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Paraphilia is an American death metal band hailing from the pacific northwest (Portland, Oregon). This cellar dwelling duo debuted their nasty brand of guttural destruction in the form of 2021's EP Primordium of Sinister Butchery. A frenzied titanic sized sixteen minute beatdown.

So here we are now 2023, brings us their 'super' debut full length "The Memory of Death Given Form". This record is already creating some major ruckus in death metals underground circle.

Comprised solely of SP (vocals/guitars/bass/programming) and KRP (vocals/lyrics), Paraphilia's brand of brutal & technical death metal is of the thick and chunky variety. Foot stomping groove mixed with gut punching brutality. This unmerciful bastard child snorts, snarls, growls, and lurks about waiting to hammer your bones into dust. The song structures are complex enough to impress, but also memorable and downright unforgiving in the headbanging department.

With a touch of the old school, some intricate guitar dissonance, masterfully written songs, and teeth loosening heaviness, "The Memory of Death Given Form" will delight and destroy even the hardened of death metal elites.

It contains 7 massive tracks (with a Bloodbath cover) chock-full of sophisticated dense riffs and relentless drum pummelling that's nothing short of being an aural sledgehammer, the album kicks off with a crushing track that takes no prisoners.

Technically proficient but insanely groovy "Memory of Death Given Form" is a thick beast of jarring tempos and vomit inducing guitar savagery. Harsh, drawn out gutturals over rhythmic guitar mayhem is enough to make anyone feel like they could run straight through a brick wall. Unadulterated death metal ferocity.

To put it bluntly, this is DAMN fucking GOOD, and you would be hard-pressed to find any better death metal this year.

Sure for fans of: Bloodbath, Hate Eternal, Suffocation, Devourment & similar.

Available on a delicious black and yellow super marble 180gr. vinyl, and solid yellow vinyl, and both are limited at 100 copies each.

Introducing Gram Parsons ‘Now Playing” on Light Blue vinyl - Dive into the timeless sound of Gram Parsons with this captivating tracklist that effortlessly blends country, rock, and folk influences. From the heartfelt melodies of "A Song for You" to the lively rhythms of "Ooh Las Vegas," each track is a testament to Parsons' musical genius and enduring legacy in Americana music.

a a1. STILL FEELING BLUE [2:38]
[b] a2. A SONG FOR YOU [4:57]
[c] a3. SHE [4:55]
[d] a4. THE NEW SOFT SHOE [3:52]

[f] b1. HEARTS ON FIRE [3:50]
[g] b2. BRASS BUTTONS [3:27]
[h] b3. $1000 WEDDING [5:00]
[i] b4. LOVE HURTS [3:40]
[3:29]

LIMITED REPRESS ON 180g DOUBLE VINYL WITH DOWNLOAD CARD. This is the debut album from multi talented musician and producer Quantic. Having just turned 21 years old at the time of completion, this album was a positive indication of things to follow. Like the Bonobo album Animal Magic , this entire album was recorded in the writers bedroom - showing that DIY culture is strong and healthy in the UK and that good creative music can successfully be made and released to an appreciative audience without unnecessary hype. 'The 5th Exotic combines a variety of influences from jazz to soul to funk to hip hop. All the tracks have a strong musical element and a variety of tempos but each individual song has a connection which makes the album work as a whole. Like any good album this is one that grows on you with each listen. Richard Dorfmeister (Kruder & Dorfmeister) described The 5th Exotic as one of the best beats albums I have heard . Overall, The 5th Exotic is a truly accomplished debut album with a sound and style that is truly original.

Reissue

'Find Me Finding You', the new album from the new organization called the Laetitia Sadier Source Ensemble, manages to strike new chords while touching familiar keys in the song of life.
From its percolating opening beat, 'Find Me Finding You' locates new systems within the sound-universe of Laetitia Sadier. This in itself isn't a surprise - Laetitia has relentlessly followed her music through different dynamics and into a variety of dimensions over the course of four solo albums since 2010 (not to forget her three albums with Monade and the long era of Stereolab) - but the nature of the construction here stands distinctly apart from her recent albums. Laetitia was inspired by a mind's-eye envisaging of geometric forms and their possible permutations. As she sought to replicate the shapes in music, this guided the process of assembly for the album.
Part of the freshness of 'Find Me Finding You' comes from working and playing within the Source Ensemble and exploring new sound combinations via a set of youthful and evolving musical relationships. Laetitia recognized the energy of the tracks in their initial form and sought to preserve their vitality by not retaking too many performances - instead, the rawness in the tracks was retained and refined at the mixing stage, maintaining an edge throughout. When we hear synth lines diving, lifting and drifting, unusual guitar textures, the plucked sound of flat wound bass strings or the bottomless pulsing of bass pedals stepping out of the mix with an exquisite vibrancy, this is the sound of the Source Ensemble.
A key to Laetitia's music is her use of vocal arrangements. Throughout 'Finding Me Finding You' the shifting accompaniment creates space to bring this element gloriously forward. Arranged by Laetitia with Joe Watson and Jeff Parker making string charts that were subsequently transposed to vocal parts for several songs, richly arranged choirs of voices provide depth along with the thrilling presence of extra breath in the sound. Laetitia's community-politic is well-served by the groups of voices lending support to the machining of the song craft, providing additional uplift to her quintessentially forward-facing viewpoint - as well as massed voices from three different countries sharing space in harmony.
Working in collaboration is Laetita's tradition and a key to this album's view on being free together. The designation of Source Collective implies a new togetherness phase, alongside long time collaborators Emmanuel Mario and Xavi Munoz, keyboard and flutes parts played by David Thayer (Little Tornados) were essential contributions, as well as further keys, synths and electronics from Phil M FU and several intense guitar sequences from Mason le Long. Chris A Cummings (aka Marker Starling, Laetitia's favourite composer) graciously wrote 'Deep Background' for her. The duet with Hot Chip's Alexis Taylor on 'Love Captive' (not to mention Rob Mazurek's distinctive coronet playing) gives voice to an ideological cornerstone of 'Find Me Finding You'

’The Blues’ was B.B. King’s second Crown LP drawn from his RPM singles recorded between 1951-1958. This album traces his early development into a world class artist. ‘The Blues’ used a single hit tune (in this case “When My Heart Beats Like a Hammer,” a Top Ten R&B chart entry in 1954) to help sell a package of lesser-known material, but thankfully the label also picked some great tunes that hardly sound like filler, even if they didn’t make the charts. King’s songwriting was already stellar, with “I Want to Get Married,” “Don’t You Want a Man Like Me,” and “Ruby Lee” demonstrating his way with a melody and a lyrical conceit. ‘The Blues’ demonstrates he was already near the top of his class. The LP is extended with 2 bonus tracks.

