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The first collaborative album between alternative rock artist Matthew Sweet and Bangles singer/guitarist Susanna Hoffs. First released in 2006, Under The Covers Vol. 1 finds the duo celebrating their mutual love of song writing from the ‘60s across 17 cover versions from the era. Highlights include a fan-favourite version of ‘Different Drum’, ‘Cinnamon Girl’ and ‘Sunday Morning’. Pressed on two heavyweight 180g silver vinyl.

**Double LP - 180 GRAM** Already Platinum. Impeccable design. Although this is one of the more talked about records of his career, there's no doubt that this is a testament to JAY Z's diligence, entrepreneurship, and artistic vision. Picking up where Watch The Throne left off, Magna Carta Holy Grail is JAY Z's twelfth studio album, and a portrait of an emcee embracing fatherhood, marriage, and striking a balance between a past spent coming up and a future shuffling around the top. The LP also includes a limited edition flexi-disc postcard of exclusive non-album track ''Open Letter'' hidden under the artwork on the back cover. Production is helmed largely by J-Roc, Timbaland, Pharrell Williams, Hit-Boy and others, while featuring performances by Beyoncé, Rick Ross, Justin Timberlake, Frank Ocean, Nas, and more. With MCHG, JAY Z understands that hip hop is starting to enjoy the same clout as fine art and, even better, hip hop is alive, a part of the world, evolving, and not cordoned off in a museum. Play it forward and grab a copy now.

Funk 45 champions The Mighty Mocambos deliver another colourful record in their favorite format. Both break-heavy psychedelic soul score theme Supertrada and battle proven b-boy jam Concrete Stardust are from the much celebrated album "2066". By popular demand, here they come in exclusive DJ-friendly uncut/extended versions. A hard-hitting double-sider set to be a resident in your 45 case.

Iron & Wine performed and recorded an absolutely captivating live set of songs in the Blue Room venue at Third Man Records in Nashville. Armed with spartan set-up of a guitar, microphone and his minimal backing band in front of a soldout audience, Iron & Wine’s Sam Beam ambled through his discography, on touchstones like Naked As We Came from classic album Our Endless Numbered Days, The Trapeze Swinger from Around the Well and Winter Prayers from Ghost on Ghost. It was a heartfelt experience without sacrificing any charm, personality or gestalt crowd connection.

Another win for the Glowing Pin as Müller & Wandt drop a fresh new age groover on a killer club dub tip. Elsewhere Phazer Boys, Suzanne Kraft, Philipp Otterbach and River Yarra remix the pscht out of their favourite tracks from ‘Instrumentalmusik..’. Expect Goan hits, cosmic trips, loved up rave and chilled out wave on this flawless five tracker.

Growing Bin becomes Glowing Pin for the most anticipated rematch of the century. Back at the beginning of 2018, Wolf Müller and Niklas Wandt went head to head for a box office smash, throwing a high school percussion tray, wall of hardware and voodoo skull into the ring for the tribal trip of ‘Instrumentalmusik Von Der Mitte Der World’. Now the multi-instrumental duo face off once again, but this time it’s a royal rumble with Phazer Boys, Suzanne Kraft, Phillip Otterbach and River Yarra all bringing the noise to the Glowing Pin.

Müller and Wandt dominate the action on the A1, playing loose with sampler vox, serene pads and future primitive rhythms on the unreleased ‘Fun Dub’ of the also unreleased ‘Dub Dub’. Imagine Ferris Bueller’s trampoline tumble trading Chicago to the Weissenhof and you’ll sense the mood of this New Age groove. Germany’s number one party dudes, those freaky Phazer Boys take a break from dropping killer Candomblé cuts to reach for the lasers on the A2, taking ‘Ahu’ to another dimension. Dripping in neon body paint and armed with fire poi, the Düsseldorf duo power up progressive house sequences, didgeridoo bass and thumping tribal house percussion for a wall-shaking, speaker-breaking remix.

The B1 belongs to synth whiz Suzanne Kraft who revels in glistening, gliding glory on an expansive remix of ‘Auflösung’. Sleek, serene and futuristic, the track shimmers like Fritz Lang’s Metropolis, free from inequality and rendered with the 5D(ub?) majesty of a DMT breakthrough.
B2 hears Salon associate and serious talent Philipp Otterbach take over on a stripped back and psychedelic post punk dub of ‘Expedition’. Angular bass by Süne Große and a stuttering rhythm underpin astral flourishes and the hazy vocals of Lucas Croon before the African elements begin to move to the forefront.
Last man standing is Australian outlier River Yarra, who leads us into the Krautback with a chugging dub of ‘Weltraumsandalen’. Lent a lysergic sparkle by a percolating one-note bassline, this slow motion stunner masters perpetual motion amid the eerie echoes of the bush, organic percussion and electronic animal cries fading into the night. Let the pins glow again.

