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"Self-released avant garde jazz – reissued for the first time! Recalling Kraftwerk precursor the Organisation, or contemporaries like Faust, Hünerberg employs flute, organ, bass and balloon to his DIY compositions.

Over top of Gillespie's nimble, pointillist drumming (he also plays piano and harpsichord), Hünerberg employs flute, organ, bass and balloon (that’s not a saxophone on “Cucumber”). The disorienting opener “Cro Magnon/Two” recalls Kraftwerk precursor the Organisation, or contemporaries like Faust. There’s a strange, disconsolate atmosphere to the proceedings, almost as if the air had been sucked out of a recording session booked for some avant-garde jazz heavies.

Instead of Impulse, Phase Murmur should have been bound for ESP-Disk. Alas, the duo were experimenting out in the relative vacuum of southwestern Ohio. Far from any bustling metropolis or curious record labels, Phase Murmur was truly a DIY affair. Not only did the duo press the LP up themselves (down the road at Cincinnati's Rite Record Productions), but the evocative and mysterious photo on the cover is by Gillespie while the layout, with accompanying poem on the back, was assembled by Hünerberg.

It was on Phase Murmur where Hünerberg first found his voice, and the rest is the sound of history, unspooling on a reel-to-reel tape machine.

Includes new liner notes by Erick Bradshaw (Host of Spin Age Blasters with Creamo Coyl on WFMU)"

Having haunted stages across the UK for the best part of a decade, the critical success of their 2024 sophomore full-length `Acts of Harm' gave caustic shoegaze outft Outlander pause to refect on their astounding 2019 debut, `The Valium Machine', soon to be reissued by Pelagic Records on vinyl for the frst time. Written and recorded in 2018 over a handful of studio sessions in Stoke-on-Trent, `The Valium Machine' was a formative experience for Outlander in more ways than one. Prior to working on the album, the band would happily describe themselves as your standard, straight-down-the-middle post rock band but an openness to new infuences from the `90s slowcore and shoegaze scenes, the delicate, textural introduction of vocals and the pivotal decision to track the album in sprawling, full-band takes lead Outlander to fundamentally redefne their sound and scale; adding a pointed sense of dynamic and discordant dirge that lead to the four-piece sharing stages with trailblazing genre heavyweights Bossk and Grivo as well as breathtaking performances at festivals like Dunk! (BE) and ArcTanGent (UK). With beautiful artwork produced in partnership with street photographer Richard Lambert documenting the colourful, everyday life of their beloved Birmingham, the initial run of `The Valium Machine' was limited to a criminally small 50 CDs through tiny local imprint FOMA. Now, fve years later, Outlander owe their panoramic pace and formidable, funereal sound to those few days spent in Stoke- on-Trent and the band, along with Pelagic Records, believe this nascent recording deserves to be heard by many, many more. FOR FANS OF: Duster, Codeine, Swervedriver, Catherine Wheel, Kowloon Walled City

Having haunted stages across the UK for the best part of a decade, the critical success of their 2024 sophomore full-length `Acts of Harm' gave caustic shoegaze outft Outlander pause to refect on their astounding 2019 debut, `The Valium Machine', soon to be reissued by Pelagic Records on vinyl for the frst time. Written and recorded in 2018 over a handful of studio sessions in Stoke-on-Trent, `The Valium Machine' was a formative experience for Outlander in more ways than one. Prior to working on the album, the band would happily describe themselves as your standard, straight-down-the-middle post rock band but an openness to new infuences from the `90s slowcore and shoegaze scenes, the delicate, textural introduction of vocals and the pivotal decision to track the album in sprawling, full-band takes lead Outlander to fundamentally redefne their sound and scale; adding a pointed sense of dynamic and discordant dirge that lead to the four-piece sharing stages with trailblazing genre heavyweights Bossk and Grivo as well as breathtaking performances at festivals like Dunk! (BE) and ArcTanGent (UK). With beautiful artwork produced in partnership with street photographer Richard Lambert documenting the colourful, everyday life of their beloved Birmingham, the initial run of `The Valium Machine' was limited to a criminally small 50 CDs through tiny local imprint FOMA. Now, fve years later, Outlander owe their panoramic pace and formidable, funereal sound to those few days spent in Stoke- on-Trent and the band, along with Pelagic Records, believe this nascent recording deserves to be heard by many, many more. FOR FANS OF: Duster, Codeine, Swervedriver, Catherine Wheel, Kowloon Walled City

Heather Maloney’s new album, Exploding Star was never intended to be released. Written after the death of her father, the songs were the most vulnerable body of work she had ever created - meant and written only for her. The idea of releasing an album went against her instincts to keep this art close. Luckily for us, her family convinced her otherwise. Maloney was able to track for 2 days in her childhood home - recording songs, backing vocals, the crickets in the yard and even percussion played directly on the walls and floors of the house itself. Maloney also played her father’s guitar and a keyboard that she had since she was a child. The result is raw and exquisitely personal, a collection of twelve songs urgently written at the time to help ease the “greatest heartbreak” of Maloney’s life but are thankfully and transcendentally now ours as well.

2 bloody Acid true bullets from Stije and BrZ in the happy magical studio.... the crew of the acid digging of hard sweetness from The Nederlands. MAGIC PEOPLE !