This is the third album by Sound Limited, also known as "Hidden Treasure". This gloss. This depth. Takeshi Inomata's jazz rock has entered a new dimension.

Sound Limited, which was formed at the end of 1969, recorded three albums in quick succession in 1970, as if to reflect Takeshi Inomata's enthusiasm. The third of these albums is New Rock In Europe. This album is composed mainly of songs by European musicians such as The Beatles, Donovan, and Nino Rota. There are many highlights to listen to, such as "Something," which fascinates with Kimio Mizutani's shimmering guitar, and "Barabajagal," which has an exciting tight groove, but I am happy to see a revival of Inomata's original "Mustache," which is part of the group's repertoire. ?Sounds Of Sound L.T.D.? This is the third recording after "Sensational Jazz Vol. 1/2", and this version is glossy and psychedelic as if it concentrates the atmosphere of the entire album. It is a monumental work that makes it known that Jazz Rock by Inomata has entered a new dimension.

text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

ercury Rev take you on a swan dive into the mystic: a rapture of ballad-dreams and emotional memoir at the crossroads of The Dharma Bums, Pet Sounds and Side Three of Electric Ladyland. A profound, transcendant trip from the psychedelic explorers who brought you Deserter's Songs.
David Fricke In upstate New York, deep in the seam between the Catskills mountains and the Hudson Valley, a richly swelling, spellbound sound emerges, eddying and flowing like the local Esopus Creek, or in the slipstream of the grander Hudson river, carrying the flotsam and jetsam of our hopes, dreams, fears. A sound composed of organic and electronic; guitars, keys, brass, strings, woodwind, drums - and a voice of incantations, tapping streams of consciousness that similarly eddy and flow.
Spiritually, literally, psycho-geographically: where else does Mercury Rev’s ninth album Born Horses spring from? This cascade of gleaming, glistening psych-jazz-folk-baroque-ambient quest that searches its soul but can never truly know the answer? A sound and vision linked to their exalted past whilst quite unlike anything they have created before?
The answer is somewhere between the homes of founder members Jonathan Donahue (the hamlet of Mt Tremper) and Grasshopper (the town of Kingston), in their veins and brains of their now-legendary tapping of musical cosmology, and the vital presence of new permanent member Marion Genser (keys), plus long-term ally Jesse Chandler (keys) and guests Jeff Lipstein (drums), Martin Keith (double bass) and Jim Burgess (trumpet). A place that feeds off the levitating mood of their last album, 2019’s expansive tribute Bobbie Gentry's The Delta Sweete Revisited, and the instrumental psych explorations under the names of Harmony Rockets and Mercury Rev’s Clear Light Ensemble, and the spiritual guidance of avant-garde artist Tony Conrad and Beat poet Robert Creeley, to whom Born Horses is
dedicated.

On their seventh long player The Breaks - their second for Joyful Noise Recordings - SUUNS are lost in limbo. For some artists, being caught in flux may result in songs that are either naive, out of touch or both, simply as a consequence of being cut off from human civilization. But for SUUNS, a band who have grown more than comfortable in the oblique and the intermediate, it actually had the opposite effect. The Breaks marks the Montreal experimental rock outfit's most emotionally resonant and tonally rich collection of music to date. The trio of Ben Shemie, Joseph Yarmush and Liam O' Neill leans more zealously than ever into their pop instincts. Yet remarkably enough, with that same dauntless abandon, SUUNS have mined a more extreme sonic palette this time around, one that stretches far beyond their core fundamentals as a band. The Breaks finds Shemie, O'Neill and Yarmush gleefully experimenting with loops, synths, samples and MIDI-instruments like a post-millennial Tangerine Dream messing with downtempo triphop beats. O' Neill took point in the producer's chair for The Breaks, arranging, structuring and editing many of Shemie and Yarmush's ideas from sporadic rehearsal sessions into Pro Tools, reimagining the songs over and over during a two-year time frame. Forged between countless plane rides, road trips, van tours and text threads, The Breaks became a product of endurance and a lot of trial-and-error. It's a record forged in tight fissions of freedom, where spells of whispered intimacy - like on the stunning ballad "Doreen" - are allowed to branch out into the vast glacial dreamscapes of the album's majestic title track. It captures SUUNS at their most panoramic, curious and exuberant: a constant relay of being adrift and enlightened anew, geared up to eleven. And guess what: the wheels keep on spinning.

Finish Ticket sind zurück mit ihrem lang erwarteten zweiten Album "Echo Afternoon", das am 6. September über Better Noise Music erscheint. Bekannt für die Ehrlichkeit, Leidenschaft und emotionale Offenheit, die das Trio in die Alt-Szene einbringt, haben sie sich als Band etabliert, die man im Auge behalten muss, während sie bereits Tourneen mit Twenty One Pilots, AWOLNATION und Nothing But Thieves absolviert haben und im letzten Jahr beim Lollapalooza aufgetreten sind. Das Album "Echo Afternoon", das unter anderem die Fan-Favoriten "Changing" und "Let You Go" enthält, erscheint Digital, auf CD und als Vinyl in limitierter Auflage.

Crime In Australia follows 2022's The Real Work, the first Party Dozen record that (some) people were actually waiting for; the one that Nick Cave sang on; the one that had a track that billy woods jumped on for a rework; the one that took them to the USA, Europe (twice), Japan, China and New Zealand; the one that saw Party Dozen hook up with a cool US label (Temporary Residence Ltd.); the one that made Bandcamp, Stereogum, Brooklyn Vegan and a whole swathe of Australian radio stations declare it their Album of the Day/Week/Epoch; and the one that made KEXP invite the band in for a live session, and made Sub Pop add to their hallowed Singles Club. The Real Work was not the first Party Dozen record, but it was in many ways where Party Dozen really started to put it all together. Crime In Australia continues to build on their arc, and elevates their ascent with a slew of new songs that are simultaneously more focused and more feral than anything they've ever done. And there are no guests on this one.

Crime In Australia follows 2022's The Real Work, the first Party Dozen record that (some) people were actually waiting for; the one that Nick Cave sang on; the one that had a track that billy woods jumped on for a rework; the one that took them to the USA, Europe (twice), Japan, China and New Zealand; the one that saw Party Dozen hook up with a cool US label (Temporary Residence Ltd.); the one that made Bandcamp, Stereogum, Brooklyn Vegan and a whole swathe of Australian radio stations declare it their Album of the Day/Week/Epoch; and the one that made KEXP invite the band in for a live session, and made Sub Pop add to their hallowed Singles Club. The Real Work was not the first Party Dozen record, but it was in many ways where Party Dozen really started to put it all together. Crime In Australia continues to build on their arc, and elevates their ascent with a slew of new songs that are simultaneously more focused and more feral than anything they've ever done. And there are no guests on this one.