Patrick Ryder

After releasing two records with the quintet Fazer, German guitarist Paul Brändle presents his solo debut on Squama Recordings.
Paul's minimalist compositions move in slow-motion between Straight Ahead Jazz, Folk, and Blues, only subtly disclosing their musical origins.
The album was recorded in Vienna during the annual 'Hundstage', a period in the summer during which the whole city succumbs to the sweltering heat. Short on oxygen, but not on ideas, Paul created 9 tracks of soothing excellence that are worth calming down for.

This is the soundtrack to a recently released documentary about the critically acclaimed 21 year old rapper from New York, who tragically died in 2017. A 19 song double LP featuring collaborations with Lil Tracy, Diplo, Gab3 and more. Recent releases "Come Over When You're Sober" (pt.1 & pt.2) brought him critical acclaim and strong sales in the UK. Specialist promo/marketing activity across all media outlets.

The first Be With foray into the archives of revered German library institution Selected Sound is one of our favourites on the label - the super in-demand Japan from Victor Cavini, originally released in 1983.

Rare and sought-after for many years now, this is one of those cult library LPs that never turn up. With Daibutsu the giant Buddha of Kamakura’s presence gracing the hefty front cover, this is a record bursting with dope samples for adventurous producers: it’s koto-funk madness!

Victor Cavini was the library music pseudonym of prolific German composer and musician Gerhard Trede. He was known for exploring instruments and styles from around the world (he played over 50 different instruments himself) and Japan is
his collection of 14 musical sketches painted with traditional Japanese wind and string instruments. These are the sounds of traditional Japanese folk music re-interpreted through Western ears, with the occassional contemporary twist. Contemporary for 1983, of course.

These “Pictures of Japan” are hypnotic, sometimes frantic, but always beautiful. The first twelve tracks offer airy explorations of koto and flute, with other strings and percussion being added and then given their own space. Indeed “Pictures of Japan XII” is just drums.

And then “Pictures of Japan XIII” seems to come out of nowhere. But the subtle sleaze of its full band sound still doesn’t quite prepare you for the towering climax of “Pictures of Japan XIV”.

This is Japan’s undoubted standout piece, completely and wonderfully at odds with the rest of the album. It’s the reason this has become such a must-have record. It keeps the traditional Japanese instruments but combines them with shuffling funk breaks, electric bass high in the mix and a Godzilla-sized psychedelic fuzz guitar sound that might actually be a traditional reed flute pushed to its limits. Whatever it is, it sounds awesome.

Recalling both Rino de Filippi’s Oriente Oggi and Giancarlo Barigozzi’s Oriente, the track’s a real head-nod groove for b-boys and b-girls alike that sounds straight out of a late 70s Yakuza film. Indeed, if you were told The RZA or Onra had cooked this up in the lab this century, you’d be convinced. It’s crazy that this dates from 1983.

The audio for Japan has been sensitively remastered for vinyl by Be With regular Simon Francis to keep all the character of the original recordings. Richard Robinson has handled the careful restoration of the original Selected Sound sleeve. Essential.

Now available in February with a big price reduction. Split Coloured Vinyl (Clear & “Schoolly D Yellow”). Olly was a musician, drum-programming wizard and force of nature, and he would go on to shock the world with his in-your-face approach to making music – as bombastic lyrically as he was musically. He simply gave no f*cks, and listeners were drawn into his street-influenced vortex of “b-boy rhyme and riddle.” As noted in the liner notes to this special release:
“The demand for “P.S.K.” was so large that nationwide bootlegging was a major distribution avenue, albeit an unpaid one. ‘Those bootleggers made me big because, when it came down to it, I didn’t have the money to get the records out there,’ Schoolly says.

‘The person who helped me figure that sh*t out was Luke Luther Campbell of 2 Live Crew and Luke Skyywalker Records. He took me all over Miami and showed me all the different bootlegged versions of my own records. It was crazy.’” On the flipside of “P.S.K.,” Schoolly gave the world another classic: “Gucci Time.” Flexing brutal brag muscles, it was another gangsta masterpiece, furthering his legend and bringing even more 909 boom to the still expanding rap world. The opening lines are still quoted by scholars of the game today: “Lookin’ at my Gucci/It’s about that time.”

Get On Down presents this classic for the first time in deluxe form, which is also fully Schoolly-approved: a custom 12-inch sleeve adorned with Schoolly-D’s famed artwork; unique split clear & yellow vinyl; a liner notes insert featuring Schoolly’s own look back on the year 1985 as told to author Brian Coleman; and a unique sticker sheet with 8 images taken from the artwork on this 12-inch cover (which was first seen on his early 12-inches, as well as his 1985 Schoolly-D EP and 1986’s Saturday Night: The Album).

