Suche:c i a records

WWe are thrilled to welcome Thailand’s Pakarapol Anantakritayathorn aka DOTT for our 12th release on BLKMARKET MUSIC.

DOTT is an integral player in Bangkok’s expanding underground house and techno scene and is one of the three founders of "More Rice", an Asia-based, vinyl only label together with Sarayu and Mikhail, in which the direction is more towards obscurity. Their main vision is to support Asia's upcoming talents by creating great connections between them and other international artists around the world. This vision has led him to open up his brand new record shop More Rice Records in Bangkok.

DOTT’s Bang Waek Baseline EP brings 4 dance floor baseline grooves with an intoxicating analogue sound palette. We will let the music do the talking and let you take a trip into DOTT’s mind with this wicked release.

Toots Thielemans was a jazz harmonica virtuoso from Belgium. Together with guitarist Philip Catherine, pianist Joachim Kuhn and other session musicians, he recorded the 1974 album Toots Thielemans/Philip Catherine & Friends, which was later reissued as Two Generations. The album features some of his best known works such as “Bluesette” and “Inner Journey”, which were previously cd-only compositions.

Two Generations is part of the Timeless Records 45th Anniversary Jazz Series and is available as a limited edition of 750 individually numbered copies on white coloured vinyl. The sleeve features the artwork of the
1996 reissue.

Fresh from the red carpet, award-winning Matt Berry dusts off another of his many bows to bring us a stunning live album.

To be released on November 20th 2015 through Acid Jazz Records, this record, which sees Matt perform his greatest musical moments, lands on shelves the same month that Matt Berry returns to our screens in his BAFTA award-winning comedy series The Toast Of London, placing him once more at the forefront of the public eye.

This album is the perfect opportunity for fans to prepare themselves for the upcoming Matt Berry & The Maypoles tour in December.

Whether you're familiar with Matt's Live shows or want to understand what they are like, this album takes you there! From the excited audience chatter to the clarity of his pulsing KORG, each element resonates with perfect clarity. Berry and The Maypoles' musical prowess shines through their prog-folk excursions and trombone flairs which are reminiscent of an early Acid Jazz release, all with the a nod to Berry's surreal and panoramic world-view.

Available, on Limited Gatefold coloured vinyl, CD, Standard vinyl and digital download. This release offers a format suitable for every Matt Berry fan. It is the first Acid Jazz release to come with a digital download code.

First Live Album
Limited run of coloured vinyls
Each vinyl with download card
Released in the same month as Matt returns in Toast Of London on Channel 4.
A month before Matt Berry UK tour in December
Arrives in the midst of a heavy marketing and promotion campaign based around Matt's TV, and music and his authorial debut.