Thandii (aka Jessica Berry, Graham Godfrey) first made waves with their debut album A Beat To Make It Better in 2023. The album gained somewhat cult critical acclaim long after it’s release, with listeners luxuriating in the unusual sound collaged from offcuts of Soul, Lo-fi Hiphop & Psych. Thandii’s world comes bolstered by collaborations with esteemed artists such as Michael Kiwanuka, Inflo, SAULT, Joy Crookes, Jordan Rakei, and Little Simz. The duo’s sophomore offering comes in the form of two companion albums Dream With You & Come As You. The two albums make up a single conceptual statement celebrating dissonance, contradiction, polarity and opposition.

The pair believe that binary thinking has a lot to answer for in today’s world and is often used to divide us as a people. ‘We wanted to explore what it felt like to hold disparate notions in both hands whilst making the music. Starting with the title tracks, we explored the idea of unashamedly being your authentic self in every moment - this is admirable for those that can live their life in an uncompromising way. In contrast to that idea, we explored those moments where we perhaps wished we were more than our reality - a dreamed up, imagined self’. It’s no surprise that duality is central to what Thandii is all about with the pair co-writing, co-recording & co-producing from their seaside studio HaloHalo in Margate, Kent.

The albums each have a distinct flavour of their own. Dream With You is built on cassette-tape-driven lofi beats, art-pop melodies and soulful piano breaks. Whilst Come As You explores more experimental song-form that wouldn’t seem out of place on Tender Buttons - Broadcast or Dots And Loops - Stereolab. Jessica’s voice is the transcendent, ethereal form that shapeshifts between the realms of the two statements; dancing playfully through falsetto harmonies, confessional spoken word, detuned alter egos and haunting choirs.

Thandii (aka Jessica Berry, Graham Godfrey) first made waves with their debut album A Beat To Make It Better in 2023. The album gained somewhat cult critical acclaim long after its release, with listeners luxuriating in the unusual sound collaged from offcuts of Soul, Lo-fi Hiphop & Psych. Thandii’s world comes bolstered by collaborations with esteemed artists such as Michael Kiwanuka, Inflo, SAULT, Joy Crookes, Jordan Rakei, and Little Simz. The duo’s sophomore offering comes in the form of two companion albums Dream With You & Come As You. The two albums make up a single conceptual statement celebrating dissonance, contradiction, polarity and opposition.

The pair believe that binary thinking has a lot to answer for in today’s world and is often used to divide us as a people. ‘We wanted to explore what it felt like to hold disparate notions in both hands whilst making the music. Starting with the title tracks, we explored the idea of unashamedly being your authentic self in every moment - this is admirable for those that can live their life in an uncompromising way. In contrast to that idea, we explored those moments where we perhaps wished we were more than our reality - a dreamed up, imagined self’. It’s no surprise that duality is central to what Thandii is all about with the pair co-writing, co-recording & co-producing from their seaside studio HaloHalo in Margate, Kent.

The albums each have a distinct flavour of their own. Dream With You is built on cassette-tape-driven lofi beats, art-pop melodies and soulful piano breaks. Whilst Come As You explores more experimental song-form that wouldn’t seem out of place on Tender Buttons - Broadcast or Dots And Loops - Stereolab. Jessica’s voice is the transcendent, ethereal form that shapeshifts between the realms of the two statements; dancing playfully through falsetto harmonies, confessional spoken word, detuned alter egos and haunting choirs. Key collaborators on the albums include bass player Jonathan Harvey and pianist Steve Pringle, both members of Margate’s burgeoning Arts scene. Thandii escaped London nearly a decade ago, their sights set on creating a means for prolific expression, without the distractions that the city can bring. The albums find them in an exploratory stage, throwing paint at the canvas with joyful abandon, gifting themselves permission for uncensored expression. The LPs muse on relationships - romantic, platonic & familial - community, self-worth, self love, healing and boundaries, at times from differing perspectives. This contrast of opinion makes for rich listening throughout a vast emotional landscape

Lukas de Clerck brings us the ancient greek instrument, the aulos, of which his new interpretation of long form expression is coaxed forth on this tremendous recording. Lukas de Clerck explores a niche of archaeological research in music; the aulos is a historical Greek instrument that Lukas analyzed and reinterpreted by a luthier in modern times_navigating this impression as an artwork or living sculptural object, as there is an absence of historical partitions or written information about how to recreate technique on the instrument. Lukas de Clerck has interpreted information from the rare archaeological resources and visual art of the classical Greek period to recreate both playing technique and possible sound timbres with the instrument. With his contemporary approach to drone, post-minimalist music, and contemporary folk, we find a deeply satisfying and compelling, even playful set of songs, timbral exercises and compositions. An important document of new music meets contemporary archaemusicological research via Stephen O'Malley of SUNN O)))'s label Ideologic Organ. _ The telescopic aulos is speculative: might it have existed? It takes on features from the historical aulos, a double-reed instrument of which we know how it looked but little about what music was played on it or how it would have really sounded. It's an instrument without the limitations of canon or manual, providing creative freedom and awakening curiosity. The new instrument featured on this album is ancient and futuristic at once. The aulos has no tone holes; instead, each of the two tubes consists of three parts that can slide into each other. In this sense, the metal pipes bear a certain resemblance to the principle of a trombone. However, since both hands are already in use to hold both tubes, the sliding has to be done by way of gravity and the help of a «phorbeia», a leather mask which helps keep the reeds in place. The aulos's material is metal (instead of wood), which gives it a certain electronic allure and intensity, as well as a variety of sonic possibilities and textures. It produces overtones efficiently and allows them to play with their microtonality. The aulos Lukas plays on this recording was developed at Brasserie Atlas, a temporary occupation of a former brewery in the heart of Brussels where Lukas lives. It is quite a poetic coincidence that the birthplace of the instrument is named after the Greek titan condemned to carry the sky, while this instrument needs to be turned skywards to lower its pitch with the help of gravity. At Brasserie Atlas, Lukas has found collaborators who have shared in the process of building this new instrument: the collective Noir Métal has constructed the tubes, in this way becoming instrument builders; the phorbeia has been manufactured by Jot Fau; a former water reservoir in the vast cellar of the building carried the instruments' resonance for its first sounds. The place has left an imprint on this new instrument. With all of the telescopic aulos' layers, its sonic, musical and extra-musical components are still unfolding their potential as a medium for discovery and research, next to being an instrument of great musical potential. The music on The Telescopic Aulos of Atlas reflects this spirit. In several miniature pieces, it presents an encyclopaedia of musical possibilities that the instrument offers while keeping an intense and corporeal sonic specificity. The short pieces are studies that reflect on the sonic possibilities of this instrument that are yet to be explored. It meanders, searches and interacts with itself and the space. It needs to answer common expectations of old instruments being harmonious or pleasing. It transports a kind of experimental archaeology that, by formulating hypotheses in the present, allows us to reflect on what might have been in the past and simultaneously questions concepts of beauty, harmony or virtuosity. However, in the end, this instrument might have never existed before. -Julia Eckhardt