Widely and rightly regarded as one of the best ever soul and funk bands, the now legendary Average White Band tore-up the rule book and conquered the US, UK & International charts with a series of soul and disco hits between 1974 and 1980. AWB’s repertoire has been a source of inspiration and influence for many R&B acts and they are one of the most sampled bands in history, remaining relevant today, continuing to reach new generations of younger audiences. Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have all borrowed sections of their grooves. ‘Person To Person’ is the 5th album by AWB, originally released at the end of 1976. The Double album was recorded live during their Sold-Out US Tour at Tower Theater and The Spectrum, Philadelphia and at The Syria Mosque, Pittsburgh; The Coliseum, Cleveland. It was produced by Atlantic’s legendary producer, Arif Mardin and reached #28 in the USA. ‘Person To Person’ includes an 18-minute funk/jam of ‘Pick Up The Pieces’ and a 9-minute extravaganza in ‘I Heard It Through The Grapevine’.

The hugely anticipated second full length album from the incredible Stormzy.

Following the release of Gang Signs and Prayer, his award-winning, platinum-selling debut album, Stormzy may no longer be stepping between the street and the sermon, but he’s still walking between two worlds: that of the celebrity and of the Everyman. His desire to stay grounded is evident; as his career continues to soar, he seems more and more determined to help others reach new heights of their own.

Eastwood Rides Again follows the theme of Lee ‘Scratch’ Perry & The Upsetters previous classic, Return Of Django - and like that one, the groove isn’t just the rocksteady rhythms you’d expect – but also maybe this more spacious version of the style. They got their funk on with the inspiration of Spaghetti Westerns and soul music. The record is largely instrumental and it's a representation of Perry’s significant production skills. Lee ‘Scratch’ Perry was a pioneer in the 1970's development of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys. Nowadays he’s still performing and recording music.

Lyrical King is the debut 1987 album from one of rap’s pioneers and innovators who was said by some to be the first artist recorded by Def Jam Records. T La Rock recorded this album for Sleeping Bag Records as the labels first rap act and show cased him at the
height of his career. An old school legend, MC and dancer who was sampled by Public Enemy and Nas, heavily influential on artists such as LL Cool J and the Def Jam sound and would walk out on stage with Run –D.M.C . Highlights include ‘Back to Burn’ and ‘This Beat Kicks’ where T La Rock teamed up with visionary producer Kurtis Mantronik.

Back again it’s the return of the Originals kicking off the new decade with some pure fire and a fresh new label design. Side A features the Bob James classic break Farandole which has been spliced down to a 45 edit courtesy of them doctors of funk over at the DNA labs.
Flip to the B side and DJ Muggs samples the A side to great effect creating a B-Boy banger featuring rhymes from Planet Asia and a guest appearance from B Real – sure to light up the dancefloor. Limited as always – don’t sleep – snooze you lose!

Monkey Business is the third single to be taken from the forthcoming album ‘Hotspot’ out 24th January 2020, and features a radio edit of the track, remixes from Friend Within and Prins Thomas, plus exclusive B-side ‘At Rock Bottom’. "Hotspot" was mostly recorded in Hansa Studios, Berlin, and mixed in The Record Plant, Los Angeles.

It was produced and mixed by Stuart Price and features ten brand new tracks including the single "Dreamland" feat. Years & Years, which was released in September. Another of the songs, "Burning the heather", features Bernard Butler on guitar and was recorded at RAK Studios in London.

Release comes in Red or Black Cover !

Omar S new Album titled YOU WANT Featuring John FM, Norm Talley, Ian Finkelstein, John Cloud, L'Renee, Brian Kage and Kingdom!!!

Preceded by some of Bolan’s most fondly-remembered singles, “Children Of The Revolution”, “Solid Gold Easy Action” and the classic “20th Century Boy”, 1973’s Tanx was the first T. Rex album to make full use of the ever-expanding range of studio gadgets. And while the album represented a new musical departure, several tracks maintained a direct link to the old sound.

The album reached number 4 in the UK album charts and has gone on to influence numerous musicians from Suede to Depeche Mode’s Martin Gore. This edition includes the complete album remastered by producer Tony Visconti and Ted Jensen.

Mega rare and collection Ben and Platano group is for me another Long awaiting 45s release. Massive B-boy dance “Platano split is worth it's weight in Gold! And Castle Battle – just gets me every time. Hammond groove!!!

When Air’s Nicolas Godin released his debut solo album, Contrepoint (2015), he channelled the influence of Bach into a rich, resonant and hugely rewarding spread of musical explorations. One soundtrack (A Very Secret Service) later, Godin builds on equally fertile conceptual foundations for the follow-up. Released through Because Music on 24th January, Concrete and Glass is an exquisitely crafted set of variations on architectural reference points: mounted with minimalist precision and delivered with an abundance of pop warmth, it finds Godin in his element, working seductive wonders with poise and style to spare.