DJ Scriby - Izingoma zeGqomu / DJ MARIIO - ZULU MAN / DJ Skothan – Nevegation. Highlighting the continuing evolution of Durban's globally influential gqom sound, this special trilogy of releases showcases three separate artists from South Africa's fertile musical landscape. The set captures a fresh wave of gqom innovation from veteran producer DJ Skothan/DJ Scoturn, DJ Scriby, and 20-year-old DJ MaRiiO. DJ Skothan/DJ Scoturn has been a key figure in Durban's underground scene for many years, producing alongside Phelimuncasi, Bhejani, Tweeyking, Lafaristo, MaRiiO and DJ MP3. His gqom and house tracks have quietly provided a rumbling engine for the city's scene, and "Nevegation" is his debut full-length, providing a complex diagram of his dancefloor versatility. This isn't the gqom you might expect to hear: immediately on opener 'The Gringo' familiar sounds - shovel kicks, chopped vocals, sampled gasps, horror movie strings - are shuffled into atypical patterns, creating jerky soundscapes rather than the expected four-on-the-floor bump. 'Salut to DJ Lag' pays respect to Durban's Beyoncé-approved pioneer, but twists the template into a propulsive new form, adding rolling and evolving percussion that teases fractal shapes each bar. But the album's most unexpected and forward-thinking moment arrives with the aptly titled 'The King of Gqom', a track that simmers the genre's percussive sounds into limber sci-fi club futurism, tweaking the bass sounds into patterns that nod to dubstep, Jersey club and ballroom. 25-year-old DJ Scriby has been working behind the scenes since 2013, assisting the first wave of gqom innovators promote their sound both inside Durban and beyond. In 2017 he joined London's Trax Couture to release "The Clermont EP", and here he introduces his long-awaited follow-up "Izingoma zeGqomu". Scriby's approach to gqom is well-studied and self-aware, which gives him the ability to stretch the sound's scope across the diaspora: just peep the Atlanta trap synths on the dynamic 'Friday 13th', or the absorption of tight grime snares on opening track 'Goi'. Scriby's engineering skill pushes his productions to the next level, lending slithering downtempo tracks like 'Ouuu1' and 'Igqom Libuye' a widescreen, big-room punch without losing the genre's undulating funk. And the producer even eyes the EDM mainstage with 'Qumqum!!', balancing saccharine synths with jerky kicks, claps and rolling toms. The youngest artist featured in the collection, DJ MaRiiO started producing when he was just 12 years old, watching YouTube production videos. "No one told me how to use FL Studio," he admits, "and no one helped me doing different genres." This might be why his music sounds so completely unique; the basic structure of gqom is still present, but MaRiiO augments these elements with youthful energy and carefree use of unusual sounds and production methods. "Zulu Man" opener 'GQom NyeGe' manages to mash together trance synths, DMZ bass and a driving woodblock rhythm that reminds you of its Durban roots, while the bizarre 'Ngom ya Phesh', featuring MaRiiO's regular collaborator Hot Chicks on vocals, pushes the gqom template into the red, with overdriven kicks and disorienting environmental sounds. All three records provide a 360 degree view of Durban's contemporary underground, nodding to the past, present and future of gqom. It's a genre that's constantly in flux as it moves from South Africa's bedrooms and basements to main stages and movie screens across the globe.

The debut 7” vinyl from bloody/bath ‘Idle Hands’ is also the debut release by Kooky>Too, an offshoot of Kooky Records est 1996 (previous output including the acclaimed Durutti Column album ‘A Paean To Wilson’). This limited 7” is a peach – a gloomy neu wave banger for our gloomy fin de siècle death-spiralling age. And it’s increasingly relatable - previous bloody/bath digital single ‘Washed Out’ was championed by Lauren Laverne on 6 Music. Limited to 300 distro copies – black vinyl – 300gsm spined sleeve – reverse board printing. Sonically a bout of sleep paralysis, emotionally a midnight text from your favourite ex, bloody/bath are feverish, infectious and bewitching taking a post-punk passage that sounds distinctly their own. Catchy melodies dance throughout the tracks, disguising a heaviness, a desperation, drowning somewhere beneath the surface. Louder Than War describe the bloody/bath sound as “Stop-The-Clocks pop. Music to submerge yourself in. Wallow deep, then count your blessings”. Summoned initially by Northampton singer-songwriter Kailan Price, but now a fully fledged five-piece band, interest has been soaring following their incendiary live sets invited to play for Slow Dance at the Brixton Windmill, and other shows in London, Bristol and Bedford with Ritual Howls, Do Nothing and Minor Conflict. Bloody/bath have steadily created a large following on spotify with over 1.8 million streams and over 36,000 monthly listeners - particular streaming numbers in London, Berlin and across Eastern Europe - their sparse expanses, concrete homogeny and heavy atmospheres - perhaps testament to what bloody/bath are creating and why people are listening. Bruised and beaten down, a whole load of listeners can’t get enough of bloody/bath.