** INITIAL 400 LPs CONTAIN A BONUS 7" SINGLE **

MOVEMENTS Vol.12 – A bag full of rare rhythm & blues, mod-jazz, and mid 70s funk.

Side A starts with rhythm & blues from the 1960s. Most of the tracks were pulled from hopelessly obscure 7" singles. The only names of which some of you might be familiar with are most likely Mat Mathews and Lu Elliott. However, both original 45 RPM singles are pretty hard to find these days, especially in playable condition.

Side B is all about deepfunk this time. "Hipper Snapper " is a prime example of that genre. Some say its groove is reminiscent of Charles Wright's "Express Yourself. Agreed! The Villagers are responsible for the first 'aha' moment. Their (previously unreleased!) version of "Funky Broadway" would have certainly astounded even Dyke & The Blazers. Representing Germany on this volume: The Rippers, also called the "Offenburg Beatles"! Back in the USA, John Fogerty has probably never heard of this heavy school-funk cover of "Proud Mary". Drum breaks galore!

Side C begins with another German contribution. Saxophonist Gus Brendel delivers a mod-jazz belter of the highest order as do The Hornets. Definitely sure-shots for any dance floors! High time for 'aha' moment #2. Many bands have tried their hands on a cover version of the Nat Adderley jazz classic, incl. vibraphone player Bret Breitinger! The perfect choice to finish this side is Downtown Trio's smooth and groovy cover of Gershwin's "Summertime ".

Side D is reserved for proper 1970s funk. ONYX's "Break It Loose " has become a certified Rare Groove classic. Here you can enjoy it for the first time with the blessing of the band! Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history! Watch out, "Shake and Bake " will be re-released on a good old 45 RPM single, too!

Those of you who have been enjoying the detective work of the people behind the label over the past 21 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

Key selling points:

- initial 400 LPs contain a bonus 7" of a SUPERRARE funk 45

- incl. full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs

- ALL but three songs appear on CD, LP & digital for the very first-time

Quirky and very engaging singer-songwriter from London; mentored by John Lee Hooker and Benny Gallagher and with ten albums to her credit, this pianist, singer and flamenco guitarist defies categorisation, but has thus far succeeded in gaining new fans from appearances at Glastonbury, The Jazz Café and the 100 Club, and at music festivals in the USA, Greece, Romania and Germany. With lyrics sometimes witty, sometimes poignant and always reflective, this is music for anyone who’d rather hear the singer than the electronics.

Mutant, in proud partnership with Back Lot Music, are proud to present the premiere physical release of Dominic Lewis’ score to THE FALL GUY.

The Fall Guy is our favourite kind of movie - it's a love story not only between the film’s two leads but also a love letter to the cinema. Its also a love letter to the people who risk their lives to tell us stories. That it's scored like a stadium rock anthem also helps.

Dominic Lewis has produced a soundtrack that makes you want to stand up and cheer in the theater and blast at full volume at home.

It is pressed on 2x 140-gram Black vinyl and features liner notes by the film’s director, David Leitch, and composer, Dominic Lewis.

Recorded in 2014, Mid-City Island is the first ever project to be released from Moses Sumney. Moses recorded the entire EP from his apartment in Mid-City, Los Angeles straight to cassette on a four-track recorder that TV on the Radio's Dave Sitek lent him. To mark the 10 year anniversary of Mid-City Island, Moses kept good on a promise he made to himself all those years ago, broke and starting out - that he would press it to vinyl in a decade. Reflecting back on that period, Moses says "Mid-City, Los Angeles was more of a concept than a place. Seemingly nobody had ever heard of it, and yet it was the geographic center of the city. Living there felt analogous to my disposition as a 'rising' Angeleno - highly visible and invisible at the same time. I sat on my bedroom floor and wrote 'Plastic.' Throughout his 10-year career, Moses Sumney has consistently evaded definition as an act of duty: technicolor self-directed videos and monochrome clothes; Art Rock and Black Classical; blowing into Fashion Weeks from a small town in North Carolina; seemingly infinite collaborators, but one staggering voice. Consistent across the worlds of music, fashion, and film is his assertion that the undefinable still exists and dwelling in it is an act of resistance.

Limited Opaque Green Vinyl. Anthony "Ant" Davis is a distinguished hip-hop producer, one-half of the renowned duo Atmosphere, and a founding member of independent record label Rhymesayers Entertainment. His decades-long career of beat-making has also included works for MF DOOM, Brother Ali, Murs, Rav, Sage Francis and a dozen others. Raised in a military family, his nomadic upbringing exposed him to many diverse influences and, coupled with his father's love for collecting records, laid the groundwork for his deep appreciation for all sorts of music. Ant's latest endeavor, Collection of Sounds, is a four-volume series of instrumental works showcasing the breadth and depth of his musical expertise. The Collection of Sounds series offers a window into Ant's creative journey, reflecting his evolution as an artist over the years. Drawing from a vast vault of unreleased material, he's exhumed cross sections of his catalog with surgical precision, organizing songs by sound rather than mere chronology. Volume 1 is at times so intimate as to border on claustrophobia, like the creeping "Bar One" or the haunted twinkling of "I Was Always A Collector" while other tracks are expansive enough to fill entire venues, like the forebodingly airy "4-Track Beyond Beat 1996." Many of the beats on Collection of Sounds: Volume 1 have pockets that are practically begging for rappers to explore. When he first pondered releasing an instrumental series, Ant figured he might want to make the songs more intricate than the ones gave to his rapper collaborators, filling up the space in the mix that would normally be given over to their vocals. "But then it would be jazz, right?" he says with a loud laugh. "And I'm not that." Fitting, as Collection of Sounds is not about forgetting who you are-it's about remembering, reconfiguring and reimagining, all at once; a testament to Ant's artistic integrity.