For Godin, the album circles back to his formative work as half of ground-breaking French electronic group Air. Revered modern architect Le Corbusier was an influence on the young architecture graduate’s music, notably on his 1997 debut “Modular Mix”. Twenty-plus years later, Le Corbusier featured on a list of modernist architects Godin was invited to compose tributes for, tributes intended to be heard as the soundtrack to site-specific installations around the world.

In its soft ambient pulse and melting minimalism, lead track “The Border” is a perfect entry-point to Godin’s hymns to buildings, arranged and co-produced with Pierre Rousseau. Its levitating synths, vocoder vocals and scudding bass hove into view with understated elegance, all the better to accommodate the discreet slow-build of delicate details within. As with Air, Godin makes gorgeously light work of every angle: this is music that seems entirely unperturbed by gravity, occupying an elevated atmosphere of its own.

Elsewhere, the title-track’s clean synth lines, crisply apportioned arrangements and tender timpani offer another inviting entry-point, sculpted with architectural clarity. While Godin’s vocoder vocals also hark back to Air’s early work, the album accommodates a diverse spread of guest vocalists elsewhere. Hot Chip’s Alexis Taylor guests on the falsetto-soul dream-pop of “Catch Yourself Falling”, one of Godin’s sweetest melodies yet. Oxnard singer/activist Cola Boyy brings soul to the righteously engaged “The Foundation”; the squelchy synths and buoyant grooves burn slow, allowing the stealthy arrangements and message room to resonate. Psychedelic soul singer Kadhja Bonet sings with measured serenity over tremulous synths on “We Forgot Love”, while Russian experi-pop artist Kate NV brings a gracefully aching romanticism to the blissful swoon-pop of “Back to Your Heart”.

Additionally, Australian conceptual provocateur Kirin J Callinan contributes a vocal of restrained drama to “Time on My Hands”, a midnight-drift soft-pop ballad with a silky allure. One of the quickest tracks to record for the album, it emerged in collaborations between Los Angeles (”During some lively sessions in Mac DeMarco’s studio,” notes Godin) and Paris. After he missed his flight home, Callinan stayed in France for a day as the guitar solos were recorded, complementing the song's air of sleek luxuriousness.

Between its title-track and the sultry, smoky jazz stylings of closer “Cité Radieuse”, Concrete and Glass is an album that truly travels, in tune with its global pitch. For Godin, it marks another milestone in a musical journey that began when Air’s 1998 debut album, Moon Safari, became the sublimely weightless soundtrack of its time. For Concrete and Glass, Godin builds on his storied past with tremendous finesse, charm and fluency, opening fresh windows of perspective at every lovingly executed turn.

What You Want welcomes The Willers Brothers! We are very happy about this great debut called "Reality Check" the boys delivered here. More to come!

Mar & Sol presents the reissue of "Na Cambança" the first album of the big band from Guiné Bissau SUPER MAMA DJOMBO.

The band was formed in the mid-1960s, at a Boy Scout camp, when the members were only children (the youngest was six years old)!
Djombo is the name of a spirit that many fighters appealed to for protection during Guinea-Bissau's War of Independence.

In 1974, the politically conscious band leader Adriano Atchutchi joined. The group became immensely popular in the young country, which had gained its independence on the same year. They would often play at President Luís Cabral's public speeches, and their concerts were broadcast live on radio.

In 1980, they went to Lisbon and recorded six hours of material. The first album "Na Cambança" was released in this same year, and the song "Pamparida" which was based on a children's song became a huge hit throughout West Africa, and an important historical masterpiece that finally see the lights again by the hands of our label.

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

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

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

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

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

New York rap trio consisting of DJ Curt Catzal and MC’s AJ Rok and MC B-Luv, signed to B-Boy Records, a significant player in the development of hip-hop in the 1980's. The group broke out with an underground hit single ‘Strong Island’ and the song would open their 1988 album Doin’ Damage.

This track is an enduring classic and would become the group’s signature moment. Other highlights on the album include; ‘Stylin’ Lyrics’, ‘The Force Is Buggin’ and ‘Take It Away’.

The release of Marc‘s album „Voyage de la planète“ in 2017 marked a new era of his career. With ten rather beatless tracks where he combined his definition of electronica with classical instruments like violine, cello, double bass and piano Marc began to walk the path of fresh sounding music for the brain.

The title track has been the most successful one so that Marc called no one else than Erased Tape‘s poster boy Ben Lukas Boysen from Berlin to contribute his very own interpretation. Ben created a typical and unique version which comes along with a, believe it or not, 4/4 kick pattetn towards the end. But listen yourself, it totally makes sense. And Bordeaux‘s best Ocoeur made a short but epic ambient version you also should not miss.