Some people choose the pages of a diary to spill their innermost feelings
and recount their trials and tribulations - Instead, Chayse Porter has a
palace - It's this metaphorical place where I can go to express myself and
feel safe, he explains
It's this place where you can get all your secrets out in the open and feel at home.
But rather than luxuriate in his regal mental abode, Porter's latest for Earth
Libraries takes listeners on a grand tour, revealing the nooks and crannies of his
heart and mind.Recording on vintage gear and working with producer Brad Timko
redoubles that sense of intimacy, imbuing every take with a bronzy finish. € I've
always really appreciated records that opt for analog, so this one is all just raw
performance, straight to tape, € Porter says. € It gives me time to sit with each
part of the composition, to live more within the song. €
As the album rolls ever forward to its conclusion, the rough edges of the pain and
suffering have softened, and Porter has come to a sense of hopefulness. "It was
very tumultuous to put this album together and express myself openly in this way,
but at the end of the album I'm reassuring myself that there's an opportunity for
growth both personally and interpersonally, having gone through this challenging
time and coming out the other side, € Porter says. At the end of the long and
fascinating tour of Chay's Palace, Porter makes the listener feel the warmth at its
core that he himself has found.
Tracks: Purpling Dawn / Jet Lag / Nobody Wants You (More Than Me) / Penny /
Heat Lamp / Theme from Chay's Palace / Palace Doors / Pacific Inn / Purpling
Dawn Pt. 2 / Blue Star / Yoshi

In celebration of the album's 20th anniversary, Yep Roc Records is
pleased to announce the limited edition release of Caitlin Cary's first fulllength album, While You Weren't Looking for the first time on vinyl
Produced by Chris Stamey and co-written by Cary and Mike Daly, the 2002 record
showcases Cary's powerful, soothing vocals and features Caitlin performing on
violin, creating a wistful and intimate acoustic feel. With only 1,000 copies
available worldwide, this limited edition LP includes the original tracks from While
You Weren't Looking plus 3 bonus tracks - "Trickle of Whiskey," "The Fair (Band
Version)," "Keys to the Fair." Pressed on Frosted Blue color vinyl.

A heady and adventurous experience with ever-shifting elements of jazz,
fuzz guitar, blues rock and psychedelia! Graffiti's origins can be traced
back to 1967 and the dissolution of The Hangmen, a popular Washington
DC area garage rock act well noted for the proto-punk stylings of their
singles € What A Girl Can't Do € and € Faces
€ Singer Tony Taylor, a late addition to the band's lineup, recruited guitarist
George Strunz to the group and soon announced the band would pursue a more
psychedelic direction. It didn't take long for Graffiti to attract label attention, and
by August of 1968 the band signed to ABC Records and released their debut
single, € He's Got The Knack. € In November of 1968 they released their one and
only album.
The juxtaposition between Graffiti's smooth vocal harmonies and their intricate
songwriting is stark. One moment the group is immersed in all of the feel-good
pop songwriting tropes of the era, oftentimes quite reminiscent of acts like The
Association and The Mamas & The Papas. Meanwhile, the next moment sees the
band vamping into extended passages, odd chord sequencing, and off beat time
signatures, highlighted by Strunz's frequent fuzz laced soloing and the energetic
drumming of Richie Blakin. The legacy of Graffiti's self-titled debut was seemingly
hampered by the fact that that it is often lumped in with the plethora of other oneand- done psych releases of the time, an era in which major labels were falling
over one another in an attempt to capitalize on the psychedelic sounds
popularized by the Summer of Love. This is unfortunate because Graffiti's
approach to songwriting and blending together of jazz, classical, and rock
elements are rather groundbreaking, precursors to the arrival of progressive rock -
proto-prog pioneers, if you will.

Our earliest exposures to music can often be the most formative
For Toronto- based songwriter and multi- instrumentalist Eliza Niemi, that
influence came from her Dad who taught her the basics of bass and guitar at
home. These childhood experiences of playing music together by ear fostered the
sense of playfulness that she's approached her craft with ever since. They also
instilled an ethic in her creative work that prioritizes making music with friends
and loved ones.Those honed guitar — and later piano, cello and vocal — skills
make Eliza an ideal collaborator: starting in Halifax's rich music scene with the
mid-2010s experimental pop groups New Love Underground and Mauno, and
later in her role supporting artists Le Ren, Quaker Parents and Evan J. Cartwright.
Through the rhythms of touring and the brilliant spark that's shared in musical
exchange, Eliza found and developed connections across Canada's DIY music
communities. These collaborative moments fuel her creative practice, whether
playing solo, in an ensemble or releasing others' music as the founder of her own
label, Vain Mina Records.Connection and collaboration lives in the intimacy of her
albums, starting with 2019's Vinegar, an understated set of songs for cello,
keyboard and voice that wander with a comforting grace. 2020's Glass furthered
Eliza's reputation for writing songs that are boundless and experimental without
ever being alienating. There's an open, inviting quality throughout the record,
apparent from the close-miked instruments, to her softly sung and affable lyrics
that unfold like a conversation with a good friend.Her latest album, Staying
Mellow Blows, furthers these ideas and aesthetics to a staggering degree,
retaining the candor, humor and emotional humility she's known for, while letting
the vast number of supporting musicians shape each song with their own
emotionally resonant performances. The result feels whimsical and inspired, and
is the sound of an artist flourishing
180g 12" Deluxe Lavender Vinyl