Available for pre-order! Expected to be available from Jan 31, 2025. Your order will be shipped as soon as the item is in stock. If a partial delivery is desired, additional shipping costs may apply.

Say It Loud Records has the honor of presenting the reissue of the Catalan monkfish masterpiece Variacions en fu-remoll de la 5ª simfonia inèdita de Roger Linn. Extraño Weys it has been the most elusive group on the scene. But the hit on the table that they made 6 years ago in an exclusive 10” and that has become a collector’s item is back in the form of a reissue!

An elegant 12” vinyl with two bonus tracks never before released on plastic, the delicious “Jade” by the crazy Gordo del Puru and “Say it Extraño” with the North American MC Akua Naru. A title that is a tribute to the creator of the first MPCs, the key piece on which the productions of the album are built by Viktor Pizza. It is precisely these productions that show the solidity of the project. With an exquisite work of the sampler and an infinite number of references on vinyl, VP has built a storyline that modulates atmospheres and moods over 6 tracks where the two main mc’s, Sir JKLZ1 and Patxi Vazili, draw their obsessions.

"577 Records’ The Sea, The Space, and Egypt, Vol. 1 is what happened when old friends and a new connection united in the name of music. A heartfelt tribute to the great Sun Ra, the otherworldly album debuts the collaborative gifts of Michael Sarian (on the trumpet), Matthew Putman (on the keys), Federico Ughi (on the drums), and up-and-coming Cuban bassist Ledian Mola.

Sure, most of these musicians have played together in the past. Sarian and Putman have made many albums together, while Putman and Ughi have conspired on melodies for fifteen years. However, we guarantee you have never heard them all in one spot like this.

Alabama’s Sun Ra rose to the top of the Chicago music scene in the 1940s with something unprecedented. A cosmic pioneer of Afrofuturism, he became known for his diverse and unique avant-garde experimentalism. Modern artists champion him as a true innovator.

The new band revives the late Sun Ra’s magic in this appropriately named new release. Matthew Putman even plays the same keyboard model as the experimental music icon (the Rocksichord). Even the cover art is a nod to Sun Ra's ancient Egyptian influences, featuring an upside-down pyramid over a galactic setting created by Robert Mirolo.

Meanwhile, Ledian Mola adds vocals inspired by Cuban folklore to these incredible improvisations. The album marks Mola’s first time recording with the other artists in the group (and 577 Records), but you would never know it. Their abstract rhythms sound like they’ve been playing together for a lifetime! He was hand-chosen for this project from 577 Records’ 2022 SOF music residency in Italy and has performed at several of the New York Forward Festival's live events."

Trumpet by Michael Sarian.
Keyboards by Matthew Putman.
Bass by Ledian Mola.
Drums by Federico Ughi.

The Dub Pistols reissue journey continues and some could argue we’ve saved the best for last. Originally released on CD in 2012, the tour-de-force of ‘Worshipping The Dollar’ is finally receiving the vinyl treatment it deserves.

Including festival big hitters such as Mucky Weekend, Alive and Bad Card, this outstanding LP is being pressed on stunning blue and white splatter vinyl and it sounds better than ever. With its hard-hitting beats, infectious melodies, and socially conscious lyrics, 'Worshipping The Dollar' still acts as a commentary on the current state of our world and the detrimental effects of greed. The album features collaborations with legendary artists such as Rodney P, Red Star Lion, and Lindy Layton, adding an extra layer of depth to an already dynamic sound.

From their early beginnings as a soundsystem project, Dub Pistols have grown into a party-rocking live band that ignites festivals and venues. Main man Barry Ashworth has even gone a step further by developing his own hugely successful ‘Mucky Weekender’ festival named after Worshipping The Dollar’s lead single. Mucky by name, Mucky by nature - the festival certainly isn’t for the light hearted!

‘Worshipping The Dollar’ serves as a testament to Dub Pistols’ enduring spirit and tenacity and you can now pre order the album on how it was originally meant to be listened – on glorious vinyl.

a Alive feat. Red Star Lion 04:42
b West End Story feat. Akala 03:42
c Mucky Weekend feat. Rodders 05:08
d Bang Bang feat. Ashley Slater [03:33]
[e] Rubadub feat. Lindy & Dan Bushall [05:00]
[f] New Skank feat. T.K. [04:18]
[g] Rocksteady feat. Rodney P & LIndy [04:20]
[h] Countermeasure feat. T.K. [04:40]
[i] Gunshot feat. Darrison & Rodders [05:42]
[j] Bad Card feat. Dan Boskills [05:22]
[04:16]

Reissue of the 2nd full length by Thomas Bücker aka Bersarin Quartett.

“It's rare that I'm able to give an album my fullest recommendation without trepidation. (...) Bersarin Quartett is one such album. There's nary a misstep, every potential danger has been avoided and smoothed out to present the optimal audio experience for your dollar. (...) Something this good can't possibly be real." The Silent Ballet (8.5/ 10)

Almost all reviews concerning Bersarin Quartett’s self titled debut album from 2008 chorused this paean. In 2012 he returned with his long awaited 2nd album called “II”. After turning Bersarin Quartett with two befriended guest musicians into a band project in 2011 and some successful and interesting live experiences in several countries it was time to bring the fragments of songwriting of the past years together to a new 13 tracks journey. Someone mentioned “This music could be written on a lonely island or onboard of a spaceship looking on our planet. Time becomes a new unit and feelings become more weight.” That’s exactly the feeling Bersarin Quartett "II" delivered. References to Stars Of The Lid, Ulver's Perdition City, Bohren & Der Club Of Gore and Cinematic Orchestra are fully justified.