Quill was a Boston-based rock band that had national exposure when they played the Woodstock festival in August of 1969.

The quintet got together in 1967 and played New England and New York over the next few years, getting

some positive regional press for their combination of high- wattage rock with elements of psychedelia and jazz,

and what would later be identified as performance art. Most of the songwriting was handled by John and Dan Cole,

who tended to deliver fairly complex pieces that lent themselves to elaborate performances, sometimes involving some heavy audience participation as well.

Black Truffle is thrilled to present a Song for two Mothers / Occam IX the first ever solo release from Laetitia Sonami. Born in France in 1957, Sonami studied with Éliane Radigue in Paris before moving to California in 1978 to study electronic music at Mills College, going on to make important innovations in the field of live electronics interfaces and multi-media performance. Sonami is perhaps most closely associated with one of her inventions, the Lady’s Glove, an arm-length tailored glove fitted with movement sensors allowing the performer fluidly to control digital sound parameters and processing, as well as motors, lights and video playback. Having performed with the Lady’s Glove for 25 years, Sonami retired it in 2016, turning her attention to the interface/instrument heard and pictured here, the Spring Sprye.

In Sonami’s own description, “The Spring Spyre is composed of three thin springs that are attached to reverb tank pickups, mounted on a metal ring. The audio generated when the springs are touched, rubbed or struck is analyzed in Max/MSP. The extracted features are then used to train machine learning models in Wekinator and Rapidmax and control the audio synthesis in real time. We never actually hear the springs.” After decades of aversion to documenting her work on recordings, a Song for two Mothers / Occam IX treats listeners to two side-long performances with the Spring Spyre: the very first piece developed for the instrument and the most recent, the two contrasting remarkably in sound palette, energy and form. A Song for two Mothers (2023) spins an intricate web of rippling synthetic burbles, rapid sweeps and fizzing textures. Performed in real time with the sensitive and partly uncontrollable Spring Sprye ("a bit tyrannical," Sonami calls it), the music is delicate yet chaotic. Abrupt gestures hover against a backdrop of silence, "devoid of spatial or temporal direction". After several minutes, the sound-world becomes metallic and percussive, tapping and ticking in pointillistic flurries before a wavering harmonic cloud emerges, sprinkled with resonant drips and pops.


Occam IX is a radically different proposition. At the outset of Sonami’s exploration of the Spring Sprye, she asked her former teacher Éliane Radigue to compose a piece for it—and her: like all of Radigue’s work since she ceased working with analogue electronics at the beginning of the 21st century, Occam IX is written not only for an instrument but also for a particular performer. These scores are developed verbally, through meetings and conversations between performer and composer; each is grounded in an image (usually kept from listeners, to avoid influencing their experience); all magnify the subtlest acoustic phenomena and require great commitment and patience from the performer. Sonami’s is one of the few Occam pieces to make use of electronics, bringing it closer to Radigue’s famous longform pieces for ARP 2500. Beginning from a rumbling low tone, the listener is gradually immersed in slowly lapping waves of synthetic tones, eventually thinning out into delicate bell-like pings against a background of white noise, reminiscent of one of the most beautiful sections of Kyema from the Trilogie de la Morte.


Accompanied by notes from Sonami, her longtime collaborator Paul DeMarinis, and Radigue, and illustrated with scores, photographs and images of the Spring Spyre, a Song for two Mothers / Occam IX is an essential document celebrating an under-recognised pioneer of electronic music and performance.

Repress on Limited Crystal Clear Vinyl and Black Vinyl to coincide with new album ‘Daylight’ release

The album was recorded at the top of an East London tower block, mixed in a beach hut on Camber Sands and gilded by Bollywood strings is already setting its sights hide and wide, but when the sound and vision encompasses panoramic electronic soul laced with a viscerally personal reaction to the mad times we’re living through, we’re in the presence of something special

Our two British protagonists are Sean Dickson, a former indie star who reinvented himself as an electronic adventurist - musician, DJ, producer – whose last album Ft. featured a stellar line-up of guest vocalists, including Yoko Ono, Fred Schneider (B- 52’s), Alan Vega, Crystal Waters (fronting ‘Testify’, which topped the US Billboard dance chart) and David McAlmont - the last, a thrilling singing sensation with an illustrious history, from indie-soul pioneers Thieves and the legendary McAlmont & Butler to purer soul and jazz recordings and a striking collaboration with minimalist composer Michael Nyman.

Blue Glitter Vinyl. One Step Closer has always believed that hardcore is limitless. On All You Embrace, the band puts that theory into practice. Every release from the Wilkes-Barre, Pennsylvania band has seen them exploring the sonic overlaps of hardcore, emo, and '90s alternative rock without an iota of self-consciousness, or pretension, creeping into the mix. All You Embrace is a collection of 11 songs that show One Step Closer reaching for something deeply honest and, as always, authentic."I wanted to showcase One Step Closer in its fullest state," says vocalist Ryan Savitski. "Every single part of the band, I wanted it to be there. I wanted us to be 100% ourselves and be as authentic to our band as we could possibly be." For fans of their first EP From Me To You, there are songs like "Blur My Memory," which show the passionate melodic hardcore the band built its name on is still part of the program. But it's immediately followed by "The Gate," a song that taps into the expansive reaches the band hinted at on This Place You Know and put on full display with the powerful follow-up EP, Songs For The Willow. Every element of One Step Closer is on display throughout the record, as they expound upon every idea until each one has achieved its full potential. The result is a record that's bigger, catchier, and moodier than anything they've done before, while still feeling exactly like OSC.Taken in full, All You Embrace is the sound of One Step Closer honoring their past while building a future that looks more open, more creative, and more expansive. It's a place where records like Start Today, Diary, and Floral Green are all in conversation with one another. Even the album's cover art marks a new direction for the band - the dizzying, frigid blur of blues & blacks colliding is a painting of guitarist Ross Thompson spinning in place, evoking how it feels to listen to these eleven tracks about change, grief, anger and the growing up. One Step Closer feels like the next in a line of revered bands coming from the crescent-shaped depression of Wilkes-Barre - and All You Embrace is the perfect introduction to the most exciting version of the band to date.

The Deslondes are a five-piece group of dudes from New Orleans. The band splits up songwriting and lead vocal duties among its five members, continuing its democratic ethos and musical versatility. Multiple members have released solo recordings between their sophomore release, Hurry Home (2016) and their previous release Ways & Means (2022). Now, with their latest record, Roll It Out the band continues to build on their inventive take on New Orleans country and R&B. Roll It Out finds the band leaning on the country-folk of their debut along with the sometimes-psychedelic, electrified gospel-soul sound of their previous records The sound will continue to draw comparisons to the country-funkiness of The Band, Link Wray, and others but Roll It Out is the sound of a band that understands the history of American music, while embracing their own contemporary approach.

