A-side is afro beat stomper ‘Karibu Funk’ - and it wastes no time at all in introducing us to its tribal rhythmic awesomeness. The beats, the vocals, the outrageously funky bass and horns are a musical representation of an African sunset. A serious groove.

A2. brings us ‘Lucky Fellow’; a twisting, turning bouncy bass-bomb of a tune with a flute riff that would charm the clothes off you. De Gama is very much in Pied Piper mode here - you’re powerless to resist the sexy overtures of the drums, the haunting synth lead and solid bass line. Sizzling hot.

On the B-side De Gama offers a cool ‘Piña Colada’ after all the heat of the A-side. This Piña Colada, however, offers an oasis of many delights and flavours. What starts as a furious latino drum call breaks to a tropical bassline and hypnotic keys. The vocals are the cherry on the cake of an amazing arrangement of layered sound. Goosebumps.

The Tropical Gangster is an exceptionally special Samosa release befitting the occasion of reaching the 30 milestone, and another example of the consistently brilliant output from Samosa Records. Expect this one to sell out fast.

The collaboration between Klara Lewis and Nik Colk Void somehow seemed inevitable. Both artists having seen their releases published by Editions Mego, individually carving out idiosyncratic voices in the worlds of extreme, abstract electronic music. With Full-On, Lewis and Void explore and assimilate the very edge of their individual practice where a unique collaborative interface allows two voices to combine and morph into a third voice.


Lewis and Void play ping pong with the conversation of sounds, generating ideas and bouncing them off each other, simultaneously encouraging the other to go further with their ideas opening up an opportunity to engage with previously unexplored terrain. Guitars, synths, euro rack modular systems, voice, sampling and outboard processing are folded in a playful unification with a propensity to tease, explore and extract new ideas and shapes, sometimes brutal, sometimes playful.

Trust was also a compositional tool allowing instinct to freely move on any aspect of the sound and space. This sound/feeling/instinct/association let this wild and wonderful material grow organically into something new.

The result of this exploratory interplay are 17 intense miniatures reveling in the process of unadulterated experimentation and whimsical interplay, not just between the humans, but the machines themselves. United in an endless series of sonic U-turns, this daring duo intertwine pop and noise whilst also bringing together visions of tender techno and forthright ambient.

The various zones which manifest from all this reveals vocals shifting in mysterious ways, dust drenched beats churning limpidly and devilish string loops navigating a disorientating domain. The experience of listening to Full-On is to be confronted with a range of ideas resulting in a platter of emotions. A place where beauty and the beast collide with the impulsive and outright weird. What a wonderful world.

Bourassa is back and serving us a scorching new summer hit. This time, label boss Smolny doesn't hold back, unleashing a powerful holiday anthem titled "Need Love." If you're truly in dire need of some love, this track is definitely for you!

It starts off slowly and nostalgically, seasoned with a distinct amen break. The growing tension sends shivers down your spine, while a beautiful trance chord intertwines with a long pad in the background. Adding to the flavor is a twisted female vocal that seductively flirts with your senses. It all culminates in a euphoric experience, gradually building up to release the accumulated energy. Finally, everything explodes as a strong and expressive bass line hits you like a ton of bricks.

The following track "Running" takes a more tranquil approach, transporting us to a dreamy realm. Broken drums keep propelling us forward, never allowing us to pause. The melodic chord gracefully emerges, creating a chill atmosphere and setting the mood. After the breakdown, grooving bongos complete the picture.

The B-side features two fantastic remixes of the title track, "Need Love." The first one is a fierce breakbeat roller from Denham Audio. With its powerful bass and mesmerizing droplets cascading in the background, it creates a distinct hypnotic atmosphere. The change in bassline to the typical speed garage sound delivers an even more potent punch at the end.

The second remix is crafted by SLG, who flawlessly captures the sound of the '97s, creating a track in the progressive trance style from that era. A brilliantly composed bass line constantly propels the track forward, building tension alongside the melodic line. A real dance floor killer!