Sounding simultaneously from the past, the present, and the future, the debut album 'MLDE' by Marxist Love Disco Ensemble seeks to eradicate both the trite from disco and the sobriety from political music. Half poetic, half tongue-in-cheek, this stunning compact eight-track album is influenced by Eastern European and Mediterranean 70s disco records. In the words of band member Paolo, ''it was written in response to hearing 'I love America' by Patrick Juvet. The song prompted the question: why does disco, a genre originally created by oppressed minorities, eventually become synonymous with American capitalist excess?" MLDE seeks to break this connection.

Merging disco, post-disco 80s pop, and boogie into the fold, 'MLDE' was recorded using only analogue instruments, giving it warmth and space. Recorded on cassette, ¼ and ½ inch tape, this gives moments of lo-fi abstraction between the beats of an aggressive, tight drum kit. Instruments used for this recording range from saxophone, trumpet, harpsichord, guitar, and rare analogue synthesisers. The bass sound is shaped by early 80s boogie records, whilst the influence of artists such as Hamlet Minassian can be heard in some of MLDE's more driving-disco outings, such as 'Hues of Red'. In the tradition of Soviet vocal group records, which the band has studied, some songs are sung by a vocal quartet in homage to this tradition.

Tracks such as '1905' and 'Brumaire' have a greater pop aesthetic, with Paolo's vocal style on these more pop-driven songs evoking early 80s bands such as Orange Juice and Chas Jankel.

The format and message of pop and disco are commonly viewed just to entertain and move bodies around a dancefloor; however, lyrically, the subjects range from dialectical and historical materialism, class struggle, Marxist theory and praxis, as well as the concept of Marxist disco music.

Adding the icing to the cake, mastering don Joker aka Liam McLean dusted the album with his magic, giving the songs space where the room is needed, as well as the kick and punch demanded by the modern dancefloor.

Yes, this is a press release, and they are always full of hype, but we were blown away when we heard this album, and we hope it enriches you too.

