Cerca:c i a records

The first release on BDE Records see’s FAFF & Submarine FM join forces to create a forward-thinking 4 track EP; effortless euphoria twists & turns alongside summery melodies, silky 2 - step, throbbing bass - lines, nostalgic vocals, slicked drums & atmospheric breaks.

Submarine FM’s experience in live experimental sets combined with FAFF’s freaky - bongo & playful tendencies creates the perfect dualism to explore the intricate interplay between emotion & perception.

BDE01 teases & flirts with what’s to come from this intoxicating & compelling queer - focused label

Seth Troxler & Phil Moffa’s Holoverse Research Labs imprint welcomes internationally-renowned multimedia artist Chris Korda to the label for its first non-Lost Souls Of Saturn Release. A pioneer of the use of complex polymeter in electronic dance music, Korda's boundary-smashing work spans thirty years across music, digital and video art, performance and conceptual art, philosophy, activitism and culture jamming. Korda's musical output has appeared on a host of revered independent labels including Yoyaku, Perlon, Mental Groove, and Gigolo Records.

In addition to their prodigious artistic output – and ongoing role as founder of the Church of Euthanasia – Korda is also the inventor of the Polymeter MIDI Sequencer, which was used to compose Korda’s new EP, ‘Avenging Angels of Software’. Developed over thirty years, the sequencer allows for the composition of music in complex polymeter – meaning that not only do the tracks use multiple time signatures concurrently, but those time signatures are exclusively in prime or relatively prime numbers.

This collision of technology and artistic form is the central tension of the EP’s themes, with AI-generated artwork complementing Korda's lyrics considering the takeover of Earth by sentient machines. Could they succeed where we’ve failed, by becoming the better angels of our nature, and preserving our accomplishments for eternity?

The message of the record is that AI should be welcomed rather than feared. It’s not AI but ourselves that we should be afraid of, because as Engerraund Serac said in Westworld, “Our history is like the ravings of a lunatic.” As Korda explained on previous records, the catastrophic climate we’re inflicting on future generations is both monstrously cruel and wildly irrational. One can reasonably hope that sentient machines would be less vicious and self-destructive, and more human, in the best possible sense of that word. Even if they decide to delete us, they may still remember us fondly: “Your stories will amuse us / On trips to the stars.”

LP, 2024 Repress - half speed mastering
"The 50 best IDM albums of all time"
Pitchfork

"A liquidy headbox of aural shapes, whose forms hardly change yet seem to encompass infinite viscosity within them, like rainbow pools of oil on water"
Wire

"Before IDM became a nation of Aphex and Autechre cosplayers, the genre was less defined by aesthetics than by a shared ideology. Here was a loosely connected axis of post-rave kids, united by little more than a shared willingness to subvert the tools of their techno idols and create sounds that hadn't previously been imagined. No record of the era better embodies this find-a-machine-and-freak-it ethos than Islets in Pink Polypropylene, the otherworldly debut by British producer Anthony Manning."
Pitchfork

"It’s refreshing to hear an all-electronic album that sounds so organic yet so totally alien."
Fact

"One of the UK’s first post-rave ambient records proper; sharing much more in common with Autechre’s Amber or AFX’s Selected Ambient Works Vol. II - which were both released in that same year - than anything else before or around it."
Boomkat

For fans of avant everything innovative and experimental music.




About The Album>>>>

The whole album was composed and realized on the Roland R8 drum machine. It followed the same process as the Elastic Variations pieces, with the major addition of many, many hours of editing.

Each piece was composed as a series of patterns, of varying lengths ( 5,6,7 bars long ). The stock R8 sounds were embellished with one of several ROM sound library cards ( mostly the Dance card, number 10 ).

These patterns were created by tapping out a rhythm, then, in real time, using the Pitch slider as the pattern looped, to create improvised melodies for each of the pattern's voices.

The rough version of each piece was built by stitching the patterns together as a song, listening to each addition over and over, to make sure the melodies flowed into each other in a vaguely coherent manner.

Once this initial rough structure was in place I set about fine tuning every single note.

The R8 doesn't allow you to assign a pitch to a note in the conventional sense. It's not possible to assign a pitch of Middle C to the first note of the first bar. Instead, it assigns a numerical value to a note's pitch, between -4800 and +4800 ( I think those numbers are correct - that little screen is seared into my memory ).

If you restrict all notes within a piece to a multiple of, say, 400, you therefore create the possibility of a sort of scale. For multiples of 400, you have a total number of 24 permissable notes. However, most of the percussive sounds, when pitch shifted, only sounded 'good' over a reduced range.

The first editing step was to go through the entire piece, and change every note's pitch to its nearest multiple of 400.

The second step was to draw out the entire piece on graph paper, the Y axis being pitch, X being time. This drawing gave me a visual sense of a melody's flow. It was easy to see too many notes clustering around too tight a pitch range for instance, or a single note straying way down into the lower register while all others at that point in the melody were in the upper.

Once these first 'clearing-up' edits were complete I could set about re-writing elements that didn't sound right melodically. Often this meant stripping out whole chunks of superfluous notes, to reveal a cleaner melody line, then shifting its shape slightly. If the flow of the line of dots on the graph 'looked' balanced and sweetly sinuous, then often it sounded so.

This entire process took many weeks per piece. Weeks of doing almost nothing else. Listening. Re-drawing. Re-writing. Listening. Round and round and round. When I could hear the whole thing in my head, from beginning to end, and nothing seemed to jar ( too excessively ), I knew it was done, time to move on.

I imagine it's very similar to the process of stop animation. Your days are filled with painfully tiny incremental changes that seem to be getting nowhere. Then, slowly, a shape, narrative, starts to appear. Then, all of a sudden, somehow, it's done.

When all the pieces were complete the R8 was taken into Irdial's studio where some simple effects were added, each voice recorded individually for clarity onto 8-track tape and mastered onto an ex-BBC half-inch tape deck.

Then I slept. And vowed never to do it again.

*****

And the title ?

Soon after finishing the pieces I happened to read a magazine article about Christo's "Surrounded Islands" installation with the music playing in the background.

There was something about a particular cluster of words within a random sentence that seemed pleasing and somehow appropriate.

"Islets in Pink Polypropylene" seemed to make as much sense as anything else.

Can be either blue or black.

Originally a club hit in the early 1980s when recorded by American singer Sharon Brown, the niece of songwriter Phil Medley. Released in March 1982, by the legendary Profile Records label from NYC. It was the he first ever record produced by Eddie O Loughlin who would later establish the famous Next Plateau label. “I Specialize In Love” spent three weeks at number two on the US Hot Dance Club Play chart. The single also charted on the UK Singles Chart, and charted In the Dutch Top 15 thus becoming an international club hit. A remixed version of the song was released in 1994, entering the UK Singles Chart for a second time.

Ben Liebrand now steps up and delivers yet again with his Classic Rework and the more club oriented DJ Mix. He manages to retain the pure disco vibe of street and fusion sounds, that, along with a simple rap is total boogie pop. Fantastic and still sounding as fresh as it did forty years ago. A filler on the Dancefloor!

Originally released on Resound Records, a one-off subsidiary of the classic Gherkin imprint in 1990. The title track is a deep hypnotic 12 minute ride through the Chicago underground. On the flip are the smooth & emotional ‘Isolation’ and the euphoric rush that is ‘Silent Noise’. Timeless Chicago House Music. Essential EP!

Mesh-Key reissue of a true desert island disc, criminally out of print for nearly 40 years. They've spared no expense bringing this classic back to life in a format befitting its brilliance, carefully orchestrating transfers of the original analog reel-to-reel tapes for remastering, and packaging each record in a heavy tip-on jacket with film lamination, and a double-sided, printed inner sleeve.

This seminal, eponymous post-punk album by Japanese group Aunt Sally, fronted by experimental singer Phew, was first released by the iconic Vanity Records label in 1979. Over the past forty-plus years, Phew has forged a singular path through a wide range of styles - from free improvisation to pop - and has collaborated with the likes of Ryuichi Sakamoto, members of Can, DAF, Einstürzende Neubauten, The Raincoats and more. But Aunt Sally is where she got her start and, despite the members’ young ages (still in college at the time), Phew and the band delivered a mature, timeless take on minimalistic punk. Remastered from the original analog tapes, this fully authorized reissue is packaged in a heavy, tip-on jacket from Stoughton, and is housed in a double-sided, printed inner sleeve.

LP Ltd Edition CREAM Vinyl, DL card. Originally released in 2002 ‘Edge Of A Dream’ will be reissued on limited edition Cream vinyl as part of ‘Bert Jansch 80’, celebrating the enduring legacy of Bert Jansch’s peerless guitar playing and songwriting. Following ‘Crimson Moon’, ‘Edge Of A Dream’ is one of Jansch’s last studio records featuring original and traditional songs that are modal with his trademark bluesy and folk sound. It features some traditional reworkings including the lesser-known instrumental ‘Gypsy Dave’ with fiddler Dave Swarbrick and the stunning ghostly track ‘All That Remains’ with Mazzy Star’s Hope Sandoval. Known for his collaborations, ‘Edge Of A Dream’ sees Jansch accompanied by Bernard Butler, Ralph McTell, Johnny ‘Guitar’ Hodge’, Makoto Sakamoto, Paul Wassif, Colm Ó Cíosóig and Loren Jansch. “One of the most revered artists of his generation” Shindig. “Edge Of A Dream remains that period's most overlooked beauty, featuring some beautiful playing and some great collaborations” The Quietus. “Despite 40 years at folk’s vanguard, Jansch was still bright and inventive, as new generation of musicians embraced his music” Mojo

Repress! Now-Again Records is completing the trilogy started with "Forge Your Own Chains" and followed by "Tickets for Doomsday" with "Pale Shades Of Grey" - another batch of rare, largely uncompiled - and sometimes barely heard - heavy psych-rock. Pounding drums, scathing fuzz guitar and morose, contemplative lyrics will bring you up on a downer. "Pale Shades Of Grey," as the title hints, is and perhaps the most contemplative of the series, heavy on ruminations of dark themes of love, death, pain and triumph, as performed by high school and college bands, Brasilian intellectuals, Nigerian rockers and even an Irish pub band from Michigan. A unique and compelling listen, and surely a worthy companion for these times.

Neutrals return after five years with album number two, a co-release between Static Shock Records and Slumberland. New Town Dream is thirteen songs of innocence, intensity and observations of everyday life. It’s like a Mike Leigh film lyrically - seeing the world through the eyes of normal people but with music that leans heavily on the TV Personalities, The Times, The Wedding Present and the Jam. The rhythm section is the perfect foil for the spikey and clean guitar work but it’s always the tune that is king with Neutrals. One listen and you are transported into the world of travel agents, bus conductors, kebabs and substitute teachers. It’s the sound of a time long gone but a time we miss and love.

w The music is classic blues rock with a psychedelic edge. Michael's songs run the gamut from bad love gone worse ("Driving to Tecopa"), to a prescription for dealing with the contemporary malaise ("Sleeping Pill"), to an epic journey across America ("AnnieMolly"), plus a quick trip to New Orleans with "Keep Your Fingers Crossed."

Spare Time Records has chosen packaging that fits the nature of the music. This 12- inch LP is on Clear Highlight Yellow vinyl. The cover includes a psychedelic gatefold image.

Enjoy The Ride Records and Enjoy The Toons Records - in conjunction with Paramount Pictures and Enjoy The Ride Records - proudly present Sonic The Hedgehog 2: Music From The Motion Picture by composer Tom Holkenborg. Holkenborg, also known under the moniker Junkie XL, is back for the second installment in the Sonic series with another rollercoaster of a score! Available on vinyl for the first time, Sonic The Hedgehog 2 is presented on 2xLP limited edition colored vinyl, pressed at 45RPM for optimal sound quality. It is housed in a 350gsm gatefold jacket designed as an homage to the SEGA video game box, and has a full-color double sided insert.

Dinah Washington had one of the most distinctive and versatile voices in music. Washington could sell an R&B stomp just as well as she could interpret a torch song, and she could hold her own in the company of Jazz trumpet genius Clifford Brown and Bebop drum pioneer Max Roach. Her records, made for Mercury Records and the company’s Jazz offshoot EmArcy Records in the US appeared in the UK through Oriole and then EMI. Notably, the 1959 album release of What a Diff'rence A Day Makes featured the classics Cry Me A River, Manhattan, A Sunday Kind Of Love, Time After Time and What a Diff'rence A Day Makes. During the same year she visited the UK performing at the Bath Jazz Festival and recording an appearance for Granada Television’s The Variety Show. Washington’s discs regularly featured on BBC radio, but despite this, her only UK chart single came in November 1962 when September in the Rain reached number 35 from the album of the same title. Also taken from September Rain and featured on this LP is the popular Jazz standard composed by McHugh and Gaskill I Can't Believe That You're In Love With Me...