Award-winning bassist Daniel Casimir and vocalist Tess Hirst release their debut album via pioneering London-based record labe Jazz re:freshed. Following the success of Daniel Casimir's critically acclaimed debut EP 'Escapee' which featured Hirst on vocals and fellow rising stars on the scene Moses Boyd, Joe Armon-Jones and Shirley Tetteh, this album - 'These Days' is inspired by the duo's London surroundings, delivering thought-provoking lyricism, neo-soul and modern jazz

Casimir, a former Birmingham Conservatoire student, has collaborated with Julian Joseph, Jason Rebello, Benet McLean, Lonnie Liston Smith, Nathan Facey, Shane Forbes, Chihiro Yamanaka, Ashley Henry, David Lyttle, Nubya Garcia, The Tracey Quintet (Meantime Jubilation), Tom Harrison (Unfolding In Tempo), Jasmine Power (Stories And Rhymes), Camilla George and Art Blakey Jazz Messenger saxophonist, Jean Toussaint.

Named Young Jazz Musician of the Year by the Musicians' Company in 2016, Casimir has received plaudits for his arrangements and recital, while Hirst has made a name for herself with her vocals on the jazz circuit having moved between London, Leeds and LA to hone her craft. What sets Hirst apart as a musician is not only the originality of her music but her perspective of herself as an artist. She is an Ethnomusicology Graduate of SOAS and her writing style walks us through her upbringing in West London and down the halls of academia

Casimir and Hirst fuse traditional jazz sounds into beautiful compositions, narrating their way through a political and cultural landscape across these twelve tracks. The frenzied groove heavy'Security' addresses the need to trust one another and how we protect ourselves personally, while the rich atmospherics of 'Freedom' combined with Hirst's vocals, explore liberation and the rejection of duty - from a female perspective.

At the heart of 'These Days', Casimir plays with a passion and power that resonates throughout each composition. His knack for complex chord changes are highlighted in 'What Did I Do', bringing an energy and enthusiasm to the track while Hirst decries our changing capital. Elsewhere, references to John Agard's poem 'Listen Mr. Oxford Don' in 'The Magic Money Tree', explore the past and its relevance to now while a re-imagining of Charles Mingus' 'Fables Of Faubus' further ensures this theme remains central to the essence of the album.

Daniel Casimir and Tess Hirst have already received radio support from BBC Radio 3, BBC Music Introducing and Jazz FM, along with coverage in the London Evening Standard and Jazzwise Magazine

'Don't Let Them' interpolates elements of 'Fables Of Faubus' written by Charles Mingus (c) 1959. Published by Jazz Workshop Inc. Administered by BMG Rights Management (UK) Ltd. Used by permission. All rights reserved.

CHIWAX welcomes Gora & Eloy to the artist Family! Let's jump back in time and feel the 90's rave!

This debut album, by prodigious keys player, composer and producer Joe Armon-Jones, is buoyant, celebratory and welcoming. With a background in jazz, he draws from influences in dub, hip-hop and soul. Different traditions are infused and commingled together. Soulful brass arrangements are coloured with carefully-tuned atmospherics, individual flashes of brilliance are bound into the album's bigger picture.

He's part of London's young, jazz-influenced music scene. Drawn from that same close-knit circle, the album features the likes of Moses Boyd, Nubya Garcia and Oscar Jerome. It's playing with those - along with Ezra Collective, which he co-founded, and touring with the likes of Ata Kak and Pharoahe Monch - which has honed his playing and grown his ideas.

It's made for a record with an unmistakable depth. He draws on deep musical understanding, making music which is warm and has a feeling of joy. A document of his vision for bringing together his different influences, it's also a testament to hard-earned, head-turning musical virtuosity.

Lost Soul is an uptempo funk song recorded and written in Kunming, China with a killer breakbeat that has already become an underground hit in the b-boy scene, finally receiving a release on 7" vinyl via Dinked Records. DJ DSK, The People's Rhythm & Angela Cory penned ideas for the song while touring the Chinese club circuit together.

DSK then approached different musicians living in different parts of China at the time for their help in recording the song. The song has been played at many high level b-boy battles including the final of the UK B-Boy championships by DJ Renegade.

The Godfather of the Montreal disco Robert Ouimet was a resident DJ at The Limelight between 1973 to 1981.
Basically this man got history!

After a fine release on Basic Fingers last year he now got two funk-disco edits for GAMM. On the A side Robert takes on a classic, Yellow Sunshine by Yellow Sunshine (translated in French on the release) which was a well established b-boy anthem as well as a classic cut for DJs like Danny Krivit and David Mancuso.
On the B, we find another obscure funk-disco jam packed with soulful vocals, moog synths and big disco breakdowns.

Another G.A.M.M sureshot !!

Hardcore punk pioneers 'Bad Brains' released their sixth full-length 'God Of Love' in 1995. The original line-up was back together and the album was promoted with a big tour and concerts on the Beastie Boys’ Ill Communication tour.
The album consists of a mix of reggae, hardcore, punk, and hard rock tracks. The band continued to evolve and created such a versatile album that people from different backgrounds felt attracted to it.