Es gibt niemanden, der die Bühne so für sich nutzt wie Iƽy Pop – und es wird nicht besser als auf "Live At Montreux Jazz Festival 2023". Mit einer Band, die so vielseitig und akrobatisch ist, wie er selbst, geben sie sich gemeinsam der rohen Gewalt der Stooges-Ära mit "I Wanna Be Your Dog" und "T.V. Eye" hin, performen mit lässigem Charme "Lust for Life", feiern die präzisen, hypnotischen Klänge von "Nightclubbing" bis hin zur völlig entfesselten Wut der aktuellen Stücke "Modern Day Ripoff" und "Frenzy". Die umfassende Live-Sammlung und Iƽys unvergleichliche Darbietung auf
höchstem Niveau ziehen sowohl seine langjährigen Anhänger als auch eine neue Generation von Fans in ihren Bann

With their anticipated new album, Black Flower delves into the transformative power of rhythm and motion. Each groove, rhythm and pulse channels raw energy, acting as a disruptor that drives transformation. When the mind feels stuck-cemented in patterns, rigid in its views, overwhelmed by obstacles-Kinetic serves as a reminder that the body's motion can be the force to shatter those confines. To move is to adapt, evolve, and transform.
The album embodies a philosophy of flowing with change rather than resisting it, offering a bold, dynamic statement on breaking free from life's limitations. Kinetic is a call to dance through life's chaos and to harness the power of movement as a tool for liberation.
The album showcases Black Flower's signature blend of Ethio-jazz, oriental influences, dub, and afrobeat. The jazz combo, hailed by tastemakers such as Gilles Peterson, The Gaslamp Killer, and Lefto Early Bird, has performed live sessions on BBC Radio 3 and Worldwide FM. Their previous albums earned widespread acclaim, with glowing reviews from prestigious publications such as MOJO, Stereogum, Q Magazine, and Uncut Magazine. The band has toured extensively across Europe, building a strong fanbase

List of Demands, Damon Locks" first foray into creating an entire album from spoken and text-based work, finds the Chicago-based musician and educator collecting cultural abstractions and reorganizing them into a firm truth. The album lays out a vision of Black liberation and transmits it outward as a song cycle of bite-sized MF DOOM-meets-Nikki Giovanni rhythm experiments. The sample-based constructions are steeped in a lifetime of not only keen cultural observation, but direct communal participation in the culture. Locks" decades-long resume connects the dots between experimental improvisation, sample based hip hop, punk, and poetry - each done at the highest level and with a list of collaborators that could spin the head of even the most jaded listener. And that seems to be the point. To jump-start the entire personality spectrum into action. Ecstatic positivity examined via his nuanced grasp of reality, all working toward that ever-evasive concept of what could be.

Legendary House don Harry Romero joins Rekids for the first time with the ‘Nice To Meet You’ EP comprising two massive tracks with classic NY House DNA with the sort of modern twist Romero’s become synonymous with throughout his two-decade-plus career. The Bambossa Records founder now lands on Radio Slave’s flagship label following an impressive 2024, which featured releases on Faith, Nu-Groove, and Defected.

After his appearance on Rekids’ podcast series in August, House hero Harry Romero starts the label’s 2025 with the ‘Nice To Meet You’ EP. First up is the title track, a uniquely hypnotic cut with a bold kazoo melody and raw, club-ready low-end that shines on the breakdowns and high-impact drops. ‘Danny’s Groove’ is next, a track with real Romero energy, its rhythm carefully layered with an organic drum shuffle at the centre, an ear-catching whistle melody in the back, and plenty of synth hits in between - the ‘Nice To Meet You’ EP is a masterclass in building and releasing energy on the dancefloor.

Radio Slave’s Rekids imprint was founded in 2006 and has since spawned successful offshoots with the Techno-focused Rekids Special Projects in 2017 and its newest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been crucial in developing early artist careers and has become a haven for established acts operating in House and adjacent genres, having recently featured the likes of Hilit Kolet, William Kiss, Bushwacka, Mathias Kaden, Katerina, Sean Johnston, and many more.

Slam poetry, rap battles, singing, song writing and drumming. The hit album “Say Yes” by Iyeoka is now being released as a high quality vinyl version (180 g) in gatefold. The YouTube hit “Simply Falling” received over 216 Million clicks.

Iyeoka (read: ee-yo-kah) is well versed in many expressive arts, but in essence she is a storyteller and poet. "My goal is very simple", says the US Nigerian American, "I want to move the world, one poem at a time". She does this enchantingly well with her album "Say Yes (R)evolved". In poems set to music Iyeoka Ivie Okoawo (her full name) reveals herself to be a strong, self-confident woman of the modern world. She tells tales of love and relationships in the 21st century and philosophizes about the daily struggle of life and being a woman in a post-feminist world digging deeply and personally into her African roots.