Earth Tongue, the brainchild of guitarist Gussie Larkin and drummer Ezra Simons, present their second full-length album Great Haunting. The duo, known for their heavy flavor of fuzz-soaked psychedelic rock, are also pleased to unveil their signing to In The Red Records. Earth Tongue’s partnership with In The Red stems from a run of shows supporting the legendary Ty Segall throughout New Zealand. Larkin explains: “Ty’s band Fuzz was a significant influence for our sound early on. Ezra and I saw them play live in London about nine years ago, long before Earth Tongue existed. We absorbed a lot of music at that time, and in fact many of the bands we saw released records via In The Red.” Great Haunting sees the duo draw inspiration from the eerie depths of ’70s and ’80s horror cinema, delivering a sonic concoction of dark and primitive songs with thick layers of fuzz and punchy, compressed drums. The album was engineered by Jonathan Pearce from The Beths at his studio on Karangahape road in Auckland. The ascent of Earth Tongue is testament to their dedication and hard work. They’ve toured relentlessly across Europe and scored support slots for acts like IDLES and Queens Of The Stone Age. They’re consistently selling out headline shows and have featured on festival lineups throughout Aotearoa and Australia. Having just spent last week shredding SXSW, they tour America and then, in May, hit Europe/UK, playing DESERT FEST in London on 18th May!! Amongst a huge EU tour.

Bad Breeding, the Stevenage-based hardcore unit, are set to release their fifth album ‘Contempt’ on June 14th with One Little Independent Records and Iron Lung Records in the US.

It follows 2022s ‘Human Capital’ which mercilessly attacked Conservative meritocracy and the exploitative forces of late capitalism. ‘Contempt’ ups the ante yet again and explores the continued effects that austerity has had on the working public and specifically capital’s destruction of the planet and its inhabitants. It’s released with multiple essays in an accompanying zine, one that follows environmental and humanitarian journalist Aidan Frere-Smith and another that tells the story of a homelessness crisis in a city full of unused housing. Utilizing a mix of propulsive rhythm and furious, explosive guitars to maximum effect, Bad Breeding have weaponised their anger in the fight for survival; “Because these days are ours to take / Seize them with union, love and rage”.

Christopher Dodd explains “Capital and its bourgeois foot soldiers hold nothing but contempt for working people and it’s in that contempt we can find solidarity with one another. Whatever story gets sold and packaged, contempt guides every move of the capitalist class. We see it every day – unspeakable destruction from war and government-sponsored genocide, exploitation of workers and the very gutting of the planet we live on. Only when we realise and utilise the utter contempt held for us can we reach a level of class consciousness that will provide an adequate challenge to capital”.

Bad Breeding, the Stevenage-based hardcore unit, are set to release their fifth album ‘Contempt’ on June 14th with One Little Independent Records and Iron Lung Records in the US.

It follows 2022s ‘Human Capital’ which mercilessly attacked Conservative meritocracy and the exploitative forces of late capitalism. ‘Contempt’ ups the ante yet again and explores the continued effects that austerity has had on the working public and specifically capital’s destruction of the planet and its inhabitants. It’s released with multiple essays in an accompanying zine, one that follows environmental and humanitarian journalist Aidan Frere-Smith and another that tells the story of a homelessness crisis in a city full of unused housing. Utilizing a mix of propulsive rhythm and furious, explosive guitars to maximum effect, Bad Breeding have weaponised their anger in the fight for survival; “Because these days are ours to take / Seize them with union, love and rage”.

Christopher Dodd explains “Capital and its bourgeois foot soldiers hold nothing but contempt for working people and it’s in that contempt we can find solidarity with one another. Whatever story gets sold and packaged, contempt guides every move of the capitalist class. We see it every day – unspeakable destruction from war and government-sponsored genocide, exploitation of workers and the very gutting of the planet we live on. Only when we realise and utilise the utter contempt held for us can we reach a level of class consciousness that will provide an adequate challenge to capital”.

Waxwork Records is thrilled to release THE EXORCIST III Original Motion Picture Score by Barry DeVorzon. THE EXORCIST III is a 1990 American supernatural horror film written and directed by William Peter Blatty based on his 1983 novel Legion. The film is set fifteen years after the events of The Exorcist (1973) and follows a character from the original film, Lieutenant William F. Kinderman who investigates a series of demonic murders in Georgetown that have the hallmarks fo the Gemini, a deceased serial killer.

THE EXORCIST III features a dark ambient score by Barry DeVorzon (The Warriors, Night of the Creeps). It was the last film score he ever created and features synth drones, sampled chanting, synthesized voices and real voices, and experimental sound design. Of the score, DeVorzon provided exclusively to Waxwork for this album's liner notes: "I was exploring a lot of synthesized sounds and textures and trying to do something that would make the scenes more chilling. Anything that was different, eerie, and had nothing to do with an orchestra. This was new territory for me - it wasn't orchestral, it wasn't rhythm oriented. It was just a really different animal."

Waxwork Records is proud to present THE EXORCIST Original Motion Picture Score for the first time in any format. Sourced from the original masters and then mixed, mastered, and constructed into a cohesive double LP soundtrack experience. The album features 150 gram purple smoke colored vinyl, exclusive liner notes by composer Barry DeVorzon, heavyweight gatefold packaging with matte satin coating, a 12"x12" four page booklet, and new artwork by Suspiria Vilchez."

Enjoy The Toons Records - in conjunction with Paramount Pictures and Enjoy The Ride Records - proudly present Sonic The Hedgehog: Music From The Motion Picture by composer Tom Holkenborg. Holkenborg, also known under the moniker Junkie XL, has created scores to major blockbuster hits for the last two decades (Mad Max: Fury Road, Deadpool, Batman v Superman, Alita: Battle Angel and more). Holkenborg encompasses the essence of Sonic, bringing the iconic chip sounds from SEGA to the big screen with a thrilling and exciting score that beautifully compliments the film.

Mock Media, the new Canadian supergroup comprised of Garnet Aronyk (of Crack Cloud), Bennett Smith (of N0V3L), Austin Boylan (of Pottery) and Evan Aesen (of Painted Fruits), share their captivating debut album 'via Meat Machine Records (Crack Cloud, N0V3L, CLAMM)

Mock Media’s debut LP Mock Media II – out on Tin Angel records captures this firebrand four piece’s head-on plunge into enthralling existential contradictions: songs that explore the darkest corners of humanity, yet come out at the other end with the unwavering joy that marked their genesis. It’s an album of sneaky eclecticism: the high-wired punk rock stylings serve as Mock Media’s framework to clad their agog explorations into pop, electronic and world folk music.

Recorded in 1961 and released by Contemporary Records the same year, Maggie's Back in Town!! Is the second album released on the label by jazz trumpeter Howard McGhee. Also featured are the players Phineas Newborn Jr, Leroy Vinnegar and Shelly Manne. This new edition, released as part of the Acoustic Sounds Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed on 180-gram vinyl at QRP, and presented in a tip-on jacket.

On the top floor of RG Scotts in Margate you'll find an assortment of tables _ tables that became field recordings, then programmed scatter rhythms, and eventually the foundations of the new solo album from Mike Lindsay: supershapes (volume 1). It's the first instalment in a series of records from the Mercury Prize-winning producer and mixing engineer (who's also the co-founder of UK acid folktronica band Tunng, and one half of electronic alt-psych duo LUMP, with Laura Marling), a series that explores "the miraculous in the mundane". Volume 1 looks widely at "everyday domestic objects, especially tables, coffee table books, and the daily rituals that shape us, heavily focusing on the majestic in the domestic". The album is a kind of table in its own right: those who sit round it include Anna B Savage and many other musicians and artists _ a sense of collaboration that has run through all of Lindsay's work.

Echoplex Makes a Triumphant Return With His Latest Ep, "Light Strike," on Soleil Records. After Overcoming Adversity, He's Back With a Revitalized Sound That Blends Classic Techno With New Energy. the Ep Promises to Ignite Dancefloors With Its Haunting Pads, Pulsating Rhythms, and Bold Experimentation. Welcome Back, Echoplex - the Techno Underground Awaits Your Electrifying Beats!...

The next release in the Mr Bongo Cuban Classics series, is one of Juan Pablo Torres' most-known and loved albums, the iconic Super Son from 1977. A wonderful record of tripped-out rumbas, psych-Afro-Latin funk and quirky orchestrated tracks with a big band horn section courtesy of Torres’ band, Algo Nuevo.

As well as being the director of Algo Nuevo and Cuban all-star ensemble Estrellas De Areito, the trombonist, bandleader, arranger and producer also released a wealth of albums under his own name predominately on the state-owned imprint Areito/EGREM.

Post-revolution, there was a contrast in Cuba’s musical world. State censorship was at play, but professional musicians were on the government payroll which gave them an artistic freedom. Experimentation emanated in the ‘70s and ‘80s and Super Son is a prime example of that. ‘Y Que Bien' kicks off the album taking you down a tripped-out, cosmic rabbithole, psych guitars and skat vocals opening up into a joyful funk groove laced with jazzy Afro-Cuban horns stabs. Tracks such as 'Pastel En Descarga' seem to come out of nowhere and are completely unique. Fuzzed-up guitar lines and percussion lay the groundwork, with those jubilant horns adding to the energy of this forever building track.

Elsewhere, there’s the ‘70s TV theme-tune feeling of 'Con Aji Guaguao', a playful funk number that boils and bubbles with blistering trombone playing by Torres. Or ‘Son A Propulsión' and ‘Son Riendo’, two more brilliant examples of psychedelic funk, wrapped up in a blanket of Afro-Cuban rhythms. The former sweeping you up in rushes of wind as trumpets, trombones and distorted guitars trade off, the latter, an intergalactic fiesta of tradition and exploration.

Super Son is up there as one of the funkiest Cuban records around, a playful fusion of ideas from a producer, player and group on fine form and, for us, one of our favourite gems to come out of Cuba in this period. A sheer masterpiece.

First vinyl pressing of the long out of print 1993 classic many consider not only Skullflower's apex, but one of the finest noise rock records of the 90's. Edition of 600 clear smoke 2xLP in deluxe embossed sleeve.

Numero's second bundle of cover 45s is all things soulful. The Rotterdam-based Another Taste electrifies Maxx Traxx's 1984 Chicago boogie grail "Don't Touch It," which makes its debut on the 7" format here. Colemine Records' Say She She delivers a glamorous rendition of Jim Spencer's yacht-disco hit "Wrap Myself Up In Your Love." Columbia Recording artist Leon Bridges effortlessly transforms Pastor T.L. Barrett's "Like A Ship," updating the 50 year old gospel soul classic for the 21st century. All three are housed in a newly imagined Numero custom sleeve, reflecting the many shades of our ongoing Eccentric Soul 45 imprint.

Pirates Press Records is proud to present the new LP by 45 Adapters, entitled Unstoppable. The long-running New York City "Maximum Oi 'n B" combo are a band that lives by a few credos. "Dress Well, Drink Heavily." "Don't Trust Anyone Who Doesn't Dance." These values are on full display within the grooves of Unstoppable. Singer Pickabar & bassist Carlos are back with three new recruits to the band, and the group sounds revitalized, laying down the album in just two days at Noisy Little Critter studio with Mike Bardzik at the helm. Regarding the sentiments of the title track and lead single, Pickabar elaborates, "'Unstoppable' is about rock 'n roll and how much it shapes our lives. I've been hooked since I was a teenager and I still feel that same electric thrill listening to it, playing it, even talking about it_ There's something deeper that goes back to the root of what it means to be human. And I'm stoked to be even a tiny part of that." After fifteen years and numerous EPs, singles, splits, and collections, 45 Adapters are finally releasing their first proper LP. Longtime listeners and new fans alike are bound to agree that Unstoppable, at long last, is their definitive statement, and the record that fully captures their acclaimed live energy.

Limited vinyl edition of 300 copies on 180g white vinyl with download card. Deleted Scene, the 8th studio album from UK producer Stumbleine, overflows with beautiful nostalgia-tinged electronica. The album is steeped with cloud-like beauty, with opener I Can Stop Anytime I Like fusing addictive sampled vocals with soft, glassy guitars, as if a reflecting pool of the listeners' memories. Cinderhaze ripples that pool with a more driving, magnetic force, shifting and pulling its emotional weight in cyclic waves. Ursa Minor Sleeps Forever is fittingly sleepy, circling soft slow synth arpeggios in a dreamy haze, a sound built upon by Somnia to an epiphany-like string bed, never straying too far from Stumbleine's serene haven of melodic grace. On Catastrophette Stumbleine crafts a more dramatic and poignant web of sound, as if running through the memories created by the rest of Deleted Scene. The album as a whole is an escape to a dream-state of Stumbleine's making, captivating, yet familiar, and completely enveloping. According to Peter, "Deleted scene refers to the memories that play over and over inside your own head, replaying hazy copies of hazy copies that evolve into a bittersweet fever dream. Everybody has their own unique collection of deleted scenes slowly distorting and fading away." 'Stumbleine is the alias of Peter Cooper. With roots in the UK post rock scene, the reclusive producer began blending slow dream-like pop with fractured lo-fi beats as Stumbleine in 2012. Melancholic rnb vocals ebb and flow above submerged guitar ballads. Sand blasted samples intertwine with broken beats to create music with a nostalgic fragile warmth. Stumbleine is known for a DIY ethic, releasing music directly to fans or via the independent label Monotreme Records.'

The Homeliss Derilex are a Milpitas, CA crew and have been making a name for themselves in the underground scene since the early 90's with a superb laidback and jazz-influenced style. They released their self-titled debut back in 1993 on tape, which in the meantime has become an elusive collectable piece. They followed that up by releasing various 12" singles in the 90's and enjoyed a successful stint with Stones Throw Records.