'God Of Love' is available as a limited edition of 1000 individually numbered copies on coloured (transparent green & yellow mixed) vinyl and the package includes an insert.

To be released December 2019 four tracks of divers styles from 2004 till 2019 are gather on this release by istari lasterfahrer.

"One Billion Suckers" is a vicious hardcore tune collaborating with dancehall riddims. followed up by some old school jungle breakcore slammer with granulare glitches vocals and 90ies piano hook from the past. the b side starts with „rave like tiller boys & girls“ on the more playfull side of heavy baseline driven four to the floor breaks. for the end of the plate „fucked up in the brain“ smoothes down the average pace of 195bpm of this release to 140bpm with a bass tune. this release comes in a full color cover and is hand numbered an limited to 250 copies.

They Say: “Driving brass and sax ensemble over funky rhythm section, playing tracks of various feel and style”.

We say: From the Lincoln Continental that memorably adorns the cover to the tranquil funk contained within, this glowing ode to the grooving force of 70s American soul music is ice cool all over. With brilliant contributions from the Three Key Alans™ (Hawkshaw, Parker, Tew) as well as Mike Moran, Les Hurdle and Keith Roberts, this is driving music for only the vibiest cats.

Originally released in 1976, The All American Powerhouse is one of the very best of the Themes library releases. It’s killer. A feast of dramatic jazz, horizontal, melodic funk and bouncing sunshine-y West-Coast feels throughout, there also lurks an intense injection of the Blaxploitation sound. Understandable, given the subject matter and year it was released.

Highlights include Alan Parker’s confident, horn-heavy wah-wah-fuelled album-opener “Sweeny Todd”, Hawkshaw’s graceful “Getaway” glide and dramatic, breathless “Speed Run”, Mike Moran’s loose, organ-driven propulsive B-Boy classic “The Pick-Up” and Keith Roberts’ percussive tour de force “Overide” that closes out the LP.

Yet, perhaps the most significant track here is Les Hurdle’s long-adored “Soul Train”. A grooving, bass-heavy library classic, it’s all swirling strings, stabbing horns, heavy open drums and melodic funk-rock guitars. Add in the funky clavinet, and the combination works beautifully.

As with all of our other Themes re-issues, the audio for The All American Powerhouse comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

After the major success of Part 1, Cosmo Vitelli & Malka Tuti are presenting Holiday in Panikstrasse Part 2, the 2nd and final part of Cosmo’s 2XLP on the label.

After collaborating with Fantastic Twins on Part 1, the amazing Julienne Dessagne’s vocals are back on Part 2 as well for the opening track Fragments of Reality. Another collaboration on the record is with Croatian singer and vocalist Tanja Vezic, whom we’ve already seen collaborating with Cosmo on his Les Disque De La Mort release, and who gives a cinematic sort of feeling to the track Party old boy.

With “He just wanted to hang out with the DJs” Cosmo creates a slow burning dark banger that will not go unnoticed.
The final track Irritable is the perfect mixture between German Krautrock heritage and the French disco-synth touch of the 80s - emotional, growing and cathartic, one cannot stay indifferent to it.

‘Wild Slide’ is the debut album from techno supergroup, Better Lost Than Stupid, aka 3 of the world’s finest producers and DJs - Martin Buttrich, Davide Squillace, and Matthias Tanzmann.

Released on 13 September by Skint/BMG, the 11 track album follows a slew of singles - ‘Back From The Desert’, ‘The Sky Is Too Low’, and ‘Inside’ – which have won praise from the likes of Mixmag, Dancing Astronaut, RA, Radio 1 (Pete Tong and Danny Howard), Marco Carola, Dubfire, Nicole Moudaber, Kolsch, Joris Voorn, Claptone, Eats Everything, Adam Beyer, and many more.

Electronic music underpins ‘Wild Slide’, but Better Lost’ look beyond it with a varied collection of song ‘Wild Slide’ is the debut album from techno supergroup, Better Lost Than Stupid, aka 3 of the world’s finest producers and DJs - Martin Buttrich, Davide Squillace, and Matthias Tanzmann.

Released on 13 September by Skint/BMG, the 11 track album follows a slew of singles - ‘Back From The Desert’, ‘The Sky Is Too Low’, and ‘Inside’ – which have won praise from the likes of Mixmag, Dancing Astronaut, RA, Radio 1 (Pete Tong and Danny Howard), Marco Carola, Dubfire, Nicole Moudaber, Kolsch, Joris Voorn, Claptone, Eats Everything, Adam Beyer, and many more.

Electronic music underpins ‘Wild Slide’, but Better Lost’ look beyond it with a varied collection of songs that combine synth-pop (‘Inside’, ‘Wild Slide’), electronica (‘Boys & Girls’, ‘Harder Than Gold’), indie rock (‘Back From The Desert’), and downtempo (‘Without The Feeling’, ‘Bender’), with the kind of euphoric techno moments they’re individually known for (‘Inside’, ‘Right Now’).