Dawson’s latest offering, The Tinnitus Chorus, is an album of wide-eyed collaborations. He is joined by an inspired cast of revered friends and kindred strangers including Suso Saiz, M. Sage (Fuubutsushi), Eli Winter, K. Freund, (Trouble Books / Lemon Quartet), Dasom Baek, Lina Langendorf (Langendorf United), Vumbi Dekula, Jairus Sharif, Yutaka Hirasaka, and his bandmates in Peace Flag Ensemble. The collection is bookended by two pieces with Michael Grigoni. From birdsong and decaying tape to Western sprawl, each of Dawson’s previous solo records have moved in a singular direction but here he approaches things through a kaleidoscopic lens. While his weathered ambient sketches serve as a through line, they are woven with all manner of instrumentation from clarinet and modular synth to steel guitars and flugelhorn. Improvised Congolese guitar nuzzles next to American experimental folk. Handmade electronics give way to spiritual sax. M. Sage contributes something referred to as a “mystic music box”. The result is a strange and beautiful journey that feels lost between genres and yet wholly unified. Dawson reflects on the genesis of album with a smirk and a shrug. He has been marred by ear troubles in recent years and had been struggling to complete an album of solo material. The clicks, ringing tones, and hiss in his ears had been drowning out the ringing tones, clicks, and hiss in his studio. When he reached out to We Are Busy Bodies to provide an update on the record he was met with an unsuspecting proposal that perhaps he shift focus to an album of collaborations. The truth is he had been ruminating on the idea for years and the nudge from WABB proved to be the motivation he needed to shelve his insecurities and invite artists he admires to join him for The Tinnitus Chorus.

This original three-track set questioned all sorts of norms, the standout item “Chasin’ The Trane” lasting 16 minutes with the tenor man the only soloist and a 12-bar grid the only thing for performers and fans to hold on to. “Spiritual”’ was the first time Trane opened and closed a piece entirely out-of-tempo, while the conventional “Softly As In A Morning Sunrise” began with over three minutes of just the rhythm trio before his soprano solo. Bonus track on this LP “Blue Train” recorded in Sweden. Not merely the first live Trane to be issued, but a turning-point for him and essential listening for us. This version is limited on Solid Purple & Solid Red mixed vinyl.

Between December 2022 and January 2024, the collective De Niemanders (producer Rick Wiegerinck joined the team) visited asylum seekers' centers in the Netherlands with a mobile studio, searching for singers, musicians, and their music and stories. The music sessions were mostly filled with pure joy, while the conversations were heavy, hopeless, hopeful, cheerful, and everything in between. The collective connected with creative individuals from all over the world, who in turn introduced them to even more artists, writers, and storytellers. Rocco, Wout, and Rick quickly realized that they needed to offer more than ‘just’ the music album as a platform, so a completely unique Niemanders newspaper was born, and journalist Christianne Alvarado joined for a six-part podcast series.

Following their instincts, they created a new Niemanders album that became a genuine collaboration between the people they met and themselves. A significant difference from the prisons was that this time, the singers and musicians could be recorded in a mobile studio. As a result, the album is a mix of many singers and languages, telling the stories of their journeys, dreams, families, past lives ‘back home,’ and their current situation as refugees. There are songs inspired by the stories that residents of asylum seekers' centers told or wrote down, sung by Rocco, while other tracks emerged from writing sessions with singers Isma IP, Guy-El Mabiala, Q-Mars, and Hamid Reza Behzadian, and are also sung by them. The song material is a creative melting pot of colorful music that ranges from swinging afrobeat, highlife, desert rock, and rootsy psychedelia, but the alternative rock for which Ostermann and Kemkens are known also seeps through. You could say that, with few exceptions, each song is a film soundtrack for the text.

Unfortunately, the harsh reality of asylum procedures also intruded into some of the blossoming musical friendships. Due to a negative decision by the Immigration and Naturalization Service (IND), one of the great singers was forced to leave the Netherlands. This is just one example of the lack of control over—and the nerve-wracking wait for—an IND decision, which unfortunately seems to be something every person in an asylum procedure must endure. The asylum process can bring years and years of uncertainty and waiting, or sudden deportation.

Punk pioneers Crass continue their vinyl reissue series, re-pressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. Absurdists jazz-infused post-punks, The Cravats originally released single 'Rub Me Out' with Crass Records in 1982. A favourite of John Peel's, the Redditch band left a long legacy, reforming in 2009. Penny continues; “Fast, furious, fiery and often very funny, the Cravats were nothing like the average punk band, indeed, like Zappa before them, their sensibilities leant more towards progressive jazz mixed in with an ample helping of gallows humour; ‘make mine rare’. Dada also comes to mind as The Shend weaves his way through the complex vagaries of everyday existence. ‘Now you see me, now you don’t’. There’s no doubt about it, the Cravats are worth keeping your ears open, and your eyes out for, but mind the gaps!”

MJ Lenderman is a songwriter born and raised in Asheville, North Carolina. The anatomy of an MJ record might go something like this: warped pedal steels and skuzzed out guitar; crackin" a cold one with some buds; a voice reminiscent of the high lonesome warble of a choirboy. Songs snake their way from a lo-fi home recording to something glossier made withn longtime friends at Asheville"s Drop of Sun studios, but the recording setting doesn"t seem to matter much - at its core, a Lenderman song rings true. Manning Fireworks is a remarkable development in MJ Lenderman"s story as an incredibly incisive singer-songwriter, whose propensity for humor always points to some uneasy, disorienting darkness. The punchlines are still here, as are the rusted-wire guitar solos that have made Lenderman a favorite for indie rock fans looking for an ernerging guitar hero. There"s a new sincerity, too, as Lenderman Iets listeners clearly see the world through his warped lens.

Pour Un Homme Seul, the debut EP from Pete Beardsworth, is a cathartic exploration of the spiritual world of jazz and the healing force within. Originally just simple melodies jotted down in the back of a small leatherbound notebook, the songs were written during a long period of solitude in the year following a traumatic accident that left Pete without the bottom parts of his legs. Charting a journey of hope and rediscovery, the tracks are aural fragments of a voyage through a harsh, personal wilderness, and back again to civilization and consciousness. This voyage is painted with woodwind, electronics, vocals, found sounds, and synthesizers provided by Pete.