Emil Amos (Grails, OM and podcaster plus) decommissions pieces originally bound for the KPM library. A personal interpolation of "music for films (& television)" expounds upon diverse sounds: synthy 80s soundtracks, contemporary hip-hop beatmaking, ambient music, and The Hulk"s "Lonely Man Theme". Emil"s dark visions are full of noirish shadows and eerie neon glow - mood music for drug trips spent dreaming up new soundtracks to take drugs to! Emil Amos" forthcoming Zone Black album is a fully inhabitable world, its episodic narrative divided into an improbable balance between morbid ambient anthems and insouciant hip-hop instrumentals. Emil hadn"t heard it done quite this way before, so he took it upon himself. And it sounds real! Straight out of Madlib"s kitchen sink, and with a sense of brooding dread, "Jealous Gods" features throbbing beats, low synth paired with high vocal melody, layered together into something even more impossibly bizarre than the sum of their parts - like say, monks singing from on high, over a battleground littered with remnants of the old guard. Emil warps evocative tones, taking familiar sounds into new dimensions, reaching for the kind of depth and resonance that defines moments with an almost invisible touch.

Purer Dreck und Zerstörung! Tumulation ist die perfekte Death/Doom Metal Band mit Conjureth Mitgliedern! Seht, die unheilige Kraft von
Tumulation, den kalifornischen Death/Doom-Lieferanten, die eine massive Wand aus heruntergestimmtem Dreck hervorbringen.

Die Umarmung des sumpfigen Death/Doom Metal der frühen 90er Jahre, verströmt "Haunted Funeral Creations" eine bösartige Aura von Aggression und Wut und durchtränkt jede Pore mit dieser infernalischen Atmosphäre.Mit einer unerschütterlichen Hingabe an den Death/Doom Metal der alten Schule bleibt der erstklassige, ranzige und gnadenlose Sound von Tumulation unglaublich abwechslungsreich, ohne jemals in Belanglosigkeit oder Langeweile zu versinken.

Nach einem Instrumenten- und Rollentausch gründeten die Mitglieder von Conjureth im Jahr 2021 Tumulation, um sich neuen
musikalischen Ideen zu widmen. Sie entwickelten einen neuen Songwriting-Prozess, der sich auf den sumpfigen Doom/Death-Sound der frühen 90er Jahre konzentriert.Die beiden Demos von Tumulation wurden sowohl von den Medien als auch von den Fans gelobt und brachten die voll ausgebildeten Veteranen der extremen Musikszene zum Vorschein.

Rare 1986 Funk/Soul From Alabama.

Originally released as a private pressed cassette tape only.

First Time On Vinyl.

Released in collaboration with the Numero Group.

180g BLACK vinyl limited to 500 copies w/obi strip. Non-Returnable.

Armed with little more than his Peavey T-60 guitar and a Jumbo Fuzz pedal, Errol Stubbs and his bar-band cohorts cranked out a self-released tape of funked-up disco soul in 1986. With no label or distribution to speak of, Errol would simply put on his best suit and sell the cassettes by hand. The tape languished into obscurity…until now!

The story of Errol Stubbs begins in Birmingham, Alabama in 1959. The youngest of five, he was surrounded by music as a child–his aunt taught piano at Daniel Payne College while his older brother, Avery Beavers, was an accomplished jazz trumpeter. Under the guidance of Avery, Errol started playing trumpet at the age of nine, though he gravitated toward songwriting and quickly picked up the guitar. Inspired by blues greats the likes of Albert King, Buddy Guy, and Little Milton, 12-year-old Errol began mimicking the sounds that filled southern airwaves. As a teenager, he played at barbecues, fish fries, and dive bars across the Magic City. After a brief stint at Jefferson State studying music, Errol’s passion for songwriting beckoned him away from the classroom.

Stubbs bounced around bar bands before settling on a live lineup and saving enough dough to take his vision to the recording studio. Over the course of two days, his well-rehearsed band recorded Turning it Out mostly live to tape at the Sound Of Birmingham Studio. Located on Birmingham’s east side, the state-of-the-art studio kept the lights on by recording commercial jingles but was more than happy to open their doors to local talent.