‘Wild Slide’ shows that the comparisons made between Better Lost’ and stadium techno acts like The Chemical Brothers, and Underworld, stand up. The production quality is every bit as good as you’d expect from Buttrich and co, and the songs have been crafted and written by three people who’ve spent their lives making music and then playing it to hundreds of thousands of people.

Beyond Space And Time is the new record label from Japanese music festival, Rainbow Disco Club (RDC). RDC has been welcoming music loving people to Japan for over a decade. Throughout the festival's history, RDC have been fortunate to constantly encounter performers and DJs who've collaborated with them in establishing a beautiful dance floor year in, year out. These relationships have lead RDC to start their own label, and now gives them the opportunity to reveal one of the best-kept secrets: What is in a DJ's record bag?

This time around, festival regular DJ Nobu kindly opens up his collection and shares the music he loves with us all. On visual duty we welcome Senekt - his representational yet contemporary drawing illustrates the emotion we feel from DJ Nobu.
We have much more music to come in future from artists that we trust and respect.

▼ DJ Nobu describes 10 tracks this way ▼

A1. Laurent Garnier - Water Planet
Highly respected French DJ/Producer Laurent Garnier has been releasing tracks for decades capturing the very essence of Detroit Techno and Breakbeat. He always manages to create something truly emotional. This is not his biggest hit, but it's my favorite.

A2. Mono Junk - Beyond The Darkness
This track represents the very early days of Techno with it's ravey atmosphere. It has a primitive feel, and the obscure mixdown sounds almost unbalanced. That said, this one really stands out when DJing. Very cool.

B1. Psychick Warriors Ov Gaia - The Valley
It was always my intention to include this track in a compilation if were I ever to do one. It has a fat underlying groove, with some indigenous spices thrown in. The whole thing is put together beautifully. No complaints!

B2. Melody Boy 2000 - Plenty Of Love
I wanted to include a track that had Jacking feel to it - that is my definition of dance music. This track mixes well in both Techno and House DJ sets.

C1. Drax Ltd. II - Amphetamine
This is my all time favorite track by Thomas P Heckman. It asks questions and strikes down all the boring 'wanna be cool' techno tracks. It is obviously a well known tune already, but I include it here because I'm often asked for it's track ID from new kids in the game. This is a classic that should be passed down.

C2. Dan Curtin - 3rd From The Sun
Curtin's refined synth grooves and bass lines make this a true timeless classic. It do not get tired of listening to his rhythms and melodies - he always gets it just right.

C3. Front 242 - U-Men.
The originator of Electric Body Music. Their husky vocals, hard rhythms and strong synth basslines made the group very popular at the time, and they are still to this present day. To me, this track represents what the Belgian New Beat scene is all about.

D1. The Prince Of Dance Music - E3 E6 Roll On
This is the track I played the most up until around 2006. It is a genuine house track that cuts through trends in music. A hidden floor killer.

D2. Pan Sonic - Lähetys / Transmission
Electronic music has existed for decades, and if you are to choose some of the best from all scattered & hidden places, Pan Sonic's 'Lähetys / Transmission' must be considered. The track emerges beautifully - breaking structures and transcending the past. Every layer of the piece is produced with such delicacy and care, that as a whole it magically drags you into the world of the unknown.

D3. Burial - Archangel
This track merges melancholic emotions with technological prowess at the highest level, and deeply impacted the dance music scene on it's release. I recently played this track at the end of my set at the forward thinking Terraforma Festival in Milan. It faded out to huge applause from the open minded crowd. A moment to be remembered.

Following September 2017's release of "Imperfect Charm" a 5-track EP of post-club, haunted techno and heady sound designed industrial.
Evitceles has developed his sound far further, with releases on Seagrave, Yerevan and his own Amek imprint. "The Substance Of My Fantasies" is his first album and boils down the previous work into a narrative and truly dramatic session over its 9 tracks.

Opening gambit "Take Me to Common Ground" unlocks the gates with bruising rave stabs left to exist in a vacuum of sub-bass boom and augmented voice. "Nightcrawler / Third Night" is a diffuse future-garage roller, priming razor-edged basslines against a hollow melancholia, a theme present throughout this album. "Spit Hearts" cranks the busted drum patters out through a super hi-fi field of gothic synthesiser.

Closing piece "Behaviour Exercise" places off-thumbed emo-guitar lines and barely uttered exclamations into a gorgeous outro recalling sad boy rap styles from the darkest corners.

Skyf Connection (pronounced skAyf) was a short lived project by long time friends Anthony Mthembu and Enoch Nondala. At the time they were working for Annic Music, an independent label run by married couple Anne and Nic Blignaut. Although the label was known mostly for Zulu, Sotho, Tsonga and other traditional styles, they had a few Disco releases on the label including groups like Keith Hutchinson’s Focus and Enoch’s discovery Lena, who went on to have huge success under the name Ebony a few years later.