Accompaniments by renowned Erhu player Ling Peng, Yazmin Lacey's drummer Tom Towle, guitarist Roshan Gunga, bassist George Butt, and vocalist Daisy Godfrey. It follows long-standing collaborations with Yazmin Lacey, for whom Pete produced EPs Black Moon and When The Sun Dips 90 Degrees, the genre-crossing Invisible Orchestra, Brooklyn's own Chris Rock, and work as part of free-jazz inspired electronic outfit Three Body Trio.

This eponymous release from Three Body fuses digital futurism with cosmic organica. Hedonistic breakbeats, woodwind and keys interpolate six melodious tracks, stemming from live recordings, revolving around percussive conversations. With the band's raw minimal approach and combination of natural and synthetic instrumentation, this elemental EP offers an innovative study of contemporary electronic music and its relationship with ethnic rhythms and tones.

With the world in the throws of lockdown, the record never received its live inauguration, but it got nuff love on radio, with 6Music, WWFM and NTS all championing the release. It's since gained cult status amongst DJs with an ear for earthy tones, with tracks 'Palm Leaf' and 'Jampa Gawa' regularly spreading their wings. The trio's unique approach to sound is shaped by years of impromptu improvisations. The characterful drums and synthesis of Tom Towle, masterful sampling and engineering from Guohan and the wandering woodwind of Pete Beardsworth form the skeleton of this record, meticulously fleshed out in subsequent studio sessions.

This is the first reissue of the “Piece Of The Action” LP since 1973, and the CD has bonus tracks with everything Bobby Hutton recorded between 1969 and 1974. Everything taken from the original master stapes and restored.

Bobby Hutton is from Detroit, Michigan and began his career after winning a talent show at the 20 Grand nightclub. In 1971 he performed on the very first nationally aired Soul Train TV programme. He cites Jackie Wilson as his biggest influence. He began writing under his real name Harold Hutton, then Billy Davis at Chess Records persuaded the change to Bobby Hutton. He had decided not to pursue a career at Motown, and after one single for Checker, then another at Blue Rock (a subsidiary of Mercury) he moved to the Philips label for the huge Northern Soul favourite, “Come See What's Left Of Me" which was first played at the Stafford All-Nighters back in1985, covered up as Casanova Brown. Talents that produced and arranged for Bobby during those Blue Rock/Philips sessions include Donny Hathaway and Joshie Jo Armstead, and in fact it was with Jo that Bobby co-wrote that Northern Soul classic.

The Philips tracks are all on the CD as bonus tracks to the Piece Of The Action” album for ABC Records in 1973.

Produced by Dee Ervin, there are several fine tracks to enjoy but surely none better than the Gary Wright-penned “Lend A Hand” which became one of the biggest 'modern' Northern Soul tracks of all-time after spins at venues like the Highland Room at the Blackpool Mecca and Wigan Casino. The track was first championed by DJ Colin Curtis in 1974.

The album is beautifully produced with vocal accompaniments from artists including Patti Hamilton of The Lovelites, Jean Plum, Mikki Farrow and Frankie Karl. It received great reviews at the time and that persuaded ABC to release a non-album follow-up 45 produced by the brilliant McKinley Jackson and Reginald Dozier credited “Loving You, Wanting You, Needing You, Wanting You”/'Watch Where You’re Going” which is an elusive, highly sought-after single by soul collectors worldwide (now an Expansion 7” reissue).

In 2007, Bobby was honoured as he was voted the best singer in Chicago, quite an achievement and something that Bobby is quite rightly very proud of

Blue Matter are extremely proud to be releasing a brand-new album by the great English eccentric, Paul Roland. ‘Morbid Beauty’ will make its’ appearance in mid 2024 and is a fantastic example of Paul’s trademark mixture of gothic rock and psychedelia, if perhaps a little more rock flavoured than usual. To Blue Matters’ surprise and delight the album features our old friend Mick Crossley (Flyte Reaction) on guitar throughout. Paul Roland is from Kent and has been making music since the late 70s. He has issued countless albums on a variety of labels and has been cited as a ‘psych legend’, a ‘true cult hero’ and a ‘great innovator’. Frank Zappa is quoted as saying somewhat amusingly ‘Paul Roland writes nice music, but it’s too complicated for me!’ Paul’s musical reputation is probably somewhat greater in Europe than in the UK, which seems strange as he has been so influential to many British acts. Paul is also a celebrated music journalist and successful author having written books on cinema, history and music. For us, to be able to release a new album, and a fantastic album at that, by an artist of his calibre is a long and handsome peacocks’ feather in Blue Matters’ Edwardian top hat

What better time to resurrect and regurgitate one of the most extreme (and downright indefensible) releases in Alternative Tentacles history? OG Grindcore/Death Metal to the max, here’s their second-ever, from ‘92. Whole concept at the time was one big celebration and tribute to those super-gory Mexican crime weeklies, like Alarma, Peligro and Alerta. Where do you think the cover came from?? Identities were secret, all lyrics en Espanol. Rumors link some big names, from Fear Factory, Faith No More, Sepultura, and more... Why the name? Besides the obvious "Witchcraft" translation, “Santeria = animal sacrifice, but Brujeria = human sacrifice!” Or so they say. Featuring 6 amazing tracks this is Mexican death grind at its best. Enjoy.

Mind Lines, the second record from Silver Scrolls, is the follow-up to 2020's Music for Walks. Dave Brylawski (Polvo, Idyll Swords) and Brian Quast (Polvo, the BQ's) once again team up with producer and de facto third Scroll Greg Elkins, to make an album that plants you firmly in your rock feelings. All of them. Classic rock, psych rock, indie rock, post rock, pre rock. Rock as hell.

Mind Lines. Follow them. Inspiration, spotted in the wild, lured out of dusty record bins and chased down scum alleys and garden paths, sounds stalked and collected, wrestled and arranged, until everything is in its proper place and the final LP is as it should be. Or shouldn't be. Nine minute and seventeen second radio hits. Indie rock drum solos. Whatever. Whatever dumped from the butterfly net of their collective unconscious. Whatever stumbled through the door of their open minds. Whatever works.

At this point in their collective music careers, the Scrolls are free to emulate, ignore, or destroy convention, as they see fit. Dave and Brian have seen enough, the Mind Lines have been drawn, traced... The songs are as classic as they are brand new. Yesterday chasing tomorrow. Noon is the verse, midnight the chorus. and right now is the bridge. The Scrolls chug deep from the fountain of spooky tooth, shooting sparks through their teeth. Let's go.

On Mind Lines, the Silver Scrolls are still walking, shredding, open to whatever comes next. The music came down from the mountain. Please stay a while.