This album marks the debut recording for Venezuela's Velvet label by pianist Ray Pérez and his trombone-led salsa band Los Dementes. Heavy dance numbers and the distinctive vocals of Perucho Torcat make this historic 1967 rarity a sought-after collector's item. Now the LP has been lovingly restored, mastered from the original tapes, with its original artwork intact, preserving the legacy of Los Dementes for today's generation of salsa lovers everywhere. First time reissue. Salsa pianist, vocalist, composer and arranger Ray Pérez, acquired his nickname "Loco" by being a free, independent spirit, an innovator and iconoclast who was initially branded as "crazy" for the freshness and audacity of his sound. Amazingly, he is not that well known in the US, where he spent some time in the late 1960s and salsa was king during the 1970s. Yet he was quite popular in his home country from the beginning, especially amongst the working class of Caracas and Maracaibo, who adopted Cuban music played by New York Puerto Ricans as their own and called it "salsa" years before the term was employed by US labels like Fania as a marketing tool. Pérez is revered in Venezuela, as well as in Mexico and Colombia, and his storied career, which spans seven decades and thousands of concerts, has yielded more than 35 albums recorded by his various bands, including Los Dementes, Los Kenya, and Los Calvos, all of which are collector's items today. At the start of 1967 Pérez debuted Los Dementes, with vocalists Claudio Zerpa and Perucho Torcat backed by an ace band featuring only trombones in the brass section. Titled "¡Alerta mundo! Llegaron los 'The Crazy Men'" the record was released on the small Venezuelan label Prodansa. Soon after, Prodansa folded and Los Dementes were left without representation or much compensation for their efforts, being paid only in records. In the end of February of that year, Pérez returned to Caracas from a stint in Maracaibo in order to finish his first LP with the well-established and larger Velvet label, entitled "Manicomio a locha". In the first quarter of 1967, Velvet unleashed a trilogy of salsa records in order to compete with rival label Palacio and their recent success with Federico y su Combo Latino: "Porfi '67 Salsa & Boogaloo" by Porfi Jiménez y su Orquesta, "Guasancó" by Sexteto Juventud and lastly "Manicomio a locha". The LP begins appropriately with the boisterous title track, written by the band's conguero Carlos "Nené" Quintero, who would become a legend in coming years. Torcat describes a jam session in mental institution and introduces the band, with tasty solos by trombonist Rufo García followed by Ray on piano. Already you can hear something was different about Ray and his "Crazy Men"-a sound as wild and innovative as what was happening in New York with Eddie Palmieri, but with a more unhinged, raw feeling in line with Willie Colón and other younger Nuyorican bands. Next up is an intriguing track sung in a mix of Italian, English, Spanish and Papiamento by Pérez himself, performed in the complicated rhythm of the mozambique, an Afro-Cuban carnival beat developed in the early 1960s. This is followed by the heavy dancer 'Rico guaguancó', penned by Angelito Pérez, which changes from the guaguancó to the mozambique rhythm mid-way through, proving that Los Dementes were "different from the rest" as the lyrics say. 'Puerto Libre', sung by Torcat, is dedicated to the Venezuelan island of Margarita in the Oriente region, and the independent spirit of its working people. The rhythm changes from guaguancó to guajira and back again but remains danceable all the way through. The side closes out with a "3 in 1" medley inspired by the popular formula of the mosaicos of Billo's Caracas Boys, seamlessly knitting together several different tempos, rhythms, moods and compositions. Side two starts strong with the fierce yet satirical 'Corte e' patas', then 'Alma Cumanesa', a typical folk song refashioned as a guaguancó. This is followed by the funky 'Guajira con Boogaloo'. The tune echoes the sound of young Latin New York, pointing out the connection between Cuban and African American soul music. The pace picks up again with 'Fiesta de trombones', a hot descarga and then the album closes with another medley. Though this marks the end of a rather short album, it also signaled the emerging success of Los Dementes and their involvement with the salsa boom in Venezuela, quickly selling out of its initial run of 1000 records and making for a memorable debut on the Velvet label. Now this rare and sought-after LP has been lovingly restored, mastered from the original tapes, with its original artwork intact, preserving the legacy of Los Dementes for today's generation of salsa lovers everywhere.

Two insanely funky dancefloor bangers recorded in the late '60s in Peru by the long time Coco Lagos associate and top percussionist Mario Allison. Astonishingly hard-to-find boogaloo and descarga tunes from the vaults of MAG records. First time reissue on 7" vinyl. Peruvian artist Mario Allison was born into a family of musicians. One of his brothers was part of groups like Los Golden Boys, others were percussionists and singers. His North American ancestry familiarized him with the use of English from an early age. He met Coco Lagos through a mutual friend, César González, and the three of them soon became regulars at the recording sessions taking place at MAG studios. The connection between them was formidable to the point of coordinating without the need for prior rehearsals. Mario Allison was a self-taught timbalero and his performances are said to have been full of energy and passion. At concerts it was not uncommon for female audiences to react by screaming and freaking out every time Allison performed a solo. After years working at MAG's studio as session player, in the late '60s he was offered the opportunity of recording his own stuff under his name. Mario Allison then worked on a repertoire focused on boogaloo, descarga and, mainly, pompo. This single comprises two insanely funky dancefloor bangers recorded in that period; hard-to-find boogaloo and descarga tunes from the vaults of MAG records. First time reissue on 7" vinyl.

