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Here is the highly anticipated sixth volume of the well received electronic compilation series from the relaunched 1980's color tapes label. As with the other volumes you can find great examples of cold wave, minimal wave and synth electronics and pro to EDM made by obscure British bands in the 1980's such as: Berserk In A Hayfield, Lives of Angels, Silicon Valley, Modern Art, Disintegrators, Echophase, The Lord and Mystery Plane

"Up there with V-O-D selections, the Color Tapes series so far has provided invaluable insight to hidden or much lesser-known currents of the ‘80s cassette subculture which gave birth to myriad artists, styles and industry conventions whose influence can still be felt over 30 years later. " - Boomkat

“Electronic work that’s way different from mainstream pop of the period - often forgedout of the same instrumentation as the hits - but in a stripped down way - with lots of dark and moody corners!” Dusty Groove

“Evil Synths and evil beats” - Norman Records

“Gary Ramon’s re-born Color Tapes imprint is every bit as essential as it’s Minimal Wave and electro-focused predecessors” - Juno

Limited edition of 500 copies comes with poster insert

'Prole Art Threat' is producer Anthoney Hart's second LP for Planet Mu under his East Man alias, after 2018's well received debut 'Red White & Zero'. It brings together a set of MCs from all over London, Darkos and Eklipse from East London and Lyrical Strally from near Feltham who were on the first album, Ny Ny and Mic Ty also from East London, Streema and 'Vision Crew' member Whack Eye from Lewisham plus Fernando Kep, an MC from the burgeoning Brazil grime scene. They work across a cohesive set of tight riddims forged from thoughtful amalgams of grime, dancehall and drum & bass. The album takes its name from a Fall song/mission statement of the same title, the band being self-consciously working class and led by a brilliant autodidact in Mark E Smith. East Man relates that the title is to be taken as “a reflection of working-class creativity and how the establishment marginalise us and (perhaps on a subconscious level) see us as a threat.” Les Back, author of 'The Art of Listening' and 'Out of Whiteness: Color, Politics and Culture (with Vron Ware)' contributes liner notes to the record: East Man understands the force and the democracy of the mic. Listening to Prole Art Threat is like being at a dance. As the mic is passed between each of the MCs, a different tale is ‘elevated... off the map’ as Ny Ny puts it. We hear instalmentsfrom Forest Gate, Lee, Lewisham and Manor Park as these ‘lyrical gaffers’ and ’top boys and girls’ tell tough stories of life under the scrutiny of the ‘Feds’ in a brutal and divided city. The bars and rhymes document what it means to live here; from the double standards applied to the sexuality of young girls and boys to the corrosive violence of everyday life. All this is dissected without compromise. This is not just aLondon story though, the inclusion of Fernando Kep from the burgeoning Grime scene in Brazil is evidence of the outernational reach of the music. The tracks on East Man’s album explode the wilful ignorance of those who see ‘the working class’ in contemporary London as code for whiteness. This is the sound of a proletarian urban multiculture, made from Caribbean and African influences, sound system culture, pirate radio and the inexorable rhythms of Grime, Drum & Bass, Techno and Dancehall. It is the stirring of the "white" & "black" working classes who are living together and coming together on their own terms in sound. ‘Making music because you love it... what the fuck else could you do?’ as East Man says. The tracks and voices you are holding in your hands are, as a result urgent, vital, as hard nails and twice as sharp.

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

vinyl only / 180 grams

Finishing off the initial "series" of Krab's vinyl-only records in style, KRB003 centres around 3 signature cuts from German duo Cedric Dekowski & Felix Reifenberg and a stellar remix from Yamen & Eda. The EP divulges into the multi-genre capabilities and eclectic nature of the HardWorkSoftDrink label owners, as there are seamless transition between genres, modular synths and all things in between are highlighted throughout the label's latest record.

Starting off with a slow burner, Act 1 is a hypnotic listen, formed around strung out sounds, glitchy breakdowns and a captivating overlaying melody. Laus highlights the pairs unique ability to shift genres seamlessly as they deliver a cut full of heavy hitting acid and emotion heavy synths suitable for any dance floor.