Musically Iyeoka handles expertly a wide variety of styles from electronic soul "Break Down Mode" to technofied R'n'B "Broken Hearts Anthem (Walk Away)", from energetic dance inducing grooves "The Yellow Brick Road Song", to a more jazzy "Happily Ever After", from melodic soft rock "Say Yes", to pop "Soundtrack to Life" and reggae "Testify". She certainly has presence and shines out with a silky smooth elegance reminiscent of Sade "This Time around", "Simply Falling". This woman has real all-round talent, and she knows how to use it!

Burial and Kode9’s acclaimed joint 12”, initially released as a Hyperdub webshop exclusive in summer 2024, now available in record stores worldwide, with revised label art and custom sleeve.

2025 Repress
2019 is mule musiq’s 15 years anniversary. we’re going to release twelve 12inchs with our friend artists and stefan marx make the collectable artwork. last release of the series is swedish house maffia axel boman.

first track,”chestnut hearts” is super emotional no beat club banger,axel played at his latest boiler room,”slave to the vibe” is slow mo cosmic tune,”paid by the rhythm” is axel’s signature floating house,”copacabana dub” is epic brazilian affair deep house anthem, “don’t bug me” is dubby rasta tune,”konoba boba” reminds little bit early border community sound.

thank you so much for supporting us 15 years!

Taking our time has become a sort of ESP modus operandi, often proving that when variables are left to cook long enough—relationships, styles, politics, moments in culture—we may collectively yield a more considered result. Once in a 'Blue Moon', we set sights on a record that conducts some strange voodoo, some rare combination of elements that commands our entire being. Entering our atmosphere with a concise 6-track debut, dub technician Brendon Moeller has brought us exactly that. Although we’ve long been admirers Brendon’s work, separated by only a few degrees—he and ESP’s Lovefingers are the same age and shared a decade of salad days in New York City—it took another decade before enough courage was mustered to suggest we actually work together. Our reticence has seen Brendon’s aesthetic and palette evolve over the years, and the label has simultaneously sculpted a tone of its own, but now we’re more than proud to finally marry his highly refined output with our, let’s say, “deliberate” appetite. 'Blue Moon' touches everywhere Brendon has been as an artist—from the obtuse corners of ambient to IDM, dub techno to liquid drones and bass—yet the vocabulary is honed and succinct, relying on a very intentional handful of expressions. This is almost an exercise in restraint, all 6 tracks are delivered from a disciplined and committed point-of-view, but what we find most captivating is the exploration that this allows in terms of depth, texture, fluidity and pacing. There is a complexity hidden in plain sight that begs to be studied, a comfort that allows us to slip inside like a warm bath, an addictive tingling sensation that we must prolong indefinitely. Even as we write this testimonial, the album is going on a fourth repeat and we languish the intervening silence between tracks. This is being under the spell of Brendon’s 'Blue Moon'.

The recently Grammy nominated song, I SEE LOVE gets the remix treatment by one of the world’s most celebrated production and remix duo’s: Michael Gray and Jon Pearn. Loving this version so much, IZIPHO SOUL felt compelled not only to release it on a 7”, but opt for the full 6 minute version.
Flip it over for ‘The Sweet Side’ - EARN IT, the extended 7 minute version; a pure soul ballad of epic proportions!
The record has been cut at 33⅓ RPM in order to bring you these long versions on a 7” single and they sound incredible!

Rising from the core of the underground in Latin-America, Buenos Aires duo HAPPY707 makes its debut on Disidencia Records with a powerful 5 track EP which includes a remix by no other than Dutch synth wizard Legowelt.

Pungent vocals, accurate distortion and fierce kicks, surround beautiful and alluring melodies created throughout the whole record.

Happy707 forges energetic beats accompanied by a meticulous flow of electro, wave and industrial sounds.

Following a string of successful releases and performances at some of the electronic world’s most revered underground venues, Italian DJ and producer Matisa returns with her captivating new single, '1234 Bisous', out now.

With sultry vocals and classy tech-house sensibilities, this deep, rolling cut is primed for the dancefloor. Nodding to Matisa’s love for euphoric, nostalgia-inducing rhythms, shimmering acid and piano-laced sounds, the gorgeous single offers a glimpse into her forthcoming mini-LP, ‘In My Head’ due for release on 31 January 2025.

'1234 Bisous' carries the same bold energy that has solidified her place in the scene while introducing a more introspective and emotional depth to her sound; a deeply personal track that encapsulates the bittersweet emotions of fleeting love and the unexpected start of a new romance.

“Un deux trois quatre bisous, I was keeping just for you, But then I wake up in a boom, Just a lad lays in my room”.

"This track captures the bittersweet end of a significant love story as a new one begins. It’s not your typical love-at-first-sight scenario… It took a solid five minutes for that spark to ignite and that undeniable feeling to hit." – Matisa

Known for her uplifting, radiant house selections and productions, Matisa's music carries a distinct energy—shimmering with bold rhythms and acid-driven sounds that draw from 90s rave culture and global club scenes. Her versatility behind the decks not has also made her a standout at world-renowned venues such as Berghain | Panorama Bar, fabric, and Circoloco, where she consistently delivers unforgettable sets.