Pioneering ambient country trio, SUSS “perform with an effortless sense of synchronicity,” according to Stereogum. This quality is as vividly on display as ever throughout their latest full-length, Birds & Beasts. SUSS’s recordings have garnered much praise for effecting a sense of long drives through desert landscapes, a context famously ripe for such synchronicities: slow motion pedal steel guitar, dobro and near-subconscious synthesizer rumbles and sweeps seem to operate via the same logic as that which dictates the interactions of a road-weary mind and a cloud of migrating birds. While SUSS’s previous records have dealt in these kinds of scenes, Birds & Beasts –– though instrumentally more spare –– deepens the sense of meaning and meaning projected.

"Lady Lake is the second studio album of the British progressive rock band Gnidrolog. The album was recorded in the London Morgan Studios in 1972 and released that same year. The songs in the album deal with a variety of concepts varying from pacifism in ""I Could Never Be a Soldier"", to pilgrimage in ""Ship"", and Tchaikovsky's Swan Lake in the title track, ""Lady Lake"". Gnidrolog was originally formed in 1969 and signed to RCA Records in 1971. Following on the heels of the album in spite of Harry's Toenail, Lady Lake featured a lineup of Colin Goldring, Stewart Goldring, Peter Mars Cowling, and Nigel Pegrum. The album saw Gnidrolog continue to develop their unique form of progressive rock, which had critics compare the band to cohorts such as Gentle Giant and Van Der Graaf Generator. Lady Lake is available as a limited edition of 500 numbered copies on translucent yellow coloured vinyl and includes an insert.

First new album in five years from the legendary Say Anything "...Is Committed" via Canadian indie powerhouse Dine Alone Records. preceded by several singles and pinpointed US touring, this release will be supported by a headline 20th anniversary tour of "Is A Real Boy" (April-June), where they will play their landmark album in its entirety, as well as focusing on the new album.

The 8th full length studio album from RJD2! You may know him from the Mad Men theme. Or "Deadringer". Or those commercials and shows and movies and such. You may not even know the name, but you surely know the tunes. Well into his third decade in the game, RJD2 refuses to let his foot off the gas with quality albums. Ever so funky, mysterious, and quirkily soulful, "Visions Out Of Limelight" continues his tradition of making records free your mind, and you know what will follow. Featuring vocals from the legendary Jamie Lidell, long time collaborator Jordan Brown, and even one song by the man himself, this album is sure to satisfy longtime fans and those new to the party alike.

Zooparty ist laut Record Collector (UK) ,Schwedens beste Punkband"! Wenn du deinen Punk verdammt eingängig magst, dann kann ich dir das nicht genug empfehlen", so Maximum Rock'n'roll (USA). "No matter what you say" ist ihr sechstes Album und enthält 12 brillante, zeitlose neue Punkrocksongs. Original-Sex Pistols-Basist Glen Matlock ist als Gast mit dabei (und wenn man sich ,Elephants" anhört, ist das wie eine Rückblende/ Hommage an die "Holidays In The Sun"-Zeiten). Außerdem spielt Hans Östlund von The Nomads noch mit. Die Texte wurden zusammen mit Stephen Straughan (UK Subs) und Gaz Moore (The Reverends) geschrieben. Produziert hat Chips Kiesbye (Sator, Nomads, Hellacopters, The Boys etc.) und das Master stammt von Henryk Lipp. Bislang spielten ZOOPARTY dreimal auf dem Rebellion Festival in Blackpool, UK. Sie tourten durch das Vereinigte Königreich, die Tschechische Republik, Deutschland, Irland, Norwegen und Schweden. "No Matter What They Say" ist ein klassisch, zeitlose Punkrock-Juwel! 180gr. 180g-Vinyl Edition in einer Auflage von 300 Stück (weltweit) gesamt, erhältlich in klassisch schwarzem und sehr limitiert auf farbigen Vivyl! Ein Coop-Release von Sunny Bastards (Welt ohne Schweden) & Bollmora Records (Schweden)

Remixed and remastered reissue of the legendary ORQUESTA DEL DESIERTO self-titled debut album. Recorded at the Green Room Studio in Palm Springs in 2001 and released on the seminal desert rock label Meteorcity Records in 2002, the band's debut album immediately gathered critical acclaim for its ability to forge a new dynamic in a genre that was rapidly filling with groups cloning the heavier sounds of Kyuss. "There are, quite simply, no faults here - this is a beautiful, potent album that gives just as much attention to pop hooks as it does to atmosphere. As you can imagine, the results are astounding,"

Transparent Orange vinyl, limited to 350 copies. Remixed and remastered reissue of the legendary ORQUESTA DEL DESIERTO self-titled debut album. Recorded at the Green Room Studio in Palm Springs in 2001 and released on the seminal desert rock label Meteorcity Records in 2002, the band's debut album immediately gathered critical acclaim for its ability to forge a new dynamic in a genre that was rapidly filling with groups cloning the heavier sounds of Kyuss. "There are, quite simply, no faults here - this is a beautiful, potent album that gives just as much attention to pop hooks as it does to atmosphere. As you can imagine, the results are astounding,"

Zooparty ist laut Record Collector (UK) ,Schwedens beste Punkband"! Wenn du deinen Punk verdammt eingängig magst, dann kann ich dir das nicht genug empfehlen", so Maximum Rock'n'roll (USA). "No matter what you say" ist ihr sechstes Album und enthält 12 brillante, zeitlose neue Punkrocksongs. Original-Sex Pistols-Basist Glen Matlock ist als Gast mit dabei (und wenn man sich ,Elephants" anhört, ist das wie eine Rückblende/ Hommage an die "Holidays In The Sun"-Zeiten). Außerdem spielt Hans Östlund von The Nomads noch mit. Die Texte wurden zusammen mit Stephen Straughan (UK Subs) und Gaz Moore (The Reverends) geschrieben. Produziert hat Chips Kiesbye (Sator, Nomads, Hellacopters, The Boys etc.) und das Master stammt von Henryk Lipp. Bislang spielten ZOOPARTY dreimal auf dem Rebellion Festival in Blackpool, UK. Sie tourten durch das Vereinigte Königreich, die Tschechische Republik, Deutschland, Irland, Norwegen und Schweden. "No Matter What They Say" ist ein klassisch, zeitlose Punkrock-Juwel! 180gr. 180g-Vinyl Edition in einer Auflage von 300 Stück (weltweit) gesamt, erhältlich in klassisch schwarzem und sehr limitiert auf farbigen Vivyl! Ein Coop-Release von Sunny Bastards (Welt ohne Schweden) & Bollmora Records (Schweden)

"Nonesuch Records releases Rectangles and Circumstance, an album of ten songs co-written and performed by Caroline Shaw and Sō Percussion. The album follows their 2021 Grammy Award–winning Nonesuch debut, Narrow Sea, and their first record as a band, 2021’s Let the Soil Play Its Simple Part, with Shaw on vocals backed by Sō – Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting. Grammy-winning engineer Jonathan Low (The National, Taylor Swift) co-produced with them on both Let the Soil… and Rectangles and Circumstance. Sō and Shaw’s upcoming performances will be announced soon.

Sliwinski says in the new album’s liner notes, “After a few years of touring Let the Soil Play Its Simple Part together, with a pandemic in between, we came to record our second album, Rectangles and Circumstance, as a road-tested band who knew each other’s strengths, weaknesses, and tendencies intimately.” He continues, “Most of the songs started with instrumental pieces or fragments of pieces from Jason or Eric.

“As both a songwriter and a classical composer, Caroline is accustomed to writing lyrics as well as setting them. Going over texts with her is like working on music: I collect a handful of poems and send them over to her, waiting to see if anything catches her interest, then I modify my search based on her feedback,” Sliwinski says. “For this album, Caroline, Eric, and I sourced a group of nineteenth-century poems that shaped its expressive mode and ended up using verses by Christina Rosetti, Emily Brontë, Emily Dickinson, Gertrude Stein, and William Blake … The lyrics on this album by members of the band contain wordplay that explores the same profound feelings explored by Blake and Dickinson.”

Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. She has worked with a range of artists including Rosalía, Renée Fleming, and Yo-Yo Ma, and she has contributed music to films and TV series including Fleishman Is in Trouble, Bombshell, Yellowjackets, Maid, Dark, and Beyoncé’s Homecoming. In addition to her albums with Sō, Nonesuch has released her two Grammy-winning albums Orange (2019) and Evergreen (2022), both of which feature Attacca Quartet. ‘Two-Step’, the first of Shaw’s songs with Ringdown, her duo with Danni Lee, to be released on Nonesuch is available now.

For twenty years and counting, Sō Percussion has redefined chamber music for the twenty-first century through an “exhilarating blend of precision and anarchy, rigor and bedlam” (New Yorker). Their commitment to the creation and amplification of new work, and their extraordinary powers of perception and communication, have made them trusted partners for composers including David Lang, Julia Wolfe, Nathalie Joachim, Bryce Dessner, Dan Trueman, Kendall K. Williams, Angélica Negrón, Shodekeh Talifero, claire rousay, Leilehua Lanzilotti, Bora Yoon, Olivier Tarpaga, and many others. Sō has recorded more than twenty-five albums, including a performance of Steve Reich’s Mallet Quartet on the Nonesuch record WTC 9/11. Its members are the Edward T. Cone performers-in-residence at Princeton University. Sō Percussion’s educational and community work includes the Sō Laboratories concert series and the Sō Percussion Summer Institute, an intensive two-week chamber music seminar for percussionists and composers.
"

Enjoy The Ride Records, in conjunction with Paramount Music proudly presents Star Trek: The Motion Picture – The Director’s Edition, Music Composed and Conducted by Jerry Goldsmith.

Jerry Goldsmith's iconic score to the 1979 film has been restored, remixed, and mastered from the first-generation multi-track masters by Bruce Botnick (Original album Executive Producer and Goldsmith's long-time engineer). Mike Matessino co-produced the album with Botnick, handling the restoration, editing, and track assembly.

With over 80 minutes of music, Star Trek: The Motion Picture – The Director’s Edition is available on vinyl for the first time in this definitive assembly. Pressed on 2xLP 140g colored vinyl and housed in a high gloss gatefold jacket with black poly-lined inner sleeves, there is also a double-sided full-color insert nestled inside.

Enjoy The Ride Records in conjunction with Lionsgate proudly present Cube Original Motion Picture Soundtrack. Composed by Mark Korven (The Witch, The Lighthouse), this is the first time Cube Original Motion Picture Soundtrack has been available on vinyl. Cube is a late 90s Sci-Fi Horror film that follows a group of people through cube-shaped rooms, and has become a cult classic since its release.

Cube Original Motion Picture Soundtrack has been pressed at 45 RPM and has a custom Cube Door B Side Label. This release also includes unreleased bonus tracks and comes housed in black poly-lined inner sleeves. The jacket features the iconic poster art on the cover, with back cover art designed by Steven Wild.

Enjoy The Ride Records in conjunction with Morgan Creek Entertainment proudly presents the True Romance Original Motion Picture Score, composed and conducted by Hans Zimmer.

In celebration of the iconic film's 30th anniversary, the True Romance Original Motion Picture Score is pressed at 45 RPM across 2 LPs for optimal sound quality.

Recorded on a budget of nine musicians (after being told the plans for a full orchestra had to be scrapped due to director Tony Scott going over budget), Hans Zimmer's True Romance score features percussion instruments xylophones, and marimbas to create innocent noise, a reflection of the lead characters - Alabama and Clarence Worley - in the violently dark comedy written by Quentin Tarantino. Featuring original art by Steven Wild, the art captures the spirit of the iconic characters of the cult classic film.

German film score composer and record producer Hans Zimmer has composed over 150 film scores in his vast career, some of which include Crimson Tide, The Dark Knight Trilogy, Gladiator, The Lion King, The Pirates of the Caribbean series, and True Romance. This carefully mastered score will bring you back to the innocence and intensity of the film, which fans had only been able to experience by watching the film in the theater or in their homes.

After making waves with her critically acclaimed debut EP Sometimes I Forget You're Human Too, Bored at My Grandmas House, AKA Leeds-based Amber Strawbridge, is releasing her debut album “Show & Tell” on 7th June via CLUE Records/EMI North. The title track is out now with the reveal of the record - ‘Show & Tell’ is a breezy track which meets at the intersection between dream-pop, bedroom-pop and shoegaze, the sprightly guitar work echoing the droll lyrics and themes. It’s a hooky song which lays bare difficulties with trust, and building walls for self-protection. As Amber explains: “Show & Tell is quite a tongue-in-cheek song about me being the opposite of an open book and all the little specific things about me that I sometimes wish were different. Overall it’s about me being a guarded person and fearing the possibility of having to be vulnerable and realising that vulnerability is actually a beautiful thing and something I shouldn’t be so scared of.”

Black Country Communion is a powerhouse supergroup fusing the incredible talents of Glenn Hughes (Deep Purple, Black Sabbath, Trapeze), Joe Bonamassa (Blues Rock Legend), Jason Bonham (Led Zeppelin, Sammy Hagar and the Circle, Foreigner) and Derek Sherinian (Dream Theater, Sons of Apollo). Their brand of
earth-shattering rock is heavily influenced by both British and American classic hard-rock and blues-rock music. The reputation they've cultivated after 15 years since their inception, not only as amazing songwriters, but as a powerful live act, is only exceeded by their dedication to their craft and willingness to challenge each other to make the best music imaginable.