Internet dial up appears the theme throughout the B-side, as Feelsliker delivers a fast paced minimal roller that is stacked to the brim with bleeps, bloops and modular madness. Finishing off the record is a remix from French Duo Yamen & Eda, a pair of artists that boast a distinguished taste for electronic music. Dance floor ready, B2 is constructed around a heavy hitting bass line and an assembly of inimitable modular synths.

'Foom label head Benjamin Freeney reworks Tim Burgess & Peter Gordon's restless, psychedelic epic, "Temperature High" into three new forms (two cuts for the dancefloor, and one ambient interlude), rearranging the rich source material of the original (metallic field recordings from the New York subway, Peter Gordon's original Korg bassline reincarnated in sub-bass form, Tim Burgess' ethereal vocal cut-up into new patterns) and fusing it with new percussive and melodic elements. The original track was featured on Tim Burgess & Peter Gordon’s Same Language, Different Worlds album from 2016, with contributions from Arthur Russell's close collaborators Peter Zummo and Mustafa Ahmed, as well as Factory Floor’s Nik Void.'

We are happy to welcome UK-based producer Native Cruise on Slam City Jams. The guy was on our radar since his releases on No Bad Days and Fruit Merchant that easily combined house music with new-age synths, a wave/EBM touch and balearic sounds.
His „Human Nature“ EP is no exception with five outstanding tracks that differ in tempo and vibe.
The opener „Crew Talk“ is a percussion heavy tune with lots of cowbells, a funky DX7 bass line, deep pads and dramatic chords that build up and up towards the end.
„Elsewhere" is the most housey track on this record, with four-to-the-floor 808s and bittersweet strings that burst out into euphoria. Closing down the A-side is „Fooled Again“, a balearic cut that feels like a day in the sun with it's little synth blips and arps.
On the flip we find the title track „Human Nature“ that might be the hidden jam on this EP. Hard hitting Linn Drums, digital synth bells and those haunting vocals we can’t get out of our heads. Finally we have „Not Long Now“ a perfectly atmospheric deep tune, that sits somewhere between ambient and reggaeton and will make fans of DJ Python more than happy.

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. ‘Feel No Fret’ is the 8th album by AWB, originally released in 1979. The album reached #15 in the UK and #32 in the USA. ‘Feel No Fret’ includes the singles ‘Atlantic Avenue’, ‘Walk On By’ and ‘When Will You Be Mine’, as well as the much sampled ‘Stop The Rain’. ‘When Will You Be Mine’ reached #33 in the US
This was the Band’s final complete studio album for Atlantic Records, which they produced alongside Gene Paul.

Sometimes, what seems “to be” ... isn’t. And what “was” actually wasn’t. What’s "in" is sometimes out. And what was thought to be "north" is sometimes south.Similarly, up until now, there just wasn’t enough ... of TOO MUCH.
That’s how its been, ever since dynamic-duo TOO MUCH — Rich Morel & Ian Svenonius – let the world listen in on their once-in-a-millenia electro-beat gobstopper “PATENT LEATHER” (MERGE RECORDS); the monster hit which defined dance floors since its release in 2019.
“PATENT LEATHER” a bewitching blend of lechery and love, was tattooed on the brain of every loitering lothario in every night-club, roadhouse, and streetlight latrine in both the free and not-so-free worlds.It was so incessant; it shook houses down, burned parliament, and crashed the stock market. Dancers everywhere pleaded for more.
TOO MUCH have finally relented and deigned to give the heaving, begging, prostrate mass a new mess of motor-robot rhythm rockers. Yes, that's correct. TOO MUCH have a full length record and they call it ... “CLUB EMOTION.”
CLUB EMOTION is nine songs of pure ecstacy perfectly suited for the club, the car or the closet.Its a pure joy to listen to in one’s bedroom or at the beach. On a stroll, at a drive-thru, or while careening through the astral-plane, looking for a ro- mantic rendezvous.