Taking notes from guitar god Ernie Isley and funk legend Rick James, the resulting recordings are drenched in cosmic phaser-fuzz guitar work, slapping bass lines, and sexual disco innuendos. Big brother Avery lends a hand on Clavinet for “Sweat,” while studio owner/engineer Don Mosley adds a tasteful dose of Moog synthesizer across a handful of cuts.

Soon after the Sound Of Birmingham sessions, Errol released the private pressed EP “Dancin’ Fancy,” b/w “Spaced Out On Your Love,” the latter of which was featured on Numero Group’s 2019 compilation Visible and Invisible Persons Distributed In Space.

The seven-song cassette Turning It Out was sold in local record stores and from night club stages, but only a few copies made their way out of Birmingham.

A complex and sometimes belligerent character in real life, on record,
John Martyn was the epitome of the folk-dreamer, embodying the spirit
of the bourgeoning London acoustic scene of the late 60s
Well- known and respected for his 70s albums Solid Air and One World, this is
where it began.John Martyn met Beverley Kutner and the pair married in 1969.
Kutner was a dazzling folk singer who had been invited by Paul Simon to sing on
Simon & Garfunkel's Bookends album. It was obvious that two such talents united
in love should also unite in music. Stormbringer! – produced by Joe Boyd – was
the first of two albums billed to both of them.
Recorded in Woodstock, the album featured The Band's Levon Helm on drums on
Beverley's standout, eight-minute long Sweet Honesty. Not to be overshadowed
John also contributed John The Baptist, one of his career highlights, with
Beverley adding sweet backing vocals.
This re-issue faithfully replicates the original 1970 Island Records UK release and
is pressed onto high quality 180g vinyl.

A complex and sometimes belligerent character in real life, on record,
John Martyn was the epitome of the folk-dreamer, embodying the spirit
of the bourgeoning London acoustic scene of the late 60s
Well- known and respected for his 70s albums Solid Air and One World, this is
where it began.The second and final John and Beverley album, The Road To Ruin
came out in late 1970; it is a mature, fully realised work, and a glimpse of what
would have happened had Island not encouraged John to go back to being a solo
artist. Opener Primrose Hill was later sampled by Fat Boy Slim, and the John-led
Parcels offers a template for what would become his signature style as the
decade progressed. It is one of those rare albums that creates its own
atmosphere, late night intensity, middle age soul.
This re-issue faithfully replicates the original 1970 Island Records UK release and
is pressed onto high quality 180g vinyl.

This Moment' - Shakti's first new studio album in more than 45 years - is
a work of immense depth and radiant optimism
With John McLaughlin (guitar, guitar synth) and Zakir Hussain (tabla) joined by
vocalist Shankar Mahadevan, violinist Ganesh Rajagopalan, and percussionist
Selvaganesh Vinayakram, the Shakti of now is a powerfully dynamic collective,
defined by deft interplay, dazzling unison passages, extraordinarily dexterous
improvisations, and the ability to draw from a vast well of global traditions and,
miraculously, put them in conversation with one another.
As a cornerstone of what is now called World Music, the vision and virtuosity of
Shakti has inspired generations of musicians from around the world to explore
sonic hybrids once thought impossible. Born of the musical and spiritual
brotherhood shared by the revolutionary British guitarist and bandleader John
McLaughlin and master Indian percussionist Zakir Hussain, Shakti's soulful,
organic intermingling of Eastern and Western musical traditions has proven
transformative for both the band's members and its listeners. Fifty years after the
informal conversations and jam sessions that sparked the band into existence,
their music continues to resonate and evolve.
Despite the large gap in their studio discography, Shakti has persisted
intermittently over the years as a live proposition, releasing several concert
recordings. "Shakti is very much a 'live' band, " explains McLaughlin. "A part of the
problem with making a studio recording has always been the fact that we live on
different continents, and we all follow our individual careers – in addition to
working together in Shakti. 'This Moment' is the result of me calling everyone in
the fall of 2021 and persuading them to use today's recording technology to
realise it."
Recorded and mixed in the U.S., Monaco, India, and Great Britain, This Moment is
nevertheless cohesive, bound by the deeply held bond shared by the players - a
bond that is audibly apparent across the album's eight tracks.