In 1984, when an artist didn’t show up for a booked session they decided to make use of the studio time and began working on a demo. At the time Anthony and Enoch had been playing for a year at a new club called Gamsho, located on a farm on the outskirts of Kliptown Soweto. Along with Blackie Sibisi, Sepate Mokoena and Elijah “chippa” Khumalo they made up the resident house band. Due to cultural boycotts and American artists refusing to perform in the country, locals took it upon themselves to fill the market with the American sound the crowds demanded. The demo they recorded at Blue Tree Studios was going to be their product they could use to promote their brand of the American sound. They then took the demo to Universal Studios where their friend and trusted engineer Jan “fast fingers” Smit was working. It would be here that they would polish their demo into something they could take to their bosses and have pressed. Equipped with a DX 7, Linn Drum and some Juno synthesizers they were on their way. Jan lived up to his name and programmed the drums, it is rumoured he could program in almost real time, a skill that translated to the local arcade where he held high scores on many machines. Enoch would be singing and playing guitar while Anthony would do all the Bass and Keyboards. The result was 4 funky party anthems with synth work like no other recording at the time. Their take on what they believed the crowd would want to hear at the beloved club they called home.

From start to finish the 4 tracks portray what would have been a standard night at the Gamshu. Although the club would open earlier and the standard hours of most clubs was 6 to 6 , the band would start playing at 10pm. With their standard set time and Anthony and Enoch unique view on what a Disco should be, they chose the motto Ten to Ten as the album title because those were the hours when they were the stars and Disco ruled the dance floor. To get to the club was a bit difficult, you needed to drive along an empty road where thieves waited for any patrons trying their luck walking after dark. Since there was no transport during the night, the safest way to get home was to wait till the next morning to walk home. Even though in the summer months of Johannesburg light begins to peek in just after 4am, crowds refused to leave and stayed enjoying good music and company until 10am. The lead off track “Let’s Freak Together” has powerful lyrics encouraging people to let go of their worries, put aside any differences and let the music bring everyone to freak and dance together. The whole album is about the joy we can all feel when we share the same moments and how music can bring people together in a unique way, a philosophy shared with the original nightclubs of 70s New York. This approach to music is where the name Skyf Connection comes from, translating from slang to mean the connection we create through sharing, in this case Music and good times.

Skyf Connection would go on to play at Gamsho till the club’s closure in 1986. In those years their popularity lead to being booked for private events like weddings and birthday parties, as well as gigs in some other venues like Mofolo Hall. They would share the stage with many artists through the years learning artist’s songs and providing support as a backing band. After the club closed Anthony would go on to join the house band at The Pelican, another famous club located in Orlando East, as well as dabbling with songwriting for artists like Phumi Maduna and helping Enoch on many projects through the years. Enoch would ditch live music altogether and immerse himself in studio work, starting full time as a house producer and A&R for the recently formed Ream Music. He would go on to produce hit albums for pop artists like Percy Kay and Makwerhu but made his mark discovering countless artists that would become stars in the traditional market. They would remain friends until Anthony’s passing in 2016 and although Anthony is no longer with us his spirit lives in the grooves he left on this one of a kind record. His wife Vinolia will be accepting his portion of the profits on his behalf.

The teen girl falling in love with greasy biker melodrama that set The Shangri-Las on the scene was beaten to the core when English high society child Lynn Ripley -better known as Twinkle- took it to the next level on her own composition "Terry". Penned at the tender age of sixteen, Twinkle's lyrics were found so twisted and bad tasty that the song got the honour of being banned at the BBC thirteen years before the Sex Pistols ran the same luck with "God Save The Queen." A ban that, as you would have guessed, instead of hiding the song from the era's teenage record hunters made it even more coveted. Thus "Terry", Twinkle's first 45 issued on Decca in October 1964, became an instant top 5 hit in the UK and was released successfully worldwide as well as covered by many bands (like Claude François French version or Los Extraños cover sung in Spanish).



The success of "Terry" encouraged Decca to release other comositions by Twinkle, along with her recordings of songs by other songwriters, in 6 singles and one EP published between 1964 and 1966. Another of Twinkle great tunes, "Golden Lights", was covered by big Twinkle fan Morrissey and The Smiths in their 1986 "Ask" 12" EP.



The 14 songs from the Decca 45s are collected in this fatastic LP, housed in an amazing period style sleeve w/backflaps and including a gatefold insert with photos and first hand told liner notes by Twinkle's own sister Dawn James, a music journalist working for New Musical Express back in the 1960s.



It comes in a limited edition of only 500 copies : if you like sixties girl-pop sounds like those of The Shangri-Las, pop stars like France Gall, singer-songwriters like Margo Guryan and Phil Spector-ish productions you must get your copy of Twinkle's "Golden Lights" before it sells-out!