Craigie Knowes continue their long-running War Child fundraiser series with a new 2x12" release featuring tracks from Eluize, DJ Python, Stellar OM Source, Innnershades, No Moon, The Burrell Connection and more. From ambient and downbeat through to techno and electro, the release spans the sounds that Craigie Knowes have embraced over the last 5 years. The fourth installment of the project also sees a completely new sleeve and center label design by Kyle Morrison. All profits donated to War Child UK, a charity helping children in areas of conflict around the world.

Ragoo Records celebrates its debut on wax with an highquality record, “Break It Down”. The release features an
original cut from Astratto & Brine plus three stunning
remixes from the best young talents in the Italian house
scene. Recorded and fully composed on the first day they
met in the studio, the Original Mix is a dusty deep house
jam perfect for the club or for chillin’ wherever you want
to. For Astratto, Ragoo Records co-founder, this
represents his first official vinyl release. Brine has
delivered hot tracks through the infamous Irma and has
recently appeared on Boogie Cafè Records and Trend
Records. On the A2 Sam Ruffillo offers an impressive
remix that merges the Original to the land of jazzy vibes
with some smooth Rhodes and an extra groovy bassline.
Over the last years Sam Ruffillo has been releasing great
EPs via Irma Records and the Bristol-based Boogie Cafè.
DJ Rou’s remix occupies the flip side with a real classic
deep house joint full of warm pads and rolling drums. Chief of L'Archivio record store in Bologna, charismatic DJ and
outstanding producer, DJ Rou has released his music
through labels such as Bosconi Records, Cognitiva, Red
Rooster and Daphian Prod. The B2 remix is produced by
D’Arabia, Red Rooster founder and House of Disco
affiliated artist, who accomplishes an hot groove
explosion, with a special Jamiroquain feeling, perfect for
burnin’ the dancefloor. This EP is intended to be a
snapshot of Bologna’s house music scene. All artists
featured on it are based in the city and contribute to its
musical landscape.

Wieder lieferbar Harald Grosskopf ist seit den 60er-Jahren einer der umtriebigsten deutschen Musiker. Der Schlagzeuger aus Hildesheim spielte seitdem bei so unterschiedlichen Acts wie den Scorpions, Wallenstein, Klaus Schulze, Ashra, Joachim Witt, Lili Berlin und 17 Hippies. Grosskopf war 20, als ihm ein LSD-Trip "die Realität weghaute" und er seine eigene musikalische Sprache entdeckte - und die Elektronik. 1980 erschien auf Sky Records Grosskopfs erstes Soloalbum. "Synthesist" bietet acht instrumentale Kompositionen, die Grosskopf überwiegend allein einspielte. Die von Synthesizern und Schlagzeug getragenen Melodien erinnern an die Arbeiten seiner Berliner Elektronikfreunde wie etwa Klaus Schulze und Tangerine Dream und auch an die "kosmischen" Sessions der frühen 70er-Jahre - haben aber doch eine individuelle Klangfarbe. Auch deshalb gilt "Synthesist" weltweit unter den Liebhabern elektronischer Musik längst als Klassiker, der an eine aufregende musikalische Ära erinnert und auch in diesem Jahrtausend noch aufregend ist.

Across two 12" slabs come long buried vignettes, motorik experiments and sketches from deep within the SVN archives. A continuation from his previous EP of the same name (c. 2017), this latest collection's smoked-out ambience, skeletal stuttering rhythmic workouts and smudged stoned melodies are some of the myriad parts that make up this most mysterious 'Mechine'.

Recorded at the now infamous Neues Deutschland Studio in Berlin, this collection of tracks continues the unique sonic explorations that SVN is known for and has deftly showcased through various respected electronic outlets including Apollo, Acido, Sex Tags Mania and more. An essential collection of DIY and contemporary German electronics.

The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express ('Theme From The Watcher).