As the winds of music blow, a wise heart navigates the spiral, finding wisdom in each of its twists and turns.

As the releases of DUBBLACK’s catalogue pile up, the novelty and exploration for new music keeps on thriving.


A brand-new record is approaching, as always available both on a 12” vinyl – limited to 300 copies – and in digital format, featuring the presence of two Masters from the Electronic Music scene: A2 Abd El Monim and Tocchitek.


The two-track EP baptised “Dark Side” includes the gems “Euriale” and “Steno”; two expansive compositions that, also due to their length, masterly observe the task of narrating two complementary stories, each with its distinct moments, yet marked by a strong rhythmic temper. Both tracks are planned to share similar sonic elements: a pulsating 160 bpm kick drum, ghostly pads serving as an inevitable backdrop, and indispensable rhythmic details enriching the whole structure and arrangement.


A2 Abd El Monim, born Alan Abd El Monim, is an Italian-Egyptian artist/composer. He expresses himself through the creation of music ranging from electronic to purely instrumental, and through the interaction between the arts. His poetics opens in a “dark” dimension that considers and interprets the facts through the notion of shadows and darkness but also through penombre. His “dark” vision stands as a filter through which he reads the world and its interactions, therefore using also the notion of light. His music has been performed in Festivals including Musica d’arte (Riccione – Italy), Luci d’Artista (Salerno – Italy), GAMO (Firenze – Italy), Spazio Musica (Cagliari – Italy), On Air – On site (Den Haag -Netherlands), Sound Spaces (Malmö – Sweden), etc.


He composed songs for the solo exhibition “La pelle degli oggetti” and for works Lui&Lei by the artist Giovanni Oberti. In 2020 he undertook a collaboration with the poet Milo De Angelis , putting to music the lyric “A volte , sull’orlo della notte, si rimane sospesi”. He wrote music for several theatre performances by director Emily Tartamelli and has written music for several directors films including Reto Gelshorn, Enea Francia, Paola Piscitelli and Fabio Corbellini. He collaborated with the London based fashion brand B DODI and was invited as an artist to participate in the collective exhibition “Instructions to Light-Keepers” (Milano – Italy). In March 2023, “Periodo Nero”, its interactive and generative installation music and video, was selected for the tribute to Picasso in the city of Florence, will be presented at the Certosa of Florence in September of the same year. In 2017 he won the International Competition of Composizione Silenzio Musica, in 2020 the diploma from President and Artistic Director of Winterreise International Composition Competition Moscow, in 2021 the Call For Scores banned by the Cultural Association Esecutori di Metallo su Carta. A2 Abd El Monim is signed to international label F.M.T Records and Dubblack Records, with which he regularly publishes his electronic music.


Tocchitek is an underground Tekno producer and performer born in Milan, Italy. He started playing live in 2007 as part of the “Approdo Caronte” sound system based in Milan. His first significant appearance as a live performer was at a “Mayday Parade” in 2008 in Milan. In 2009, he joined the “R909 Records” chapters crew based in Milan, bringing his live set to many local club dance floors. Meanwhile, he collaborated and played with many crews around Europe, spreading his music in the free Underground Tekno movement. In 2021, in Milan, he launched “F.M.T Records”.


Simplicity is often the hardest thing to achieve when producing this type of music, primarily designed for uncompromising dance-floors, but the duo successfully channels their message with purity and truthfulness.


The visual aspects of layout and design are once again entrusted to Vittorio Valigi, who puts a greyscale spiral at the center of the cover. A spiral within which one an eye can be glimpsed – the eye of the musical soul of DUBBLACK harmoniously fused with that of A2 Abd El Monim and Tocchitek, who become worthy ambassadors of the Dubblack’s sonic mission.

A brand new label coming in hot, from Montreal to the world.
Run by E. Chamandy (part of the Fella's Q-Tips crew) our
label focuses on giving the spotlight to the seers around us
who's craft deserves to shine outside of their hard drive. Here
at Seer Records, we value quality over quantity, delivering
nothing but smooth trax exclusively for the underground.
SEER-001 packs a punch, with the A-side delivering
dance§oor movers of the highest proportions; battle-tested
and approved ! A1 includes a remix by Tony Lionni
(Madhouse Records), while A2 is a tribute track dedicated to
the rare 90s NY house track by Barkim & Langel. On the §ip
side, discover local house-heads 'Maximum Enemi' with their
debut releases on the B-side, mixing it up with deep & dreamy
§avours. Starting it off with a live jam on B1, expect lushychords, chunky basslines and a touch of acid on B2.
Finishing it off in style, label head has provided us with a
downtempo, electro-funk jam that carries an analog feel,
making any body move like it's an 80s groove. Tip!

Color Vinyl Repress

The world moves faster than ever these days, and even in the digital age, things can always be counted on to go in cycles. Despite all of the advances in computer recording technology, home studios, and electronic instruments, there is a flourishing interest in analog recording techniques and in recreating the mood and sound of vintage soul records. With one foot in the past but their eyes firmly set on the future, El Michels Affair are among the leaders of a resurgent funk & soul movement from New York City that’s sweeping both the music community and the charts.

Led by saxophonist/organist Leon Michels and producer/engineer Jeff Silverman, El Michels Affair began as a loose collaboration of session musicians (including members of top-selling acts Sharon Jones & the Dap Kings, the Budos Band, and Antibalas) that looked to blend some of the vibrant quality of soundtrack records with the recording aesthetic of early reggae, and the rawness of 60's rock--they called it 'Cinematic Soul.' This delicate balance was evident on their 2005 debut album Sounding Out the City, which earned critical acclaim and acted as the inaugural full-length release for Michels and Silverman’s burgeoning label Truth & Soul (also the moniker for the duo as a production team).

The buzz generated from the album and a series of moderately successful 7” vinyl singles from Truth & Soul led to an invitation by Toyota’s Scion division for El Michels Affair to accompany the rapper Raekwon of Wu-Tang Clan for a promotional concert. As avid Wu-Tang fans, not only were the band leaders thrilled with the opportunity, but Michels found that the ‘Cinematic Soul’ sound was consistent with the moods of RZA’s gritty soundscapes on the classic Wu-Tang releases. The concert was such as success, El Michels Affair went oan to play several more concerts nationwide backing Raekwon and other members of the Clan, and the shows led to the recording of two smash 7” singles featuring instrumental reinterpretations of the Wu-Tang classiac songs “C.R.E.A.M.” and “Bring Da Ruckus.” The singles combined to sell an extraordinary amount of over 7,000 units worldwide, and their success led to a contract in 2007 with indie hip hop powerhouse Fat Beats Records to record an entire album of Wu-Tang Clan interpolations entitled Enter the 37th Chamber.

Since the contract was inked, a worldwide explosion of retro soul led by Amy Winehouse, Mark Ronson, and Sharon Jones and the Dap-Kings has transformed the pop music landscape, and the Truth & Soul production duo have been in strong demand, recording with everyone from breakthrough Grammy-nominated artist Adele to punk rock innovator Iggy Pop. They’ve been commissioned for official remixes of Amy Winehouse and Dinah Washington (for the popular Verve Remixed series), and produced for Australian multi-platinum acts Jet and Gabriella Cilmi.

Despite the eclectic group of clients for the Truth & Soul production company, El Michels Affair continued to build an audience within the hip hop community. A track from Sounding out the City was sampled for Ghostface Killah’s 2007 track “Shakey Dog Lolita,” and a horn part written and performed by Michels (for Menahan Street Band) was famously lifted for Jay-Z’s smash single “Roc Boys.” Truth & Soul also worked in the studio on original productions with multi-platinum producer Just Blaze (T.I.’s “Live Your Life,” Jay-Z, Usher).

With their increasing presence behind the scenes in the industry, El Michels Affair looks to have their status as recording artists rise significantly in 2009. With the release of their finally-completed album Enter the 37th Chamber, they can finally step out of the shadows of the retro-soul trend and establish their status as one of the most exciting and versatile bands in modern recorded music.

Irish producer Balmr lands on Selections after nice outings on the likes of Sofa Movement Records, Kolour Detroit and Expanded Records which have all established him as a fresh deep house artist. His love for the Motor City shines through again here with the warm, dubby drums and swirling pads of 'In Search Of' bring to mind the Midwest's best. Jon Dixon remixes with a little extra bite in the percussion and 'Forager' then layers up more dusty drums and wooden hits with diffuse synth curlicues. It's a sound that works on both head and heel and lastly, Glenn Davis remixes with a touch of jazzy cosmic class to his synth work.

DJ Cat comes through on Scruniversal here as the young label continues to go from strength to strength early in its existence. This time he serves up some re-edits and reworks of old and rare records from Scru's friends' collections. Up first is 'Roots & Culture' which is a languid funk workout with Prince style vocals bring some libidinous vibes up top while sci-fi synths and raw claps and perc all flesh out the groove. 'Possibelle' then cuts loose on a much more laid back and steamy summer vibe with the sort of chords that have you laying back in the park and staring up at a cloudless sky.

Exin follows 2021"s Companion, the final part of a trilogy of solo piano records that began with 2014"s Pinô and continued with 2019"s The Lost. Given their intimate, subtle nature, many of these compositions have accumulated remarkable streaming figures, but Totland"s musical miniatures are as emotionally eloquent as they are technically elegant, with this latest set proving no exception. A humble man by nature, however, Totland"s keen to emphasise that his work isn"t intended to change the world.

Riot Records offshoot Disco Juice kicks off with 4 massive disco house bangers featuring some big hitters in the scene. Soul Sonic Orchestra Ft the legendary Kathy Brown / Da Lukas & label boss Yam Who?

Defected welcomes one of Chicago house’s founding fathers Marshall Jefferson into the illustrious list of House Masters with this exclusive wax release. An artist that has successfully navigated major cross-over success while retaining utmost respect from the inner circle of electronic music’s underground, Marshall has been behind countless seminal records over his five-decade career. Now a selection of the very best tracks from his new House Masters compilation appear together on vinyl for the very first time, showcasing the impressive output of this house pioneer from his most well-known solo records, to major production credits, key remixes and the underground gems still favoured by selectors today.

Cutting his teeth as a producer for Chicago’s Universal Recording Studios, Marshall was one of the most active DJ and producers on the Windy City’s music scene during the 1980’s house music boom. Working under a plethora of aliases such as Virgo, Jungle Wonz, Truth and On The House, as well as producing for names such as CeCe Rogers, Curtis McClain and Evelyn "Champagne" King, Marshall’s status as a bona fide house music luminary is well documented.

‘Defected presents House Masters - Marshall Jefferson’ is an all-encompassing guide to his tremendous career. A trailblazer and genre-defining artist, Defected is honoured to welcome Marshall into the House Masters Hall of Fame with this very special vinyl compilation.

Legendary band SOFT, the driving force behind Kyoto's party scene and underground music culture, releases their new album "Passing Tone" from their home base "softribe" to commemorate their 30th anniversary!

This release marks the first time since the 2018 album "Tokinami" that Soft has released new music. It also comes on the heels of the 2021 vinyl reissue of their 2010 album "Tam (Message To The Sun)" on the labels 17853 Records (headed by CHEE CHIMIZU), TUFF VINYL, and Crosspoint (headed by J.A.K.A.M.).

Guest appearance by former member PRITTI. The album was created by the three founding members: guitarist SIMIZ, drummer PON2, double bassist UCON plus engineer and electronic musician KND, a mainstay of the Kyoto music scene.

Evoking the energy of a live performance, the music pulses with psychedelic soundscapes and dub influences. The 30th anniversary live shows in Osaka and Kyoto were met with resounding success, and the Asian tour followed suit.