With past releases on respected labels like Gudu Records, Butter Sessions, On Loop, and Optimo, Matisa’s upcoming mini album marks a major milestone for Matisa, as she showcases an ever-evolving sound and her remarkable production prowess, seamlessly blending both nostalgic elements with futuristic sounds and a raver’s spirit.

Transport, partly staffed by former members Ural Thomas' 1960s band, was a fairly short-lived Portland phenomenon. The incarnation heard here was an eleven-piece stone Disco-Funk powerhouse that tracked a whole album's worth of smashers in 1978, which sadly lay untouched for over 40 years. The steady-rolling A-side is emblematic of their original sound, but the cake is rather taken here by their awesome reading of 'Always There,' arguably one of the best versions of the much-covered Ronnie Laws classic yet.

First time ever on 7" 45rpm vinyl, dinked centre hole with picture sleeve, 500 numbered copies only.

With her new “Let Me Be Your Fantasy” remix package, Anané continues to solidify her position as one of the most talented and charismatic recording artists in the world today. It’s never easy to take on a classic disco tune, which in this case is a song originally released in 1978 by The Love Symphony Orchestra. But working with producers Two Soul Fusion (Louie Vega and Josh Milan), Anané has crafted a new version of this song that retains the glamour of disco while also injecting a raw toughness and rhythm perfectly suited for today’s dancefloors. As is her custom on her remix packages, Anané has pulled together an outstanding team of producers to lay down their own very unique and high impact mixes, including Masters At Work, Dimitri From Paris, Mousse T, Blackchild and Moplen.

La Pointe debut on Damian Lazarus’ Secret Teachings with ‘Umbra’, featuring remixes from Nathan Fake and Jonny Rock. The experimental label opens its 2025 schedule on 24th January with the Geneva-based trio’s warping original backed by a pair of late-hours remixes from two of the best in the scene.

Emerging from a confluence of rave culture and artistic mastery, La Pointe make an impressive label debut on Damian Lazarus’ Secret Teachings imprint with the enigmatic ‘Umbra’. The release, set for 24th January, is accompanied by stellar remixes from revered producer Nathan Fake and the ever-versatile Jonny Rock, delivering a sonic journey that transcends the ordinary. La Pointe, a trio formed by Geneva-based techno pioneers Crowdpleaser and Entlet alongside New York City’s Jonny Sender, represents a fusion of cultural and musical legacies. Rooted in the dynamic after-hours scenes of Geneva and New York’s underground club culture, the trio creates music that is both innovative and steeped in tradition. Their studio, located in an old factory by the meeting point of the Rhone and Arve rivers, lends its name—and its industrial inspiration—to their project.

The original mix of ‘Umbra’ is a hypnotic exploration of light and shadow, blending atmospheric melodies with deep, pulsating rhythms—a testament to their ability to craft soundscapes that resonate emotionally and physically. Nathan Fake’s remix ventures into intricate, textural layers, marrying ethereal tones with electronic intensity. Jonny Rock injects a raw, off-kilter groove and late-hours energy into his reinterpretation, blending his eclectic influences from disco, funk, house, and beyond. The genesis of La Pointe is as captivating as its sound. Crowdpleaser and Entlet are celebrated architects of Geneva’s rave scene, running the legendary after-hours party The Shark for over a decade and hosting luminaries like Alexander Robotnik, Boo Williams, and Sonja Moonear. Jonny Sender, a stalwart of New York’s downtown music revolution in the 80s to 00s and bass player of post-punk band KONK, brought his unique perspective honed in venues like Mudd Club to the trio when he moved to France. This debut appearance on Secret Teachings is not just a collection of influences but a narrative woven from decades of underground culture and musical exploration - making it a perfect fit for Lazarus’ label as he continues to champion boundary-pushing artistry, curveball signings and inspired remix curation.

Another instant classic 45 guaranteed to be all over DJs set lists. With their sophomore full length coming in September, they treat us to another bomb of a two sider. Side A is a cover of the Dr Dre hit XXplosive done up in proper BRSB fashion, smashing drums and steel pans playing the lead and bass lines. They take this one into new territory by adding synth parts and dubbed out horn lines playing Nate Dogg's infamous vocal hook melodies. Side B takes on one of NYCity's grimiest Hip Hop club anthems, Mobb Deep's Burn . We decided to do this tune and demoed it out long before the unfortunate passing of Prodigy. Unfortunately, he will never get to hear this cover, and that has been one of the nicest things in covering some of these more current Hip Hop tunes. Rest In Peace P. BRSB manages to do it again.....a version equally as raw and punchy as the original. Pans bang out the iconic riff from the original, theremin ushers in the changes, and the low rubble of the synth bass is sure to crush the subwoofers.

2026 Repress

Gems is a brand-new label dedicated to unearthing the seminal and original tech-house cuts from the 90’s and early noughties from the producers that birthed the genre term. Label boss Paul Still was a music industry don and has proud connections with the trailblazers of the scene from his Croydon roots, the OG home of the sound, where he sourced and sold these vinyl bombs from the back of his van around London and beyond during that time. The rare and choice cuts he has uncovered are now remastered and reissued, offering this legendary sound life to a new fanbase all over again.