Everything released on ATA is written and guided by the label heads Neil Innes and Pete Williams, who frequently dip their toes in the Library pond while working on other projects. These occasional one-off tracks have accumulated over the past few years and have now found a home on the first volume of an ongoing series : The Library Archive

Ranging from heavy big band brass (Whack, Slap & Blow, Kaye Okay) to evocative thriller soundtrack (Midnight Heist, Wiretap, The Needlenose) via introspective ethereal soundscapes (Nuclear Wind, Siren's Sea) these 11 tracks faithfully recreate the feel of the Library music catalogues of the 60s and 70s.

Arguably poised as Kool Keith’s most sophisticated release to date, “Saks 5th Ave” serves as both a stepping stone forward in the artist’s prolific career, as well as a much needed reminder that the world’s most innovative emcee has a thorough grasp on far more than your average rapper. Touching on everything from the use of high fashion products to personal experiences including a near fatal car crash which occurred in 2017, The 16 track studio album produced by the versatile beat maker Dean “Landon Price Beats” Trotter channels Keith in a smoothly conscious state while laying down effortless bars over modern yet timeless hip hop production. From the artist who brought you "Dr. Dooom”, “Sex Style”, “Keith” and everything in between, “Saks 5th Ave” is the latest and greatest haute couture in a world of Gap and Old Navy hip hop.

While the ongoing global pandemic means our chances to gather and dance beneath deep blue skies are likely to be limited, there’s never been a greater need for warm, positive and life-affirming music. NuNorthern Soul has decided to do its bit by offering up a brand new 'Summer Selections' sampler that’s packed to the rafters with magical musical treats lifted from some of the label’s most potent forthcoming releases.

The EP begins with something rather special from Canadian producer Igor B: a gentle, sunrise-ready soundscape rich in languid hand percussion, bubbly synthesizer lines and glistening guitars. Entitled 'Deep Breath', the track is just one of the many highlights you’ll find on his forthcoming debut album, “Stranded Seaside”.

There’s a similarly tactile and immersive feel to 'Early Morning Ferry' by George Koutalieris, a Greek producer whose debut album 'Stop, Look, Listen' will be released by NuNorthern Soul later in the year. On his contribution to 'Summer Selections Two', Koutalieris wraps lilting, sun-soaked guitar solos and soft-touch electronics around a chunky groove that doffs a cap to the more laidback end of the 1970s West Coast rock spectrum.

Next up, long-time friend of the family Chris Coco delivers a stunning interpretation of 'Dinum', an overlooked neo-classical/ambient fusion track by Faroe Islands-based producer Kristian Blak’s Yggdrasil project. Coco’s simmering, string-drenched re-imagining is featured here as a teaser of NuNorthern Soul’s reissue of the 2014 track in the autumn, which will also feature a mind-blowing 10-minute rework by Mike Salta – an artist who is also featured on 'Summer Selections Two'.

This time round you’ll find Salta collaborating with Mortale on the starry, EP-ending ambient bliss of 'Bells of Burgibba', a deliciously drowsy mixture of twinkling electric piano motifs, chiming lead lines and woozy pads taken from the forthcoming “Celestial Hike EP”. It paddles in similar sonic waters to label boss Phil Cooper’s stretched-out, slo-mo Balearic dub of new signing Faint Waves’ 'Aphrodesia', a teaser of the artist’s “Islands In Time EP” which can be found elsewhere on 'Summer Selections Two'.

No NuNorthern Soul label sampler would be complete without a contribution from BJ Smith, an artist who has been with the imprint from its earliest days. Smith returns to the imprint with another reminder of his uncanny ability to deliver ear-catching cover versions that re-cast classic cuts as loved-up rays of Balearic sunshine. This time round Smith takes us on a huggable shuffle through Prefab Sprout’s 'All the World Loves Lovers', re-imagining it as a future Balearic anthem and a summer 2020 sing-along. It’s not only a sneak peak of what we can expect from 'Dedication to the Greats Volume 3', his first covers collection for nigh on six years, but also a life-affirming highlight of an EP that oozes musical positivity from start to finish.