A fascinating blend of jazz and contemporary classical influences, How Time Passes is the debut album from the envelope pushing trumpeter and composer Don Ellis Known for his extensive musical experimentation, particularly in the area of time
signatures, Ellis began his long career in the New York City's post bop and avantgarde jazz scenes of late 1950s. Most notably he appeared on Charles Mingus'
Mingus Dynasty, and albums by George Russell and Maynard Feguson. But he
also worked with, among others, the Glenn Miller Orchestra, Lionel Hampton, and
Woody Herman. On subsequent albums, Ellis would take an even wilder direction.
Here, on his first recoding date as a band leader, the experimentation begins. Ellis
stretches the boundaries of bop-based jazz playing with time, tempo and meter. It
is the start of his exploration of Third Stream - a fusion of jazz and contemporary
classical music. The album title itself - How Time Passes - was taken from an
article written by the controversial German composer Karlheinz Stockhausen on
the "function of time." The exceptional section features Ron Carter on bass, the
underrated Jaki Byard on piano and saxophone, and Charlie Persip on drums. The
LP includes extraordinary liner notes by Candid A&R man and producer Nat
Hentoff, and noted musician, historian and writer Gunther Schuller - the originator
of the term "Third Stream" - giving a context and insight that adds to the
experience of hearing these extraordinary performances.

Pablo Bozzi inaugurates his new label, Second Sight, with the various artists 'Unknown Prospect'.

The title says it all: boundless and vast, Second Sight's intent is to promote the talents of innovative producers who defy genres in the pursuit of their own idyllic aesthetic.

After taking time out from working together to focus on separate musical projects, maverick composer Alan Roberts (Jim Noir) and crowd-rousing vocalist Leonore Wheatley (International Teachers of Pop / The Soundcarriers) have re-joined forces to introduce Co-Pilot. Each the other’s wing person, they’re plotting an escape through Manchester’s claustrophobic grey skies with the pencil case colour of a hand-sewn multi-coloured primary school patchwork quilt. “We are both the creators in charge of navigating Co-Pilot’s overall sound which changes from track to track,” Leonore hints at what to expect. “There are about 6 different genres on one album, it's a pick n mix record!”