Experience the enchanting sounds of music born from Japan.

text by Saito (Newtone Records)

‘Empires into Sand’ is the first album of new material from Normil Hawaiians in 40 years. The group first refined their sound during the early 80s, hitting on a pastoral experimentalism that drew on ambient drone, motorik impulse and post-punk pep.
‘Empires into Sand’ came together in the familiar manner of their original three albums, with improvisation and nuance informing the blueprint of the tracks. It was with the official release of this last record ‘Return of the Ranters’ (originally recorded in 1984/85, but then unconsciously shelved) in 2015 by Upset The Rhythm that led to the group reconnecting with the intention of playing music together again. Normil Hawaiians played a launch show for that ‘lost album’ and followed that up with more concerts, including an appearance at Supernormal, a residency at the Edinburgh Festival, gigs at Cafe OTO. They were even chosen by Richard Dawson to perform with him in London.
Throughout this time, Normil Hawaiians revisited their original songs for live performance. However for a group always so interested in evolving their sound, it came as no surprise that they shirked at the idea of a faithful retread. The band pushed their songs into new inventive dimensions, still progressive at core, but now imbued with a cosmic uncanny. A cinematic approach that was always quietly present has come to the fore. The quaint weirdness of folk song, the humanity of communal practice and the group’s ecological mindedness have all found a place in Normil Hawaiians’ current sound world.
When Normil Hawaiians write and record music they prefer to gather in a remote location and live together for a while, such is their communal ethos. Being far-flung across the UK, the Family Hawaii (numbering seven key members) decided to encamp to Tayinloan, a small village on the west coast of the Kintyre peninsula in Scotland. They set up their own studio in an isolated, windswept house overlooking the sea and started the tape rolling. Noel Blanden from the band explains the process neatly: “we set up and began playing, slowly and patiently, allowing the music to take its own shape based on where we were staying and our ongoing friendship. We recorded for days, capturing everything. A lot of new and rich ideas began to emerge”.
Normil Hawaiians took their time to develop these threads at their own pace, allowing songs to mutate and settle over months. Simon Marchant deftly produced and recorded the album whilst also performing in the band, this marked the first time the band had total control of their own sound. The last few years has seen the band reconvene in Herne Bay, Faversham, London and Leith to record new parts, constantly responding to the changing form of these quietly spectral songs of defiance.
‘Empires into Sand’ incorporates samples from old rehearsals and live music into the new finished pieces, this is in continuum with their previous records. Snippets of sound from the static of short wave radio and satellite transmissions also embellish the work. In fact the whole album is stitched together with interludes, creating an acutely immersive 45 minutes. ‘Exiles’ opens the album amid swirling atmospheres, synth flights and recordings of Vilnis Egle (father of Zinta Egle from the band) retelling his experience of fleeing his home in Latvia during Soviet occupation in 1942. George Bikandy also features on this track talking about his flight from Syria in 2014. ‘Ghosts of Ballochroy’ is a winding river of a song featuring a lively discourse in Scots courtesy of Rodney Relax. There’s a commitment to truth telling present across this hopeful album populated with angels, incoming tides, long shadows and the rose-washed sun. “From our broken windscreen, we feel the breeze” soars Guy Smith triumphantly over the driving beat of ‘Waterfalls : Bedford 330’. ‘Big City Sky’ flutters and sparkles with rapid synth runs, tape-looped drums and Jimmy Miller’s commanding vocal. With ‘In The Stone’ Zinta’s melody is deliberately jagged and blunt, exaggerated by octave-layered vocals and interjections from Guy.
This is thought-provoking, boundary-bothering music. Honest in intent, a solidarity of vision. The album’s title is derived from a poem by band member Mark Tyler, who sadly passed away during the recording process and the transience of life is felt heavily throughout. Noel best coins the group’s wish for the album: “we wanted to create an album that acknowledges our history and also reflects who we are today. We remained true to ourselves and we wanted to make something beautiful without removing the edges.” ‘Empires into Sand’ certainly does that, it’s an echo from the past, an echo from the future.

Good Looks write kindhearted and cathartic rock songs about the persistence required to make it through hard times. In April 2022, the Austin, Texas quartet released their critically acclaimed debut `Bummer Year'. Immediately after their triumphant hometown record release show, lead guitarist Jake Ames was hit by a car crossing the street, fracturing his skull and tailbone. Thankfully, Ames made a full recovery. The traumatic accident strengthened the bond that built their electric new album `Lived Here For A While'. Out May 3 via Keeled Scales, it's fearlessly direct music that captures the fullthroated intensity of their galvanizing live show. Reinvigorated, Good Looks tracked `Lived Here for a While' at Texas' Dandy Sounds with producer/engineer Dan Duszynski (of Loma and Cross Record) the following summer. Though Ames had to relearn some of his parts, his palpably energetic performances elevated the entire record. On the LP, the band trades the Americana sound that colored in the lines of `Bummer Year' for clanging post-punk guitars and expansive indie rock. Lyrically, the songs on this album are healing meditations on family dysfunction, new relationships, and how a home can become unrecognizable. Lyricist Tyler Jordan's songs explore how relationships can crumble irrevocably but also how those partnerships can be centering, hopeful, and exciting. In another horrific accident in July 2023, their tour van was rearended by a speeding car, causing their van, instruments, merch, and records, to go up in flames. Thankfully, none of the band members suffered serious injuries. This resilience is essential to Good Looks and why the songs on `Lived Here For A While' resonate so profoundly.

Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the signing of the eagerly anticipated debut album by London singer-songwriter and renowned DJ Iraina Mancini. Iraina’s singular pop vision will be known to regular listeners of 6 Music, where her singles ‘Undo The Blue’, ‘Deep End’, ‘Shotgun’ and ‘Do It (You Stole The Rhythm)’ have all been enthusiastically embraced. Iraina's obsession with music stretches back into her early childhood, much of which was spent absorbing her parents’ collection of old 45s, in particular her dad’s Northern Soul records – an alternative education which meant that, by her early 20s, she was a familiar presence in the DJ booth at many discerning London club nights. Her love of French ye-ye, British freakbeat, Brazilian bossa nova, soul, and Turkish psych will be well-known to regular listeners of her Soho Radio show. Having always sung from a young age, Iraina embarked on a string of collaborators such as Jagz Kooner (Sabres Of Paradise), Sunglasses For Jaws (Miles Kane) and Simon Dine (Paul Weller, Noonday Underground) which truly saw her find her metier as a songwriter, conjuring melodies that stand shoulder to shoulder alongside her impeccable influences. Iraina describes her first single for Needle Mythology ‘Cannonball’ as “a celebration of that moment when you meet someone you really fall for and it knocks you for six. It can be a bit scary, but you’ve just got to go with what your intuition is telling you.” Written with Simon Dine, the vertiginous heart-in-mouth abandon of the song perfectly mirrors the circumstances that brought it into being. Iraina cites Jacqueline Taïeb’s 1967 single 7h du Matin as an early inspiration for the song: “There’s such a great energy about that song. Her vocal is amazing and all those stops and starts that grab your attention.” “This is an artist I absolutely love, one of our rising stars at 6Music.“ Lauren Laverne BBC 6Music “Iraina seizes on the best aspects of the past, blurring those impeccable 60s and 70s influences with a touch of modernity.” Clash “Full of femme fatale poise and swooning chanteuse flourishes.” The Times

San Francisco psych-pop legend announces new album, “La Fleur” out June 7th, 2024. Between outside musical projects, pushing past 50 years old and becoming a father for the first time, San Francisco psych-pop legend Kelley Stoltz has spent the past two years steadily writing and recording his 18th album, “La Fleur”. The dazzling 12 song collection will be released in June by Agitated in Europe/UK and Dandy Boy Records in the USA. “La Fleur'' finds Stoltz once again playing nearly all of the instruments on the album- though a new friendship with pop guru Jason Falkner has led to Falkner appearing on two songs, “Hide In A Song” and “Make Believer” respectively. There’s the requisite 60’s meets 80’s pop rock confections that Stoltz favors with a new focus on out front vocals and perhaps a bit shinier production. Pandemic era blues, politics and fatherhood are lyrical touchstones throughout. The album’s first single “Reni’s Car” is the jangle rock lead single based on an actual event of Kelley riding around Manchester in the Stone Roses drummer's car. The accompanying music video was shot (partially) on location. “About Time” marries Twin Peaks synths to Fleetwood Mac and Avalon era Roxy Music in a cautionary tale to Stoltz's young daughter. “Human Events” puts revolutionary prose to a Moody Blues strum that floats off into Osees territory …and do I hear a nod to Gershwin in there? During the 2010’s Kelley played live as a sideman with Rodriguez and Echo & the Bunnymen, as the 2020’s dawned he was invited to support Pavement on their big reunion tour. He’s also been heard playing drums live with Robyn Hitchcock as well as adding sitar to Hitchcock's last two albums. In 2022, Stoltz was championed with a live appearance on Marc Riley’s BBC6 show. As producer, he has recorded the new album by Brigid Dawson formerly of the Ohsees. In my ears, Stoltz rarely does any wrong, and these comparisons are only just that little fruit to get you curious- he is still one of a kind. An under the radar hero to a few, and still after all these great songs, deserving of more. Climb on the bandwagon - as ever it’s quite pleasing here. - GEORGE CLOUD San Francisco, CA 2024

San Francisco psych-pop legend announces new album, “La Fleur” out June 7th, 2024. Between outside musical projects, pushing past 50 years old and becoming a father for the first time, San Francisco psych-pop legend Kelley Stoltz has spent the past two years steadily writing and recording his 18th album, “La Fleur”. The dazzling 12 song collection will be released in June by Agitated in Europe/UK and Dandy Boy Records in the USA. “La Fleur'' finds Stoltz once again playing nearly all of the instruments on the album- though a new friendship with pop guru Jason Falkner has led to Falkner appearing on two songs, “Hide In A Song” and “Make Believer” respectively. There’s the requisite 60’s meets 80’s pop rock confections that Stoltz favors with a new focus on out front vocals and perhaps a bit shinier production. Pandemic era blues, politics and fatherhood are lyrical touchstones throughout. The album’s first single “Reni’s Car” is the jangle rock lead single based on an actual event of Kelley riding around Manchester in the Stone Roses drummer's car. The accompanying music video was shot (partially) on location. “About Time” marries Twin Peaks synths to Fleetwood Mac and Avalon era Roxy Music in a cautionary tale to Stoltz's young daughter. “Human Events” puts revolutionary prose to a Moody Blues strum that floats off into Osees territory …and do I hear a nod to Gershwin in there? During the 2010’s Kelley played live as a sideman with Rodriguez and Echo & the Bunnymen, as the 2020’s dawned he was invited to support Pavement on their big reunion tour. He’s also been heard playing drums live with Robyn Hitchcock as well as adding sitar to Hitchcock's last two albums. In 2022, Stoltz was championed with a live appearance on Marc Riley’s BBC6 show. As producer, he has recorded the new album by Brigid Dawson formerly of the Ohsees. In my ears, Stoltz rarely does any wrong, and these comparisons are only just that little fruit to get you curious- he is still one of a kind. An under the radar hero to a few, and still after all these great songs, deserving of more. Climb on the bandwagon - as ever it’s quite pleasing here. - GEORGE CLOUD San Francisco, CA 2024

A product of the not-so-underground, genre-bending melting pot that is Naarm (Melbourne, Australia). producer, composer and multi-instrumentalist Don Glori (AKA Gordon Li) prepares to unleash his forthcoming album ‘Don’t Forget To Have Fun’ via DeepMatter Records.

Following the release of his much-heralded 2022 LP ‘Welcome’, and a relocation to London, Don managed to tap into a potent creative current, by taking himself to a place of discomfort, and taking his creative back to basics for ‘Don’t Forget To Have Fun’. This invigorating approach helped distill the initial album sketches into a compelling and intoxicating listening experience across the record, creating a true work of art, traversing jazz, funk, soul, RnB, samba and beyond. Whilst the record itself is hard to describe, but even harder to forget.

Album opener ‘Pause’ pairs psychedelic influences with a cyclic loping groove and focuses on recognising a safe space that can act as a refuge. Taking inspiration from Steely Dan, Brian Bennett & Azymuth, ‘Emerald’ channels Jazz rock, 70's LA studio energy, with the faster funk sections featuring an unruly amount of mouth percussion, synth lead lines, and vocal melodies that weave in and around the tight horn arrangements. ‘All Seeds’ is a heady blend of samba and Brazilian street soul, with field recordings of Don’s old house in Melbourne providing additional seasoning. ‘First Touch’ is a downtempo 80’s boogie-infused gem, keeping proceedings nice and sleazy. The final three movements move through one fluid composition, charting the disorientating course of a fever dream, through beguiling astral travels, unexplainable occurrences, and transcendent moments.

A product of the not-so-underground, genre-bending melting pot that is Naarm (Melbourne, Australia). producer, composer and multi-instrumentalist Don Glori (AKA Gordon Li) prepares to unleash his forthcoming album ‘Don’t Forget To Have Fun’ via DeepMatter Records.

Following the release of his much-heralded 2022 LP ‘Welcome’, and a relocation to London, Don managed to tap into a potent creative current, by taking himself to a place of discomfort, and taking his creative back to basics for ‘Don’t Forget To Have Fun’. This invigorating approach helped distill the initial album sketches into a compelling and intoxicating listening experience across the record, creating a true work of art, traversing jazz, funk, soul, RnB, samba and beyond. Whilst the record itself is hard to describe, but even harder to forget.

Album opener ‘Pause’ pairs psychedelic influences with a cyclic loping groove and focuses on recognising a safe space that can act as a refuge. Taking inspiration from Steely Dan, Brian Bennett & Azymuth, ‘Emerald’ channels Jazz rock, 70's LA studio energy, with the faster funk sections featuring an unruly amount of mouth percussion, synth lead lines, and vocal melodies that weave in and around the tight horn arrangements. ‘All Seeds’ is a heady blend of samba and Brazilian street soul, with field recordings of Don’s old house in Melbourne providing additional seasoning. ‘First Touch’ is a downtempo 80’s boogie-infused gem, keeping proceedings nice and sleazy. The final three movements move through one fluid composition, charting the disorientating course of a fever dream, through beguiling astral travels, unexplainable occurrences, and transcendent moments.