The first in the series see the one and only Terry Francis take the remix reigns on the Radical Chic classic; a bomb that changes hands for upwards of £50. An essential tech-houser of the day and THIS was the mix that is in demand. Flipped with the equally brilliant Space Bunny jam, The Key, of which OG copies would cost between £50-£100.
2 of the original tech-house jams on one essential slice of wax.

Following that heavyweight debut release, we're thrilled to load up the second Upgrade weapons pack !!

Three cuts from Leeds DJ and label boss Buckley and one from  Pikes and Cafe Del Mar resident S/A/M...

All different in their own right from the bass heavy peak time action of 'I like', to the the more old school vibes of 'Nude Night' on the A Side.
Side two see's a cheeky upgrade with 'Daft Sandwich' and finishes with the heads down breaky affair of 'Real Man' from S/A/M.

This was definitely NOT on our bingo card for 2024, but here we are !
A monster collaboration with prolific sonic wonder Keita Sano and our very own Eddie C !
Monumental clubbery that's already laying waste to dark spaces.
Mega limited hand-stamped 12"

Mr. K returns to the fertile ground of the Paradise Garage for his latest with two certified floor-fillers closely tied to the legendary club.

TW Funkmasters’ “Love Money” took an unusual path to its eventual elevated status as a dance classic. The brainchild of UK radio reggae jock Tony Williams (the “TW” in the group’s name), it was conceived in response to seminal rap release “Rapper’s Delight,” but with reggae superstar Dennis Brown’s 1978 hit single “Money In My Pocket” as the lyrical inspiration. Indeed, the vocal version of the Funkmasters’ song is considered the UK’s very first homegrown rap tune. But it was the flip side that garnered the most attention in New York however. “The original track was quirky and worked at the Garage,” Danny Krivit says, “but when the dub came out, it really blew up everywhere. After that very few people played the vocal.” Krivit’s edit here takes the influential, futuristic dub and tightens the arrangement up for the 7-inch format. “Love Money” went on to heavily influence the New York City dance underground, with homages coming in the form of subtle tributes (Mateo & Matos’ “Love Style”) to a virtual remake from Larry Levan himself (Man Friday’s “Love Honey, Love Heartache”) to the untold records that have sampled or been influenced by the spacey, heavy groove.

We’re back closer to home and a more traditional source for Garage classics with our flip side, Janice McClain’s “Smack Dab In The Middle.” The Philadelphia born and bred singer burst out of the gate with this very Philly sounding single in 1979. Written and produced by her uncle, the song was recorded when McClain was all of fifteen years old, a fact made more astonishing by a commanding vocal performance that resonated immediately with listeners. Recognizing a good thing when he saw it, disco maven Ray Caviano picked the song up for his newly minted RFC label and enlisted Larry Levan himself to mix it for 12-inch release. It is Levan’s version that provides the jumping off point for Krivit’s edit here — “the original 7-inch version the way it was never seemed worth playing,” Krivit says — and he makes the most of the jazzy Philly disco groove, injecting extra energy in the early minutes of the song with a tasty filtered break unique to this mix.

Pressed and mastered with DJs in mind, this loud and crystal clear single is the perfect combination of bonafide Garage classics and the talents of Mr. K, all on one compact piece of vinyl.

Repress!

Straight from the northwest 1980, Freeway was the band you could catch any weekend playing gigs in Portland and Seattle.. Their coveted AOR boogie debut 7" on Nebula Circle "Get The Feelin" is what originally started this project with PPU records, Mark J (keyboardist/songwriter/vocalist) had some original copies in the safe deposit box.. Nebula Circle was a local Oregon label that released Shock and Nu Shooz's first recordings! Freeway had another vinyl LP debut in the 80s, but it only made limited local waves, impossible to find today, so Mark J went back in the studio and pulled all these recordings from the archives, and luckily found other solo projects featured on this LP.

The Dancefloor Records reissues on Emotional Rescue comes in the form a true House classic. Produced and released by the Chicago legend Andrew Komis, It’s You is an original Deep House bomb and an education to those increasingly misusing the term today.

Essentially a cover / updated version of the all-time early House classic in ESP’s Its You, this 1989 update shows how much the scene was progressing in just 3 years with a tougher, heavier and deeper 12” that was all about rocking club sound systems.

Coming out on Komis’ own (Dancefloor subsidiary) Big Shot Records, this might not of been as big as Dionne’s Come Get My Lovin’, but has long been an ‘in the bag’ record for the likes of Derrick Carter and Solar. Just one listen spread across the time-defining “Mixes” and it’s clear why.

The stepping bass of the New York – London Mix was so indicative of the time. As the latter’s ascent as a clubbing capital took hold, ears were pinned to what was emanating from across the seas, especially the clubs of NYC and ‘Windy City’. Trademark Komis bass and hats ride are all here to allow the breathy vocals space to do their magic.

However it is the Free House Mix that really shows where things were at. Skipping hats, electro-meets-Belgian bass and a dark synth line pull the track down before acid touches take the song to a much deeper place and has long been the favourite version for the discerning DJ.