Happy in the haze of many boozy hours the album was recorded over just a few months whilst holed up and hanging out in Al’s city centre Dookstereo studio. The former Mill allowed the pair to relax, laugh and create without constraint. Armed with their original demos and vocal recordings from Al’s flat, they’d nip by the offie to pick up some Dutch courage before setting to work: building arrangements from a drum beat and basic chord pattern, the pair were so in tune they rarely spoke, allowing only the music to lead the way. “We’d communicate through nods of agreement or grimaces of dismay,” Leonore recalls. “Using the instruments with Al in production mode, we let the sound dictate the process whilst being drunk enough to follow it.”
The sound of life coming full circle after honing their separate crafts, Leonore had previously played keys and vocals in Jim Noir’s live band before moving on to front International Teachers of Pop for two critically lauded albums of joyous dancefloor filling bangers - their self-titled debut (2019) and Pop Gossip (2020). During that time Al would further expand Jim Noir’s universe with AM Jazz, which was celebrated as the no.1 album in Piccadilly Records’ ‘End of Year Review’ (2020), followed by the Deep View Blue E.P. (2021) cementing his status as one of Manchester’s finest songwriters.
As Leonore added her vocal magic to Al’s early demos of what would eventually become Co-Pilot’s ‘Spring Beach’ and a crooked original version of closing track ‘Corner House’, the vibe was prophetic “like the ending of Grease as Danny and Sandy take flight through the clouds”, letting their imaginations fly. The songs were the catalyst to spark a new phase of the pair working together, picking up where they left off. “From messing about with sounds during rehearsals in the very beginning it was always clear we liked the combination of sounds we made,” Leonore recalls.
Powered by a ‘try anything’ approach, Co-Pilot blends the musical DNA of what you’ve come to expect from each of the pair’s previous flight paths. “Whatever is switched on or nearby gets used. There's no 'correct' for us. If it sounds good, record it,” Al tells. United through typically turbulent wonky pop and lurking samples, whether culled from 70s TV themes or recreations of past and found sounds (see Al’s 60s tropicalia guitar on ‘Brick’, or the innocent ‘Swim to Sweden’ which opens with an ice cream van jingle Al recorded from his bedroom window) their process offers up a bucket load of Easter eggs. The album even features snippets from dearly departed pal Batfinks whilst ‘Motosaka’ is perhaps the most expensive 2-minutes on the album, featuring a Columbia Records Japan-cleared sample of Ryuichi Sakamoto’s ‘Thousand Knives’. Its synth squelches and Tom Tom Club funk also received the blessing of Haroumi Hosono, Godfather of Japanese Electronica, who agreed to being sampled in an original version of the song. “We just kept listening back and hitting gold,” Al recalls. “I was thinking ‘yeah, not sure what this is but I like it! We were buzzing with what we had made.”
But the sound wouldn’t come without self-imposed instrumental challenges. Thanks to an old mellotron sample on ‘Move To It,’ the moog riff and nautical accordion breaks on ‘Swim To Sweden’ and the 6/8 and 7/8 jaunt of ‘Brick’, time signatures were lovingly skewed to create Co-Pilot’s unique mood. “It was a bastard getting the drums right,” Leonore reveals, “but I like the wonkiness”. Levelling up through the lyrics, the words of smoky and evocative ‘She Walks In Beauty’ are based on a Lord Byron poem, with the sentiment of remembering Leonore’s late grandparents. “I wanted to see how much I could get away with just singing on one note, and how I could harmonically change everything else around it vocally,” she says. Elsewhere ‘Can You See’ was written from the perspective of a concerned sister to a brother which tells of keeping someone safe. “The lyrics are quite metaphorical about day-to-day happenings, people loved and lost. Others are rhythmic nonsense! It’s up to the listener to figure out what’s true.”
It’s clear from Al’s productive production techniques and Leonore’s knack for vocals and lyricism, Co-Pilot’s course is engineered by two aeronautically adept sonic storytellers. “We share a pretty similar sense of humour,” Al tells, “It is funny listening to this quite serious album but knowing we were giggling as we recorded it all. It’s been great to have another brain to bounce off.” Their destination might be unknown, but the clouds are about to part for a sound that is light years ahead. “You'll like at least one song,” Leonore suggests, “and hopefully them all.”

Long heralded as one of the heaviest, sickest, and most uncompromising death metal bands in the world, New Jersey's Incantation has forged a legacy of brutality unmatched by any other American group. In 1992, the bands most celebrated lineup entered a then unknown Trax East Studios with a then unproven engineer Steve Evetts and emerged with Onward to Golgotha, the most dark and blasphemous death metal record to date. The combination of the inhuman growl of vocalist Craig Pillard, the ruthlessly savage aural malevolence, and pitiless anti-Christian attack was the ultimate musical sacrilege. Onward... redefined the bounds of brutality and blasphemy for the entire genre of death metal. This is absolute brutality!!!

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s 'The House Music Anthem (Move Your Body)' featuring Curtis McClain.

The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.

Mental tribe trippaz !
Acid and pumpin.

An exciting new Record producer, with a sound that blends elements of Electro, Breaks, and Techno, Doppelbanger is quickly making a name for himself in the underground music circuit.
Drawing inspiration from the pulsing rhythms of the latest Electro sound with artists like Locked Club , Re:drum , Dagga, Manao & Hermeth leading the revolution. He infuses his tracks with a gritty energy that sure gets crowds moving on the dancefloor, but he also brings a modern twist to the genre, incorporating lush synths, intricate percussion, and cleverly manipulated samples to create a sound that is both nostalgic and forward-thinking.