‘Hypnosis’ was one of Drumcode’s most vital under-the-radar releases of 2019. Its creator, Veerus, returns to the mothership for another top-shelf offering.

The Italian’s career is a brilliant slow burner, releasing EPs sparingly over the course of his 14-year career. There’s a narrative quality to each track too, the artist reveling in a drama-laden call-and-response dynamic. All three cuts from his latest ‘System’ EP are made for big moments.

The title track was created with Amsterdam’s holy rave cauldron the Gashouder in mind, and was completed by Veerus just a few days before ADE last year. Balancing on a knife’s edge between tension and euphoria, the track’s twisted synth lines sent an energy surge through the iconic venue.

‘Year’ is a deadly one-two combo of synapse-searing synths and sharp drums as jagged waves of sound throb with panoramic effect. It was a captivating highlight of Beyer’s set at Amnesia in Milan in February, the final session before the lockdown. ‘Pyramid’ was debuted at Beyer’s Cercle performance last September, sound tracking a blissful post-sunset moment at the Théâtre antique de Lugdunum in Lyon.

A wicked triple gatefold album... anthologic of the underground hardstyle newslkool crossing the old school road and finally pushing a superb talented

Don Williams – The legendary Mojuba Don Williams is on fire. No holds barred GTA ride. The Chase. Run for your lives.

Cassegrain – Cassegrain places us in the eye of a mechanical storm. Valves bursting, pressure mounting, compensation needed. Avoid system failure.

ALTER presents a remastered edition of Cremation Lily’s second album, on vinyl for the first time. Recorded whilst living in Hastings and originally released as a double cassette on his Strange Rules label in 2017, The Processes… forms a trilogy of albums in the CL canon that were influenced by the life and atmospheres within British coastal towns. Composed using a rudimentary set-up of synth, drum machine and two modified walkmans, CL draws upon a broad range of influences from the underground electronic music spectrum. Noise, tape music and ambient techno are all referenced and align to form a cohesive collection of tracks, flowing fluidly in sequence. Melancholic synth pads and deep kick drums intersect with crude field recordings and occasional bursts of feedback, evoking a claustrophobic uncertainty that feels more like being pulled under than carried above.

Features additional piano and violin by Theodore Cale Schafer.
Remastered by John Hannon.

»Efia,« the sophomore album by Rosaceae, picks up where the Hamburg-based sound artist’s 2019 debut on Neoprimitive left off, further exploring the topics that had already informed »Nadia’s Es- cape«. From its confrontative front cover to the eight tracks on the album, »Efia« is fully dedicated to the motif of resistance, but does not exhaust itself in polemics. Rather, it masterfully translates the complexities of its underlying central themes into a visceral narrative.
»Efia« was originally conceived as a commissioned work for the 2019 edition of Hamburg’s Noise- xistance festival and departed from a sentence uttered in the British 1980s TV show »Sapphire & Steel« which inspired cultural theorist Mark Fisher in his analysis of what he had coined »hauntolo-gy,« a term originally coined by the Algerian-French philosopher Jacques Derrida in the early 1990s: »There is no time here, not anymore.«
The album again showcases Rosaceae’s knack for combining abstract experimental sound art with a form of storytelling that had already been at the centre of »Nadia’s Escape« and which relies on both verbal and musical means of giving a voice to the voiceless. The disembodied voice of - amongst others - Jesseline Preach and manipulated vocal samples blend in with dense soundscapes, elements of Neue Musik and occasional pure harsh noise. It’s a mix that deliberately puts different artistic tradi-tions into a dialogue with each other: the hallmarks of European salon culture are con- fronted with Kurdish wedding music and the unnerving loop of someone demanding a »Zugabe« (»encore«).
Thus, »Efia« not only blurs the lines between cultural and regional traditions, but also conjures up the ghosts of a past, ghosts that are more than ready to haunt the timeless present trying so hard to repress the atrocities happening at its fringes. As a whole, this makes »Efia« both a chilling work of sound art and a vibrant political statement fuelled by burning hot energy.