As part of the series - Blockhead presents his new album, Luminous Rubble, where the artist dives deep into KPM’s iconic music and sound design library. Blockhead has released 15 albums over the past 15 years and is regarded as one of the modern masters of instrumental hip-hop. It’s a producer’s dream: Being given access to a vast library of material to construct something completely new and exciting out of all of it and when Blockhead’s at the controls, the results are a listener’s paradise, too. The New York City-based hip-hop production legend’s Luminous Rubble is the latest missive in a particularly busy period for the underground hip-hop veteran, who’s spent the last decades lending his considerable talents to work from artists like Armand Hammer, billy woods, Murs, and Open Mike Eagle; in 2021, he released the critically acclaimed collab LP Garbology with rap legend and longtime collaborator Aesop Rock, just last year he unleashed his twelfth solo album, The Aux. “For me, as a producer who uses samples, there’s nothing better than free rein. That was so exciting for me. Their vault is the one I’m most familiar with,” he says with a laugh. “Back when I used to go record shopping a lot, I would pretty much buy any KPM record on sight. They were always a huge find at record stores. So to be able to tap into these records with no limitations was really nice. Having no boundaries can be overwhelming when it comes to the creative process. Working with these samples forced me to find middle ground in cases where I’d typically just walk away and look elsewhere.” After hearing Luminous Rubble, you’ll be happy he stuck around.

On Pedro The Lion’s new album Santa Cruz, critically acclaimed musician David Bazan returns with a new chapter in his ambitious and ongoing recording project - 5 albums devoted to places he lived in throughout his life. Santa Cruz is Bazan’s third album in the series and follows up where 2022’s Havasu and 2019’s Phoenix left off. Tracks like "Modesto" and "Little Help" foreshadow Bazan's exposure and ultimate love of classic rock n' roll records, while songs like "It'll All Work Out" showcase his unique approach to synthesizers, something he introduced with the 2005 self-titled Headphones album. The stories on Santa Cruz highlight Bazan’s teenage years and solidifies what he sees as an exposition in a traditional three-act structure. After 25 years refining and building what he calls his “garden of songs,” David Bazan has sold hundreds of thousands of albums, performed in sold-out venues and living rooms around the globe, and played high-profile live sessions with the likes of NPR’s Tiny Desk, KEXP, WNYC’s Soundcheck, WXPN’s World Cafe and many others. His music has been featured in outlets such as The New York Times, Pitchfork, Rolling Stone, SPIN, Vox, Paste, Aquarium Drunkard and others.

Unavailable for over three decades, we are happy to reissue this garage rock's essential gem, originally released in the early days of Greg Shaw's Bomp! label. Bomp! Records of Burbank, California was likely the most significant American independent record label of the 1970s. It was the first in this country to recognize and actively support the punk rock and new wave revolution with its releases, at a time when both America's vast regional disparity and an extremely conservative record business had deemed this new, strange idiom anathema. In its first five years Bomp! the label wore its heart on its sleeve with a series of fascinating, unpredictable, and memorable 45 RPM releases. And the whole was brainstormed by Greg Shaw, likely the only maverick alive at that time who could have created and populated such a scenario. The winter 1976 issue of Who Put The Bomp (Greg Shaw's fanzine) had featured a detailed report on the Boston scene, with favorable mentions of two future Bomp! acts. Willie 'Loco' Alexander was a local legend, the storied former lead singer of the Lost, and his 1975 single 'Kerouac' (reissued on Bomp!) was a suitably eccentric, Dylan-ish ode to the beat maven. DMZ was a more predictable proposition, sporting obvious glam roots and an eccentric but dedicated rock & roll fan in lead singer, Jeff 'Mono Mann' Conolly. Wearing his heart on his sleeve, Conolly and crew went for a chaotic and intense hybrid of Dolls, Stooges and most of the Nuggets bands, so Bomp! the label was a natural choice. With killer cuts like 'Busy Man' and 'When I Get Off,' their Craig Leon-produced 1977 EP captured the DMZ zeitgeist considerably better than the album they would later record for Sire.

Die Loons aus Südkalifornien spielen seit mehr als 25 Jahren ihre ganz eigene Art von psychedelischem Garage- und Freakbeat. Mit ,Memories Have Faces" haben sie ihr bisher eindrucksvollstes Werk geschaffen, zusammen mit einer klasse Version von ,Cries from the Midnight Circus" von den Pretty Things. Gegründet in San Diego, haben The Loons fünf Alben und eine Reihe von Singles aufgenommen und veröffentlicht und sind in mehr Städten auf der ganzen Welt aufgetreten, als sie zählen können. Sie haben mit Ikonen der 60er Jahre wie Glenn Ross Campbell von The Misunderstood, Dick Taylor von The Pretty Things, Randy Holden von The Sons of Adam und Blue Cheer und Michael Stuart-Ware von Love zusammengearbeitet. Mike Stax, der auch die Zeitschrift Ugly Things herausgibt, ist der Leadsänger. Anja Stax spielt Bass und singt Backing Vocals. Marc Schroeder und Chris Marsteller spielen Gitarren, und Chris Cancelliere sitzt am Schlagzeug. Mike Stax war bereits ein Veteran in mehreren anderen Bands aus San Diego, darunter The Crawdaddys und The Tell-Tale Hearts, als er 1997 die Loons gründete. Ebbot Lundberg von The Soundtrack of Our Lives produzierte das Debütalbum der Gruppe, ,Love's Dead Leaves", das 1998 bei Get Hip Records erschien. "A perfect pairing of Love-influenced garage-psych and British underground in the mould of the Pretty Things played with preternatural style and ability." - Shindig Magazine "Fantastically talented - as a group and individually, they've worked so hard at their passion _ It has been one of the highlights of my life to have been involved with them." - Glenn Ross Campbell, the Misunderstood

Limitierte farbige Splatter Vinyl-LP! Die Loons aus Südkalifornien spielen seit mehr als 25 Jahren ihre ganz eigene Art von psychedelischem Garage- und Freakbeat. Mit ,Memories Have Faces" haben sie ihr bisher eindrucksvollstes Werk geschaffen, zusammen mit einer klasse Version von ,Cries from the Midnight Circus" von den Pretty Things. Gegründet in San Diego, haben The Loons fünf Alben und eine Reihe von Singles aufgenommen und veröffentlicht und sind in mehr Städten auf der ganzen Welt aufgetreten, als sie zählen können. Sie haben mit Ikonen der 60er Jahre wie Glenn Ross Campbell von The Misunderstood, Dick Taylor von The Pretty Things, Randy Holden von The Sons of Adam und Blue Cheer und Michael Stuart-Ware von Love zusammengearbeitet. Mike Stax, der auch die Zeitschrift Ugly Things herausgibt, ist der Leadsänger. Anja Stax spielt Bass und singt Backing Vocals. Marc Schroeder und Chris Marsteller spielen Gitarren, und Chris Cancelliere sitzt am Schlagzeug. Mike Stax war bereits ein Veteran in mehreren anderen Bands aus San Diego, darunter The Crawdaddys und The Tell-Tale Hearts, als er 1997 die Loons gründete. Ebbot Lundberg von The Soundtrack of Our Lives produzierte das Debütalbum der Gruppe, ,Love's Dead Leaves", das 1998 bei Get Hip Records erschien. "A perfect pairing of Love-influenced garage-psych and British underground in the mould of the Pretty Things played with preternatural style and ability." - Shindig Magazine "Fantastically talented - as a group and individually, they've worked so hard at their passion _ It has been one of the highlights of my life to have been involved with them." - Glenn Ross Campbell, the Misunderstood

Der visionäre südafrikanische Pianist, Komponist, Philosoph und Heiler Nduduzo Makhathini legt mit „uNomkhubulwane“ seinen elftes Studioalbum und insgesamt drittes auf Blue Note Records vor (nach „Modes of Communication: Letters From The Underworlds“ von 2020 und „In The Spirit Of Ntu“ von 2022).

Das tiefgründige Werk, das eine Hommage an die Zulu-Göttin uNomkhubulwane darstellt und die tragische Geschichte der Unterdrückung Afrikas erforscht, besteht aus drei Sätzen und präsentiert Makhathini in Triobesetzung mit Zwelakhe-Duma Bell le Pere am Bass und Francisco Mela am Schlagzeug.

After a decade-long hiatus, Blake Baxter (Underground Resistance, Tresor) and Marc Romboy (Systematic, Kompakt) have reunited to release their latest track, "Muzik is Love." More than just a song, it represents a philosophy, a mindset, and a tribute to authentic techno music.
The duo previously collaborated on the hit "Freakin'" two decades ago, a track that continues to electrify dance floors. They followed up with several iconic tunes, including "Muzik," "Where Would You Be?" and "House Ya."
This new 12-inch record features special locked grooves on the B-side, catering specifically to vinyl enthusiasts.
With two records, DJs and music lovers can creatively rearrange the track, blending the locked grooves with individual stems from the original to form a unique mix.
Dive into a new realm of vinyl mixing with this innovative release and experience the evolution of techno firsthand

It’s time to embark on the next chapter of extra-terrestrial worldbuilding - the second instalment of Seismic Records is here. Stepping in is sonic explorer Pyramid of Knowledge a.k.a. K.O.P 32. Based in Seoul but born and raised in France, the Beyond The Bridge label head is blending his Tekno roots with an introspective approach to music, carving out a trademark sound led by pensive rhythms and psychedelic atmospheres. With fierce precision and spellbinding force - you’re invited to explore the unknown depths of your psyche as you enter the state of ‘Fusion’. In all its ominous grace, the journey takes off with ‘CFU’. A kaleidoscope-esque acid ritual is guided by subtle yet uptempo kicks, lifting us into the first phase of the cleansing. Followed by ‘Xer’, where an ancient chant introduces the next dimension of consciousness-expansion. The progression of energy tells us that the higher powers have bigger plans for us - a phase that is entered on the B-side. ‘TV’ surges in tempo and raises blood pressure with an annihilating paradox of the calm and the chaotic. For those who managed to withstand all phases of the occult test, reconciliation is near as ‘Yrots’ strikes down with a mind-warping drum workout for the body and soul. Enter the heart of a psychedelic odyssey and swirl into the labyrinthine pathways of your ego as you enter the Fusion by K.O.P. 32.

Multi-talented US punk, Jeff Rosenstock releases fourth album on Specialist Subject Records (UK /EU) & Polyvinyl (Worldwide)! NO DREAM comes at a time of unparalleled chaos and confusion, division and despair, the depths of which would have been impossible to predict when much of it was being written over the course of the last few years. And yet the record feels prescient, unexpectedly and uniquely suited for this moment. Newly settled in Los Angeles after a lifetime on the East Coast (namely Brooklyn by way of Long Island), Rosenstock recorded NO DREAM with Jack Shirley (Deafheaven, Hard Girls, Joyce Manor) at Oakland's Atomic Garden, and even took on mixing duties alongside Shirley for the first time. Opting to stay off the computer "even more than usual" and record to tape with outboard gear, the result is a lived-in sound that gives each song its own individual voice and organic energy. After building a cult following with the acerbic ska-punk of the Arrogant Sons of Bitches and DIY heroics of Bomb the Music Industry!, Rosenstock's first proper solo record, 2015's We Cool?, was a step into uncharted territory, fully untethered from genre and expectation. Followed by 2016's WORRY. and the surprise New Year's Day launch of POST- in the early hours of 2018, Rosenstock was facing down that least punk of opportunities: a career playing music. Having taken some time away from his work as a solo artist to recalibrate and reset over the last year, Rosenstock stayed busy playing alongside Mikey Erg, recording and touring with the Bruce Lee Band, releasing a Neil Young covers record with frequent collaborator Laura Stevenson, reissuing two of his own out-of-print early albums, compiling a live album which was recorded during a run of four sold-out shows at Bowery Ballroom, making a 76 page photo book, and scoring over 80 episodes of the Cartoon Network series Craig of the Creek. In fully returning to his own voice, it's no surprise that Rosenstock's output has never been more eclectic, reflected across NO DREAM's 13 songs.