Whether you’re a die-hard Electro fan or just looking for some fresh beats to get your groove on, Doppelbanger is sure to deliver the goods. So tune in, turn up, and let the vibes wash over you!

His first EP has just been released across all streaming platforms, along with the 1st press of Vinyl Records, grab a copy soon, before it is sold out!

Write up for EP: 2020 Vision

Welcome to an Electro-infused sonic journey! This EP captures the essence of a unique musical vision, blending captivating melodies, pulsating beats, and intricate soundscapes. With five tracks that span a range of moods and emotions, you are invited to immerse yourself in this electrifying experience.
From the moment the first track kicks in, you’ll find yourself transported to a world where synths come alive and rhythms intertwine with ethereal soundscapes. Each composition has been carefully crafted to take you on a sonic adventure, weaving together elements of Electro, pulsing basslines, and mesmerizing textures that will leave you craving for more.

Throughout this EP, Doppelbanger has pushed the boundaries of the genre, exploring new sonic territories while staying true to its roots.

The five tracks on this EP are meticulously arranged and mixed to ensure a seamless flow, creating an immersive experience that will keep you engaged from start to finish. Whether you’re looking to lose yourself in the infectious grooves or find solace in the introspective moments, this collection of songs has something for everyone.

This July the esteemed scribe, proper DJ, and discreetly deft twiddler Bill Brewster, drops the latest instalment in his ‘After Dark’ series, for Late Night Tales.

A throbbing, louche and leisurely affair, groove is very much at the heart of this freestyle selection, a vibe which Bill de- scribes as “a basement, a red light and a sound system. Or, as the Beastie’s once rapped, slow and low, that is the tempo”.

There’s Hawaiian drum machine bossa balearica from Island Band, percussive afro post punk from Czech jazz singer Jana Koubkova, and breathy-bubbling-dubwise-slap-bass-soul from Debbe& The Code.

There’s also sultry deep house mood music from Lanowa, infectious bouncy jazz funk breaks from Canada High, and Nail’s life affirming re-edit of singer songwriter Gilbert O Sullivan’s electro pop gem ‘So What’.

Bill’s own studio skills are present and correct too, featuring an undulating bassy version of country troubadour Jeb Loy Nichols, reworked along Alex Tepper under their Hotel Motel moniker, and a chugged-up squelchy disco take on Khruang- bin, this time paired with Raj Gupta, as Mang Dynasty.

Chock full of exclusives, tracks are either completely brand new, or available digitally for the first time, whilst others are wallet-rinsing rarities if purchased elsewhere. Whichever way you slice it though, every tune is a highlight, working equally well as standalone nuggets, or within Bill’s fluidly cohesive mix.

Whether he’s taking the roof off a club with his unique selec- tion of deep and tough house music, enchanting a backroom with a genre-bending set of disco, Balearic, rock and hip hop or playing chillout music in a bay in Croatia, Bill Brewster is the man for all occasions.

In a former life, Bill was a punk rocker, a chef and also the co-editor of football magazine When Saturday Comes but has been a record nerd all of his life. He began DJing in the 1980s, but came into his own in the early 1990s, particularly during a two-year stint in New York running DMC’s office, where nights at the Sound Factory and hanging out with Danny Tenaglia gave him the musical grounding you can still hear in his music today.

Bill was also one of the founding residents at Fabric in London, a position he held for five years. There are few still playing regularly today that have his dedication, eclecticism and encyclopedic knowledge of music.

His parallel life is as a writer, and with his long-term part- ner-in-crime Frank Broughton, they have written four books together, including the acclaimed ‘Last Night A DJ Saved My Life’ (latest edition published last July), ‘How To DJ (Prop- erly)’ and ‘The Record Players’.

He has been working in the industry’s fringes for over 40 years including the running of various labels from Twisted UK and Forensic in the ’90s to Disco Sucks and Anorak in the noughties.

He is one of NTS radio’s new residents for 2023 and his ‘Low Life Loves You’ show is available on the first Tuesday of every month.