Ending with what was indicative of the time, the title says it all with the NU Style Mix. A drum heavy work out, taking in elements of successful records of the time, we get Break 4 Love percussion arranged around a NYC influenced Konder’s style quick cut-up editing for a more 'freestyle' mix to round out what is simply, an underground bomb and therefore, worthy of what this label has always been about, bringing great records to new ears.

“Thunder” is the second release from Hip Horns Brass Band in 2022. With “The Dream” the band paid homage to 90’s rap with the collaboration of London singer R.A.E. In “Thunder” they continue with the fusion of brass band and hip hop, but with an instrumental look and making references to contemporary rap artists.

For this recording they have had the trumpet of Miron Rafajlović, one of the references of jazz on the state scene, as well as the production of Tito Bonacera and the drums of HOSS$ Benítez one more hit. The groove that is established from the beginning —which the most music lovers will quickly recognize—, together with the careful arrangements and the enormous quality of the soloist, make “Thunder” a fresh and energetic song for the dance floors. Apart from the digital release in collaboration with graphic designer Hermes LeBleu, “Thunder” has been edited and distributed by Rocafort Records and Say it Loud Records. Side B includes the single “Marathon Runner”, a sample of the band’s first recordings that vindicates the raw sound of the street brass band.

Burnout Days, the forthcoming sophomore album finds flipturn returning as sonic architects, harnessing their impressive knack for hooks, shimmering soundscapes and "nostalgia-inducing lyrical delivery" (Uproxx). But on Burnout Days, flipturn arrives with more grit, craft and vulnerability than ever before - a clear evolution in the band's sound, and one that reflects their growth as musicians and individuals. Recorded at Sonic Ranch Studios near El Paso, Texas and produced by Chad Copelin (Wilderado, Sasha Sloan, BRONCHO), Burnout Days is inspired by the band's journey on the road, as they sort through challenges like self-esteem, codependency, addiction and the twists and turns of day-to-day life in one's mid-twenties. Together, they uncover the beauty that exists even in times of burnout through a mix of raw, rhythmic moments and sonic experimentation - all with a palpable sense of meticulousness and maturity.

The chronicle continues, deepening the legend… Out Under Streets serves as a milestone in the profuse and vastly intangible catalog of Bug Bus Piano – a decade into the cult project's existence, this album stands as its first LP. But Bug Bus Piano, the originator of Hard Ambient, is perhaps better understood as an outlook or world unto itself. At any given moment it is a spirited performance of hyper-ambivalence, a refuge and processing center for personal history, populist strife and achievement, a besieged utopian commune. Out Under Streets is the newest export of this philosophy and perhaps the finest point of entry yet into all that is Bug Bus Piano. Far from didactic, the journey underground and back again concept which structures the record serves as a vehicle to consider what lies beneath the potholes in our pavement and centuries of cracked sidewalk. Every demolition or collapse and each successive failure at putting the pieces back together again. Having received the blessing of Carriswheel, Stern Records is proud to inaugurate itself with a major handmade ambient statement by Bug Bus Piano.

David Allred is a prolific composer and producer based in Portland, Oregon. His new album The Beautiful World captures an enriched, realised understanding of why he composes in the first place. Dedicated to the expression of existential themes such as death, grief, longing and loss, the album’s core theme centres around the suicide of a young girl Lauren, who was a family friend to Allred. For as long as he could remember, Allred always created music out of a kind of dissociative state which he finds alluringly easy to lapse into. A repetition of a motif is usually where he begins composing. But unlike his previous works, The Beautiful World firmly has one foot in reality and is deeply intertwined with Allred’s relationships, past and present. Through his correspondence with Erased Tapes label head and the album’s producer, Robert Raths, over the past year, he came to realise that everyone has a Lauren in a way – someone they’d lost. Through writing to Raths, Allred was able to draw out this thread from the work and position it more clearly as the central concept to this work. The music doesn’t reflect the chaos of trauma, instead it has a therapeutic quality. It was through this dialogue that Allred was able to create what may be his most cohesive body of work to date. The 11 track album unfolds around Oh Lauren, providing the core of the album’s sentiment – how grief returns to us throughout life over and over. Embedded more than halfway through the album, Allred allows listeners to cohabit a meditative space through ambient textures, drones and ballads echoing the vocal sincerity of Arthur Russell, Daniel Johnston and the hypnotic storytelling of Robert Ashley. To truly reckon with The Beautiful World’s emotional position, listeners must understand the importance of the figure of Lauren, and the significance she has had throughout Allred’s life. Lauren’s suicide as a child provided the catalyst for Allred’s lifelong grief. But it was death anxiety and grief itself which provided Allred a link to a universal relationship that people have with each other and the world they live in. Impermanence and loss are the driving force behind all of our connections. The trance-like nature of the album perhaps comes from David Allred’s time sense – particularly when it comes to memory and trauma. Time becomes non-linear rather than a straight line – where one can repeat or return to the same themes but older and in a different frame of mind. Grief continues to manifest itself in life and despite personal growth, there will always be moments where the same feeling will manifest itself again. The album encourages listeners to sit with the concept of grief, and Allred is hopeful they can find comfort and learn to process it in a healing way. The Beautiful World is therefore heavily influenced by Allred’s work in therapy, particularly his relationship to writing music. In the past, Allred would be composing music as a means to dissociate from his life, but the album sees him engaging and connecting more authentically than ever with others and himself. Despite his prolific previous works being made in the company of others, Allred needed to step back from the scenes that he’s worked in to discover what he really wanted to create. Allred concludes: “In the power of love, curiosity, humour, and reconciliation, we give you The Beautiful World.”