Hidden Notes Records (Spindle Ensemble, Fran & Flora, Josh Semans) and Tardigrade Records (Cosmo Sheldrake, Howl) are excited to announce a unique collaboration to release ‘Selected Worlds’, the monumental and ambitious debut triple album by composer and pianist Daniel Inzani. Over the past 2 decades you might have seen Inzani performing with dozens of bands from Bristol’s underground alternative and avant-garde scene, blending classical, jazz, contemporary, improvisation, unusual harmony and rhythms as a band leader and collaborator. He’s released an avant-garde collaborative album with Alabaster dePlume, is the musical director and arranger for Cosmo Sheldrake’s 19 piece live band, leads his own critically acclaimed modern chamber quartet Spindle Ensemble and (the now disbanded) 8 piece Ethiopian Jazz meets Frank Zappa group Tezeta, He has toured worldwide as a keys player, collaborated with Canadian ensembles Evergreen Club Contemporary Gamelan and London Symphonia and co-founded Bristol’s experimental collective Bloom, leading to tours and releases with UK rocksteady favourites Count Bobo, the psychedelic space doo-wop of Dubi Dolzcek and many more. After years of recording, touring and eclectic composing he has gathered a trusted set of musicians who are both skilled improvisers and virtuoso players to record an instrumental triple album for release under his own name. The 3 vinyl discs act as albums in their own right, each with different sets of musicians, instrumentations, genres and intentions. The 3 discs were recorded live over 3 day periods in quick succession, with Daniel’s regular collaborator Cosmo Sheldrake engineering the recording sessions. It’s quite possibly the only album you’ll ever hear that starts with a neo-impressionist string quartet, goes on to merge avant-garde symphonic arrangements with group improvisation and ends with an 8 piece cosmic jazz band wigging out, yet Inzani’s voice is clear throughout making for a cohesive 2 hour odyssey from the mind of a composer whose idiosyncratic style thrives through variety Listeners will hear influences from the aforementioned composers including Mingus, Tsegué-Maryam Guèbrou, Ravel and Moondog in Inzani’s music but might also find the soundtracks of Morricone and Jonny Greenwood nestled alongside the loose freeform leanings of Alabaster dePlume, the contemporary jazz of Kamasi Washington and the unique collaboration by Floating Points and Pharoah Sanders (minus the electronics perhaps.) Daniel will be performing a special preview of the album with an 11 piece band at WOMAD Festival (27.07) and a launch concert at this year’s Hidden Notes Festival in Stroud (21.09), with further tour dates to be announced

Almost three decades on from their last release, Acid Jazz forefathers Galliano are back with news of their new LP ‘Halfway Somewhere’ which is being released on Gilles Peterson’s Brownswood Recordings on 30 August.

Born out of London’s underground clubs and warehouse parties of the mid to late eighties, with the debut single on the Acid Jazz label in 1988, Galliano came out of a culture that spanned music, dance, fashion, art, design, and the written word.

When they arrived as the first act on Gilles Peterson’s Talkin’ Loud label in 1990 with ‘Welcome to the Story’ (produced by Chris Bangs who invented the term Acid Jazz) dressed in Gabicci sweaters, beads and skullcaps they captured a scene built on re-invention. “We were all playing around with what we could get our hands on whether that was a seventies book on Jamaican style or old Last Poets and Watts Prophets records,” says Gallagher. “We’d been recycling things for a few years but suddenly everything had coalesced and you’ve got an amalgam that seemed quite solid.”
For their first album since 1997, Rob Gallagher and his partner, vocalist Valerie Etienne, are joined by Galliano stalwarts Ernie McKone on bass, Crispin Taylor on drums, and Ski Oakenfull on keys (with guests including saxophonist Jason Yarde and percussionist Crispin ‘Spry’ Robinson).

Where the old Galliano recycled records they heard at clubs, today they are responding to the kaleidoscopic global jazz scene - from Total Refreshment Centre in London to International Anthem in Chicago. More than forty years since they came together, Galliano are still only ‘Halfway Somewhere’, but listening to the album they are obviously having fun getting there. “I think the stars have to be aligned when you redo things,” says Gallagher. “Coming at it from this door is very different to the door we came into back then. But once it's existing it is something. But I’m still not sure what that something is.”

2024 Repress

Following the Recent Dip Into the Theo Parrish Archives That Was the Twin Cities, Phil Weeks' Robsoul Imprint Looks to Another One of Detroit's Adopted Sons in the Form of Rick Wade. Like That Recent Parrish Reissue, Weeks Re-Releases Another Three Tracks From Wade's Bulging Discography. the Upbeat Disco Loops of "Players Theme" Was Originally Released on French Label Funky Chocolate in 2002 and Still Sound Fresher Than Anything Being Plied by the Soundcloud Dwellers Today, While "Can't You See" From 2003 Provides a More Soulful Take on House Music. on the Flip, the Tracky Funk and Cascading String Melodies of "I Feel Good" Originally Graced Wade's Own Harmonie Park Imprint in 1998, but Sound No Less Vital Today. Essential....

We are proud to welcome Myungho Choi to the family of Sakskøbing for our twenty-third release. Residing in the big apple New York and baptised in the early 90’s of the warehouses of the Midwest we can safely say the man has seen and experienced the music first hand. Boss of Transit records with the first official vinyl release dating to 1999, Myungho has acquired a ton of knowledge through the years of digging and listening to the music on any medium it came on. Having an opportunity to witness his heroes and get inspired by them sufficiently to create his own story within the sound frequencies.

The EP is a boat of smooth sailing but with the turbo jets attached to it, to get to any needed destination as comfortable as possible. Heavy influenced by the sounds of Detroit and Chicago, having grew up with an abundance of the music that comes from there resulted in JET, the formation of the artist’s skill and knowledge which has been executed on the canvas that is a beautiful to look at and pleasure to listen - the 12” vinyl record we are beholding today.

UFC presents Cybernetic Implant, its seventh release, an EP where electro and cyberpunk go hand in hand with hardware equipment for a trip to an unpromising future. The Ep consists of six tracks, three originals mixes produced by Ático Corp. and three remixes by producers Hd Substance, 7053M4R14 and Robot City.

In the three original tracks we find three different visions of electro where broken and sharp rhythms are mixed with bursts of synthesizers, atmospheres and samples that refer directly to less optimistic science fiction.


On the other side we have the three remixes where each artist contributes their particular vision by reimagining the tracks in their studios directly from their hardware gear. Synthesizers, drum machines and hardware effects are once again invited to the journey. Welcome this time not to a credible future, but to a dystopian future.