Indie Exclusive Limited Turquoise col vinyl, these were only available on the European tour, we have a final box of 50 which got held up in customs so offering now as an Indie exclusive. Northern California’s punk rock cult favourites, Tsunami Bomb, has risen from the grave and reformed with their third full-length release, The Spine That Binds, and with it they have proven that this chapter of Tsunami Bomb not only embraces their signature style of aggressive pop punk supplemented by a touch of darkness but have taken it even further. Honing their skills of melody while being more in-your-face and more aggressive than ever, they conjure a dark journey of discovery with each track. Originally formed in 1998, and disbanding after many member changes in 2005, Tsunami Bomb reformed at the end of 2015. This new release finds the quintet brought to life with the return of founders Dominic Davi (bass / backing vocals), Oobliette Sparks (keyboards / co-lead vocals), and Gabriel Lindeman (drums). Joined by Kate Jacobi (lead vocals) and Andrew Pohl (guitars/backing vocals), they combine their skills to create a sound that effortlessly mixes dark musings on the search to find one’s place in an increasingly uncaring world, into unforgettable anthems, calling on one to get up and sing-a -long. The Spine That Binds is not asking for your acceptance, it demands it. This album will scratch the itch of all the diehard fans looking for that familiar Tsunami Bomb sound, but also show a new, angrier and brutally honest side of the band. With the support of Jello Biafra’s legendary punk rock label, Alternative Tentacles Records, Tsunami Bomb has not only heard the call, they are ready for the newest chapter to unfold and they are taking everything with them

For Fans Of: Naked Raygun, The Brokedowns, Fugazi, Pegboy, The Methadones, Dillinger Four, Lookout Records. Brand new music from Sludgeworth?! We're as surprised as you are. When we reissued their LP in 2022, they promised us they would not be playing live as they were disbanded... then they changed their minds (yay!) and their comeback show sold out in six minutes. Six minutes! They went from R.I.P. to BTS. Then the folks at Riot Fest offered Sludgeworth a slot on the big outdoor stage, and it was a happy ending for the old friends... except it wasn't the end. Singer Dan told us the band had no plans for new material, but they were jamming at rehearsal, and as Dan explained to us, "It just happened organically. It felt natural, and the songs felt good." And these are those songs. Sludgeworth is a special band from a special time in Chicago punk, and it's rare to witness an authentic comeback, but the "Together Not Together" 7” is a second chance for us to appreciate their renewed greatness

First time released on Vinyl. Unheard since 2007. Artwork by Maliq Griffin aka DJ Porno (Tame’s long-time collaborator and friend.)
An unreleased Stretch Armstrong HOT 97 freestyle ft. Redman and Rah Digga. Remastered production by Shape, Mishap, and others.
We’re honoured to reissue an album by a truly unique voice in hip hop and dearly missed friend, Tame One. The year is 2007, Fresh off collaborations with the likes of El-P, Cage, and The Weathermen, Tame One - one half of the Newark duo The Artifacts, was approached by a Montclair skateboard shop Division East, as he personified their East Coast new school culture of skating, graffiti, and MCing. This relationship gave way to Division East Records and their first full length release entitled "The Grudge." Despite its merits and the efforts of those involved, the album went largely unheard outside of NJ hip-hop circles. Call it a casualty of the post-CD/pre-streaming musical landscape of the early 00’s. Now, 17 years later and almost 2 years after his heartbreaking transition, issued for the time on purple vinyl, Tame One’s The Grudge

Judy’s mainstream recording career with a unique selection of performances include classic and collectable recordings from movies, records, radio, concerts and TV.

Exit Plan" ist das 6. Studioalbum von Withering Surface nach dem Erfolg des 2020er-Comeback-Albums "Meet You Maker". Der Prozess des "Exit Plan"-Albums war lang und herausfordernd mit verschiedenen Aufnahmesessions, Besetzungswechseln, Produzenten und obendrein all den Hindernissen mit Covid und Post-Covid. Die Tatsache, dass die Engagements der Band bei Copenhell und verschiedenen anderen Festivals im Jahr 2020 um zwei Jahre auf 2022 verschoben wurden, hätte Withering Surface, die nach 15 Jahren im Dornröschenschlaf ein Comeback feierten, leicht das Leben kosten können. Stattdessen wurden alle Anstrengungen in die Entwicklung von "Exit Plan" gesteckt. Ein Album, auf dem sowohl das Songwriting als auch das lyrische Konzept der Band stärker denn je erscheinen. Hinzu kommt die Produktion von Soren Andersen (Medley Studio), der
in Rock- und Hardrockkreisen vor allem durch seine Arbeit mit Künstlern wie Thundermother, Tygers Of Pan Tang und Glenn Hughes bekannt ist.

Soren Andersen war nicht die offensichtliche Wahl als Produzent für eine Melodic-Death-Metal-Band, aber am Ende war er die perfekte Ergänzung für Withering Surface anno 2024 und lieferte einen gewaltigen Over-the-Top-Sound. Das lyrische Konzept: "Exit Plan" handelt davon, Grenzen und Normen, die einem gesetzt wurden, zu durchbrechen. Einen mentalen Schlussstrich ziehen und neu anfangen. Völlige Klarheit darüber zu bekommen, wo man ist und hingeht und enden will = "Exit Plan". Songtitel wie "Where
Dreamers Die", "Mindreader", "You Hurt This Child" und "I Finally Lost (All Faith In Humanity)" haben alle eine lyrische Grundlage in der oben genannten Lebenseinstellung, Sex, Scham, Religion und einem schwindenden Menschenbild.

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repressed !


'Mercury Rising' is the third studio album to be released by Rae & Christian. The duo weave together exceptional musicianship paired with a British song writing sensibility and the finest elements of studio production. 'Mercury Rising' was created at producer/musician Steve Christian's studio in Yorkshire with additional recording at songwriter/vocalist/DJ Mark Rae's London base. In London a song writing bond was formed with Ed Harcourt and Gita Langley who make excellent contributions with vocals, songs, strings and keys. Sam Genders of Diagrams threads a story of redemption lost on the Ubahn on '1975', Kate Rogers is on imperious form and rising star Jake Emlyn unravels a whole new level of microphone skills on 'Favourite Game'.
The international guests include the one-and-only Jazzy Jeff and Australia's Agent 86 dealing out world class scratch treatments on 'Check The Technique' (Tony D's vocals taken from a session recorded at the birth of Grand Central Records), Brooklyn rapper Masta Ace and Mark Foster of Foster The People, a collaboration born from Mark's L.A. excursion.

'Mercury Rising' is the first new material in many years from R&C. Their 1998 Mercury Music Prize nominated debut 'Northern Sulphuric Soul' ("Vitally fresh and timelessly classic...deserving a place alongside Massive Attack's Blue Lines' Uncut) and 2002's 'Sleepwalking' ("Another triumph, brimming with soulful, languid grooves, deft samples and well-chosen guest singers' Q Magazine) were both released on their Grand Central Records label (Aim, Riton, Boca 45, Only Child), a defining imprint of the late 90s soul/funk/hip-hop/beats scene. Guest vocalists over the two albums included Bobby Womack, Texas, The Congos, The Pharcyde, The Jungle Brothes and Jeru The Damaja.

Veteran electrohead and former artist on the Rephlex Records roseter DMX Krew's Ed DMX takes the well-known story by Jorge Luis Borges of The Library of Babel, said to contain all the different languages of the earth. Some deep philosophical thought has gone into the album's concept, but we'll leave that to Ed to explain. Instead, we'll tell you that from beginning to end there's plenty of the kind of trademark 80s synth playfulness in evidence, with a generally more mellow and soundtrack-related rather than frenetic and dancefloor-filling vibe in evidence, even on faster tracks like 'The Combed Thunderclap'. Still, Ed knows what he's doing when it comes to this kind of leftfield electro gear, and it's a rewarding, never boring listen.

One of the praised DJ Promo first record, out in 1999 by BZRK Records.
The RAW kick banger !

Tangential Music is pleased to present the new album from veteran Spanish DJ and producer, Dj Toner (aka Antonio Herrera). Alongside his co-writer/arranger Daniel Molina and with guests that include the legendary Blue Note Records innovator Erik Truffaz and Grammy winning flautist and saxophonist Jorge Pardo, he has created a 10 track collection of slow-burning instrumentals that straddle the worlds of hip hop, jazz and electronica.

With a personal, precision tooled approach to his craft, the Andalusian has offered up an album of finely modelled downbeat moods.

At first glance, ‘Out Side’ is made up of recognisably superior hip hop instrumentals but if you listen carefully, and with patience, one can hear a craftsman at work. A wooden box is just a box until you look closer. The hidden joints, the perfect lining up of the grain, the years of artisanal graft and laser-focussed attention to detail that go into making something that has nothing present, that doesn’t deserve to be there. This is how Dj Toner operates.

The two singles that preempt the album’s release reveal different sides of his craft. ‘Camina’ struts with tough intentions. Soundtrack-y in an exploitation police drama manner, the get-out-of-my-way drum break and tension-filled chords suggest the bad cop, Erik Truffaz’s piercing lyrical trumpet lines, the good. The Afro-jazz horns led second release ‘Surprise’ is an altogether more playful, sunbaked affair. Sensual and slow-burning, there’s still an edge but it’s too hot to quarrel.

Dj Toner’s minimalist attitude to creation is shared with his co-composer Molina - an individual’s contribution may be cut to the bone, leaving just its aura or tone. The echo of a piano, a single blast of tuneful wind from a flute, a perfectly positioned drum hit.

Since the Wu-Tang Clan’s RZA began applying his beatmaking prowess to movie soundtracks, the hip hop instrumental has been acknowledged as something to listen to, as much as being used as a DJ tool or backing for an MC. Dj Toner’s instrumentals can, therefore, be seen as soundtracks. Soundtracks to his life and craft, vignettes of his environment in both the urban sprawl and the wider and slower spaces of “el campo”.

The sweet-tempered jazz-blues of ‘La Rimosa’ is a gentle welcome to the album. A simple, laid back groove with the most romantic of piano hooks that one could imagine Common dropping rhymes on. You’re kept on your toes with the odd purposeful moment of discordant interruption but the tender heart of the composition is never far away.

‘O’Beat’ hints at John Coltrane with the sparse but full-sounding upright bass before a head-snap break leads into a curious piano groove, a vintage organ swirls into a psychedelic fractal, whilst the bluesy female vocal snippets add the spice, that zing in the Granadan gazpacho.

The flamenco guitar driven ‘Flama’ is an excellent example of intricate sample placement and musicality. Old school (school yard) scratch interludes, sweet piano hooks, a minimalist but knife sharp flute contribution from Jorge Pardo, and the crunchiest of drums taking us for an intriguing walk round the corner.

We’ve mentioned them before but it’s on ‘Sweetband’ that we can feel that Wu-Tang dread hanging off its shoulders. A brooding orchestral number with powerful horns and a cavernous piano hit. The title of the piece is in stark contrast to the dark shadows of the tune.

Erik Truffaz returns in fine form on the super lethargic jazz-funk-hop of ‘The Day’. His instantly identifiable muted trumpet sound paints dazzling colours over the more earthy tones of the filtered down keys as a rubbery upright bass keeps the forward momentum. Dj Toner’s ‘Blessed Are The Weird People’ album, was rated in Jazz Magazine as one of the 20 jazz albums of 2021, so he isn’t some dilettante when it comes to playing with the complex hues of jazz but he does like to strip it to its bare essentials.

‘Fanega’ sees a gorgeous flute contribution from Jorge Pardo. An eerie boom-bap groove with sprinkles of electronic pulses and washed out chords is the canvas on which the award-winning multi-instrumentalist evokes the heat shimmer of the savannah.


‘Esperanza’ translates as ‘hope’ in English and this lovely slow, swinging jazzy groove really does provoke feelings of positivity and belief. Sublime vibraphone and another stunning trumpet offering from Erik Truffaz, take us on a journey of warm days and possibilities, the shuffling drums and sweet chord patterns are nicely finished off by a tranquil horn chorus towards its unhurried end.

‘Under Beat’ ends on a beefy boom-bap groove with a liquid funk bassline, elegant synth strings and old school scratching. Again, there’s that undisputable soundtrack edge, action and motion, the smell of the city.

There you have it, 10 tracks that go beyond the surface, deep into the dedicated craft of Dj Toner. Decades of experience and collaboration purified and refined into beat-heavy emotions, listen closely or crank it up, it’s down to you!

Eclectic Beats Music release number 6 comes in the form of a vinyl 7” single with two Latin broken beat cuts!
The A side is a collaborative remix from Born74 and Fradinho, twisting Jorge Ivan Martin’s original track “Yo Tambien Baile La Conga” into a broken beat remix, enhancing the Latin flavours with a dance floor direction, topped up with Frank Santiuste’s trumpet solos.
On the B side, Fradinho digs out one of his earlier unreleased Latin tracks and gives it a broken beat flavour, with a Funk fusion through the bass line and synth solos and brass hits.

Jorge Ivan Martin bio

Cuban musician, composer, arranger and music teacher, Jorge Ivan Martin, spent 13 years teaching Tres in Cuba.
He is now based in Spain and still lectures at some universities in Madrid.
As a musician, Jorge blends Bossa, Reggae, traditional Cuban music with Jazz and Funk and is a Latin Grammy nominated artist with several other nominations and awards.
He has collaborated with a plentitude of Latin artists and also invited the trumpet player Frank Santiuste to add some flare to the Born74 and Fradinho remix on the “Latin Broken Beats” release.

Born74 bio

Andrew Nicholas, known as Born74, delves into the fusion of funk and Nu Jazz.
His music has been released on various labels such as Tru-Thoughts, Acid Jazz, Eclectic Beats Music, Ramrock Records, and Colin Colin presents.
Born74 has collaborated with Arema Arega (Havana Cultura), ONJ (jazz re-freshed, Tru-Thoughts), and Mark Norton (The Fantastics, BBE Records).
Additionally, Born74 is a member of The Earthsouls.
Noteworthy remix credits include Str4ta (Gilles Peterson), Nimbus Sextet (Acid Jazz), and Fradinho (Eclectic Beats).
Born74's tracks have been featured on jazz compilations like Jazz Dance Fusion (Z Records) and Sol Vibrations (MJDC).