"When it travels, the voice is a double agent, a trickster, or a dubious guru, but when it pauses for a recording, it's historical, capturing a mood or an emotion for all time. I didn't expect that I would hardly recognize the people who made Salt — myself and Hessel Veldman — a year and a half after recording it, but this is where I find myself now, so I'll say a few words about this temporary prosopagnosia.

Twelve years ago, when I moved to the Netherlands from Japan, I made a piece called How to Lose Your Voice. It was a YouTube hit because people wanted to learn how to actually lose their voices, though I doubt they found what they were looking for in the video. But I mention it because it's like a diary for me: my voice simply isn't the same now as it was then.

I wonder where my voice has gone.

I just listened to a radio interview with a woman who had her larynx removed.

About fifteen minutes after listening to her new voice, altered by the use of a voice prosthesis to make her audible, the interviewer played a recording of her pre-surgery voice. Of course, I was curious to hear it, and although it was immediately obvious that the gentle ease of her first voice was gone, this new voice, with its raw, gravelly sound, was even more intriguing because of its determined power to express that which needed to be expressed.

When Hessel and I first listened to the Salt in its entirety, I said in astonishment, "who wrote this?"
Marianna Maruyama, sure, but this artist goes by more than one name. Many voices spoke through me in this album. You might even recognize one of them as yours."

2025 Repress

Wide Yonder’ is a truly remarkable album, offering as much depth and soul as it’s predecessor, yet sounding ultimately fresh and different. Above all, the ten tracks show an artist that’s willing to take risks, find in- spiration in new places and move beyond the sound of his previous album. Trentemøller: ‘Of course I didn’t want to make the same record twice. So the album is for me a logic development from ’The Last Resort’’. Instead he just started to collect new ideas, without thinking too much about the direction the music would take him: ‘The only thing I knew was that I’d want the music to sound more organic and analog.’ Compared to the intimate electronic mood pieces of ‘The Last Resort’, the ten tracks on the new album indeed have a more strange, mystic and dramatic vibe, with a lot of dynamics, distorted, driving twang- guitars, real and electronic drums mixed with haunting synths. With ‚Into The Great Wide Yonder‘ Trentemøller is not only exploring new moody and atmospheric universes, but combines his sense for glorious soundscapes with a firm melodic and tonal touch. The original chord progressions and feel for melodies is fundamental to him, and that‘s also the reason why most of the instruments are played by Trentemøller himself on this album. ‚I like the possibility to be surprised that chords and melodies change into something new. The music that I like most lets the themes and sounds come back in different disguises‘. The Danish multi instrumentalist and producer shows an unexpected talent for finding vocalists that fit the mood of his songs. The first single of the album, the beautifully tender ‘Sycamore Feeling’, featuring Marie Fisker, is a typical highlight. In fact, all the vocal tracks are stunning. Trentemøller chose to collaborate with the English artist Fyfe Dangerfield from UK based Guillemots and Danish singers Solveig Sandnes and Josephine Philip from the debuting Danish indie girlduo Darkness Falls. They all manage to add their own sound and flavour to the album, while their voices blend perfectly with Trentemøller’s atmospheric songs. This is an album that keeps growing for a long time, as every track works its way stealthily under your skin. The sound of ‘Into The Great Wide Yonder’ might be one step ahead of his previous work, but we still easily recognize the hand of Trentemøller, in this inspired collection of songs and atmospheres. The sonic richness, sharp contrasts and daring musical colours are vintage Trentemøller. Into The Great Wide Yonder’ might demand more from the listener than ‘The Last Resort’, as it ended up being quite a dramatic album. This album is more noisy, there’s more happening.‘ But getting to know the tracks definitely is a rewarding experience, as the album will keep growing and growing for a long time to come and its safe to say that Anders Trentemøller has managed to create

Greatest Hits is a compilation album of hits from Buddy Holly. It includes top ten hits like "Peggy Sue", "Oh, Boy!", “Maybe Baby” and “Rave On” along with the number-one hit in the UK "That'll Be the Day" what was the first number one hit from The Crickets, the band formed by singer-songwriter Buddy Holly in 1957.

Dub Shepherds met Echo Minott in 2016 through the Dub Master Clash project, a dub evening concept that saw several dub producers “battle it out”. A solid friendship was born between the Jamaican and the young Clermont-Ferrand producers.

From these reverb and echo clashes came a 12” maxi, ‘This World is inna Mess’, etching in wax the first collaboration between Dub Shepherds and Echo Minott.

In 2023, Dr Charty and I Fi travel to Jamaica with a bag full of riddims produced at the Bat Records studio, and are greeted on the spot by Echo Minott. Get the picture? We’ll spare you the photos of the trip here, and just select the fruit of this musical journey : five tracks and five dubs between roots and 80’s rub a dub that make up the Mango Tree showcase. Enjoy Music Lovers!