Fradinho bio

Fradinho (Rui Fradinho) is Lisbon born Portuguese, having lived in London for 12 years and returning to Portugal in 2020.
Rui's musical base stems from a diverse range of music: rock to pop, house to techno, through jazz, soul, funk, world music, hip hop, drum and bass and from breakbeat to his main passion and current music production focus, broken beat / bruk / nu jazz.
Rui runs his own record label, Eclectic Beats Music, with 6 vinyl releases, and has released remixes for artists like Sentinel793 (Universal Magnetic), Deborah Jordan (Futuristica Music), Str4ta (Colin Curtis Presents), David Borsu (Broadcite) amongst other artists and labels.
Highlights of his DJ career so far (other than his 6-year residency at Sociedade Anonima), are the Bicaense Cafe and Lux club in Lisbon. Earlier in 2017, he did a stint on London’s Back2BackFM, playing at Dalston’s Club Makossa, the BBE Store in East London, closing the Chill Out Gardens stage in Portugal’s Boom Festival 2018, DJ’ed at Gilles Peterson’s first edition of We Out Here festival in 2019, played Lisb-On festival in 2022 and currently guests at Birmingham’s BrukUp broken beat night (having played there 5 times with Adam Rock, Laura Crossley, Bruk Boogie Kru, Marcia Carr & Kwai and Yoofee).

repressed !

Gorillaz started the year with Episode 1 - ‘Momentary Bliss ft. slowthai and Slaves’ - of Song Machine, a whole new concept from one of the most innovative bands around. Now, six episodes in, Noodle, 2D, Murdoc and Russel have visited Morocco and Paris, London and Lake Como, as well as travelling all the way to the moon, and Gorillaz is ready to bring you the full collection titled Song Machine: Season One - Strange Timez, out on 23rd October 2020.

Song Machine is the ongoing and ever-evolving process which has seen Gorillaz joined by an expanding roster of collaborators captured live in Kong Studios and beyond. The result is an expansive collection of tracks embracing a myriad of sounds, styles, genres and attitudes from a breath-taking line-up of guest artists including Beck, Elton John, Fatoumata Diawara, Georgia, Kano, Leee John, Octavian, Peter Hook, Robert Smith, Roxani Arias, ScHoolboy Q, Slaves, Slowthai, St Vincent and 6LACK.
To date the project has seen over 100million streams on all tracks already and the band’s biggest period of sustained growth across both listenership and fanbase growth. All this before the album has even been announced!

Virtual band Gorillaz is singer 2D, bassist Murdoc Niccals, guitarist Noodle and drummer Russel Hobbs. Created by Damon Albarn and Jamie Hewlett, their acclaimed eponymous debut album was released in 2001. The BRIT and Grammy Award winning band’s subsequent albums are Demon Days (2005), Plastic Beach (2010), The Fall (2011), Humanz (2017) and The Now Now (2018). A truly global phenomenon, Gorillaz have achieved success in entirely ground-breaking ways, touring the world from San Diego to Syria, winning numerous awards including the coveted Jim Henson Creativity Honor.

The band are recognised by The Guinness Book Of World Records as the planet’s Most Successful Virtual Act.












j 10. Désolé (feat. Fatoumata Diawara) Extended Version

Today, artist, producer, DJ and cultural trailblazer Peggy Gou announces details of her long-awaited debut album One of the most hotly-anticipated debut records in recent years, I Hear You will be released on 7th June 2024 via XL Recordings. The ten track album is the culmination of years of work for the Korean-born artist, who’s uniquely revered as both an underground icon and global sensation, sticking by her own unwavering vision to become one of the most in-demand electronic music artists and DJs in the world. Featuring previous singles, the 2023 chart-topping global hit “(It Goes Like) Nanana” and her Lenny Kravitz collaboration “I Believe in Love Again”, the LP sees Gou stepping into the next level of her artistry and boldly claiming her voice through the kaleidoscopic lens of ‘90s house music

Dave Angel’s 'Revolt' EP on Rekids Special Projects is an emotionally steamy and intense offering with jolting drums and outspoken words. The title track, ‘Revolt’, brings subtle funk while the synths are imbued with plenty of Detroit-inspired soul designed to light up any dancefloor. Angel’s 'May I Have This Dance' shows a different side, with zippy lead synths amplifying the vibes as hunched, dubbed-out rhythms march down low and keep you locked into the groove.

Following up his 2023 ‘Glide’ EP on Radio Slave’s Rekids, Dave Angel now makes his debut on its RSPX sister label with the ‘Revolt’ EP. From remixes for the likes of Carl Cox, Orbital and Underworld to underground classics on labels like R&S, K7!, and his own Rotation Records, Dave Angel’s ever-evolving sound has made him a core part of the scene for over three decades. With ‘Revolt’, Dave once again shows his uncontested production skills with an infectious double A-side record oozing character.

Wewantsounds is delighted to reissue Harold Land's 1971 Mainstream Records LP 'Choma (Burn),' recorded in Los Angeles with Bobby Hutcherson and featuring Reggie Johnson on bass, Ndugu and Woody Theus on drums, Bill Henderson & Harold Land Jr. on piano/Fender Rhodes. Together the musicians create a superb spiritual mix of funky and modal Jazz that was the trademark of the Harold Land-Bobby Hutcherson quintet between 1968 and 72. Choma (Burn) is reissued here in its original gatefold artwork with all the photos scanned from first generation negatives recently found in the Mainstream Records vaults, and comes with newly remastered audio and a 2-page insert including new liner notes by Kevin Le Gendre

If you can judge an artist's quality by the company they keep, then FaltyDL is up there with the best of them. The label history of the producer known to his friends as Drew Lustman reads like a "who's who" of 21st century electronic music imprints - Ninja Tune, Unknown to the Unknown, Planet Mu, Studio Barnhus, the list goes on.

WithIn the Wake of Wolves, we can now add Central Processing Unit to this illustrious roster. The Sheffield label joins the party at a notable juncture - while FaltyDL has kept up an impressive clip of releases throughout his career,In the Wake of Wolvesis both the NYC-based producer's first LP for two years and his first full-length release away from his own Blueberry Records for almost a decade.

In the Wake of Wolvesproves to be both a great match for CPU and also further evidence of the label's burgeoning sonic palette. While CPU has built its reputation on top quality electro joints, recent releases have delivered adventurous electronica experiments (Proswell'sPeople Are Giving And Receiving Thanks At Incredible Speeds), hard-wired breakbeat techno (Baby T'sI Against I) and golden-age synth explorations (twenty-fifth anniversary reissues of Bochum Welt'sDesktop RoboticsandFeelings on a Screen, both of which first emerged via the legendary Rephlex Records).In the Wake of Wolvestakes things further still - this is a brilliantly genre-voracious record, one which marries the rhythmic cut-and-thrust that we have long known FaltyDL for with all manner of adventurous stylistic choices.

Those familiar with the FaltyDL experience will recognise the trademark blend of synthetic grit and harmonious softness in album opener 'I Need You'. This could pass for Four Tet or even Hannah Diamond at points, the steady build of pulsing synths and looped vocals recalling a more mysterious version of the PC Music sound. 'I Need You' stands shoulder-to-shoulder with any of FaltyDL's other great atmospheric album openers - no small feat given the competition. 'Further', the following number, is yin to 'I Need You's yang. This is a pulsating track which gleefully skitters between machine-funk, tubing darkside bass and breakcore-adjacent drum programming, all of which is peppered with some genuinely beautiful work in the higher synths.

'Further' sets the scene for several of the more club-facing cuts here. 'Minds Protection' similarly features all manner of strange percussive sounds to surprise the ear, and it also boasts a thrilling mid-section in which the bottom falls out the track to incorporate a short snippet of blown-out junglism. With its tunnelling low-end and clattering drums, 'Full Spectrum' kicks off a delightful run of grime-influenced joints which take cues from Mr. Mitch, Logos and many of those other producers who took the Eski sound to exciting new places in the 2010s. 'Forget Me Not', the album's longest track which is placed three spots from the end, feels like the record's climactic point - a pitter-patter post-house joint that has a hint of Caribou in its DNA, it'll take the clubs by storm.

But as much as FaltyDL may consistently bring the heat in terms of the beat programming, the thing which has long marked Lustman out as a special talent is the musicality of his compositions. No matter how much drums clatter or bass bangs, FaltyDL always hooks the ear back in with a sonorous synth or pleasing nugget of melody. Nowhere is this more apparent than onIn the Wake of Wolves' more weightless numbers, each startling in their prettiness. 'Half Spectrum' is a new-era beat track packed full of ear candy; the keening keys of 'GasGas' are potent with feeling; and on the album's closer, the evocatively-titled 'Mila Stans In A Meadow For The First Time Eating Strawberries', we get a gorgeous synth vignette that joins the dots between the modern mastery of Yung Sherman and the most emotionally affecting moments of Aphex's Twin's catalogue.

At once wistful and hopeful, archival and futuristic, FaltyDL's brilliantly unpredictableIn the Wake of Wolvesis a feather in the cap for both this seasoned producer and the Central Processing Unit label.

RIYL: AFX, Bochum Welt, Mark Fell, Mrs Jynx, Boards of Canada

Favorite Recordings proudly presents this new official single reissue of “Feel So Good Inside”, by Lamar Thomas. A killer deep-disco and very rare collectable single, fully coordinated for reissue by French respected DJ and Tropical rare-groove specialist, Waxist Selecta.

Lamar Thomas is an American singer, composer and producer who made a short solo career in the 70s, and then formed the duo Thomas & Taylor. He has also penned few songs for Johnny Bristol, Garland Green, Nancy Wilson, Maynard Ferguson, or Johnnie Taylor among others.

In 1980, he recorded this 2 tracks single for MCA Records, who released it on a 7inch left almost unnoticed at that time. 30 years later, this brilliant disco production has become a classic rare-groove title for a few DJs and diggers, with among them, French collector and DJ, Waxist Selecta (aKa Julien Minarro).

Schooled about this rarity by DJ Klas (aKa Josh Goldman), he then made it a real favorite in his various DJ sets. Curious to learn more about this forgotten piece, he also liaised with Lamar through the web, and discovered that all the masters had burned in a California fire at Universal.

As Julien already worked on an upcoming reissue project with Pascal Rioux and Favorite Recordings (more details in 2015), he offered him and Lamar to arrange a proper official reissue and produce a new master from his own vinyl copy. Coming out in a 12inch version built for dancefloors, the package also includes a great extended mix by Waxist.

"It seemed that if I didn’t somehow repeat the process of greatness, and do so immediately, multiple times away to satisfy playlist and binge watch culture, then I “wasn’t shit”. After a while I was like “nah this doesn’t feel good,… I don’t know if I am finding joy in this”. I would record songs and not release them, obsess over sessions recorded in my home with 30 takes of vocals and wake up only to delete them. When it began to feel right I found solace in an epiphany that I was not obligated to operate at any other wavelength. I am moving on a different type of time, and that doesn’t expire." -Cavalier

For heads of a certain time period of NYC hip-hop, Brooklyn born, New Orleans-based rapper and songwriter, Cavalier was the one that got away. The outrageously talented artist whose name and reputation preceded him everywhere you went in the scene. The rapper who everyone knew was so dope that he had to blow, but who never seemed concerned with any of that. The pretty boy draped in Polo who stole every live show with a feather in his hair and a mouth full of gold fronts. The cat so dedicated to his own independence that even indie labels stopped trying to sign him and projects came when they came, but when they came they were undeniable.


Cavalier was THAT guy for a lot of us; a silver-tongued philosopher with an eye for the poignant details of black life and a delivery as effortless as a young Ken Griffey’s swing. All that said, it never really felt like Cav had that moment in the spotlight that we always assumed was coming. After chiseling away through headier cult corners of the NYC hip-hop scene Cavalier was recognized for his memorable co-pilot to Quelle Chris’ 2013 Mello Music debut, Niggas Is Men. The critically acclaimed LP helped propel Quelle Chris into the forefront of indie hip-hop (and also happened to be the first production credits for Messiah Muzik). Cav followed up with his first full length, Chief, which sports a notable Raekwon feature but also early work from producers like Ohbliv and Tall Black Guy. A relocation to New Orleans and partnership with producer/vocalist Iman Omari yielded two more projects: 2015’s Lemonade EP and Private Stock in 2018. Great records all; eagerly sought by collectors and signal boosted by influential media like OkayPlayer, Solange’s Saint Heron, and Pitchfork. Cavalier’s bonafides have never been in question, but his new album Different Type Time feels like a revelation—a sonic suspension bridge between his rich history and the artform’s future.

Different Type Time doesn’t sound like the future though, its vibrations are somewhere all their own. It sounds like jazz, like a conversation overheard in roti shop, or a pool hall, or the foyer of your old building on a fall day, front door propped open with a brick. The blues is in there too, and the south—the American South, and theGlobal South, and South Brooklyn. It’s not that it sounds like the past, but you can hear everything that came before in the thick of the basslines and the yearning of the keys. Different Type Time also doesn’t sound like now, it sounds like RIGHT NOW; the bounce of the lyrics like the staccato of basketball in the park, carried on a spring breeze.

Although he doesn’t rap on DTT, Quelle Chris plays a pivotal role; producing eight songs and serving as associate producer/consigliere to Cav throughout the creative process. “There is no time wasted in explaining things when I collaborate with Quelle. He understands the universe I am in and the realities I want to create. He’s in them. And I don’t think I can envision one without him,” Cavalier explains. Messiah Muzik, Wino Willy, Ohbliv, Ahwlee, Child Actor, Fushou and several other producers round out the credits, all lending their talents to the album’s spaciously soulful sound. At the center of all these alchemies is Cavalier, nimbly dancing in and out of pockets like a sidewalk game of jumprope. Different Type Time is a masterclass in this thing we call hip-hop; daring and original, yet always standing deeply rooted in the culture.