Brandneue 6-Track-Vinyl-only-EP von Kelela, eine der stärksten Vertreterinnen des Future-R&B, frisch gesignt auf Warp Records, z.T. produziert von Arca. Die "Hallucinogen EP" - von den Meinungsmachern bei Pitchfork als "sinnlicher, feinfühliger Hi-Definition R&B-Ansatz" bezeichnet - erzielte bereits mehrere "Album Of The Week" Platzierungen in den Trendmedien (Spin, Stereogum) und besitzt laut Guardian "mehr Ideen in den 6 Songs als manche Künstler in 6 Alben haben". Auch das Radio hierzulande zeigt sich sehr aufgeschlossen.

In their ever-expanding search for good electronic belters, Forbidden Dance Records went into building a bridge between two continents responsible for so many good artists in the last few decades, with some of them being true legends of the house sound. From Detroit to Napoli and Marseille. From Zurich and Bari to Chicago. Ladies and gentlemen, this is ‘Bridges: An American – European Dance Connection”

Nach einer fünfjährigen Auszeit, in der er sich ganz unterschiedlichen Musikprojekten widmete, kündigt Squarepusher sein nächstes Studioalbum "Be Up A Hello" an. Für das neue Album setzte Tom Jenkinson nach vielen Jahren erstmals wieder auf dieselbe digitale und analoge Hardware, mit der er in den frühen 1990ern seinen Trademark-Sound definierte. Die Verwendung der Vintage-Synthesizer und -Effekte (inkl. eines Commodore Vic-20) markiert eine radikale Kehrtwende für den Briten, der auf dem Vorgänger "Damogen Furies" noch komplett auf moderne Tools und die neueste Software setzte, von ihm selbst im Laufe von 15 Jahren programmiert und optimiert. Das Ergebnis klingt vor allem ausgelassen, wenn Tom astreine Breakbeat-Tunes wie "Nervelevers" und "Terminal Slam" – klassisches Dancefloor-Material – vom Stapel lässt. Düstere Tracks wie "Vortrack" und "Mekrev Bass" belegen derweil, dass er nach wie vor ein Faible für perfekt ausbalancierten Psycho-Overload hat. Insgesamt verweist "Be Up A Hello" auf die Ära der DIY-Raves in Essex, deren Ekstase, Ausgelassenheit und Hemmungslosigkeit die ganze Herangehensweise von Tom nachhaltig prägen sollten.

* Remastered At Abbey Road * Ltd Colour 180gm Vinyl * Die Cut Sleeve * Two New Sleeve Designs * Fold Out Poster. When the mysterious masked collective calling themselves Goat first emerged in 2012, armed with an incendiary debut album ‘World Music’ and a backstory for the ages – the band’s anonymous members hailing from the remote village of Korpilombo in northern Sweden, where inhabitants had for centuries been devoted to a form of voodoo introduced by a travelling witch doctor – there was, and there still isn’t, anyone else on earth quite like them. Their mythology enticing, their music full of sinuous grooves and manic explosions of fuzz, Goat were outliers from the very beginning. ‘World Music’ received an avalanche of acclaim with critics, psych heads, outernational crate diggers etc, all left enraptured by its thunderous intensity, conjured from a singular mix of sounds from across the globe.Now, exactly a decade later, Rocket Recordings and the band have decided to dust-off the original recordings of ‘World Music’ and pass them over to the capable hands of the team at the legendary Abbey Road Studios to remaster the tracks and make them shine like they have never before. The results are better than we could have hoped. New details within the tracks have been revealed and - most importantly - the fuzz is even more explosive than before. You hear every crackle of electricity as it flows through the pedals. ‘World Music’ s famous die-cut sleeve has been updated too, the colours of the eye-popping pattern have been reversed from the original, making this package even more desirable. The album is brimming with tracks now seen as ‘classic’ Goat live favourites. Tracks that have been wowing audiences all over the world; the afrobeat stomp of ‘Disco Fever’ , the fuzz abuse of ‘Goathead’, the post-punk groove of ‘Let it Bleed’, the sing-along repetitive pop of ‘Run to your Mama’ ...From the first note to the last, ‘World Music’ oozes with a sonic confidence rarely seen on a debut album. Over the last 10 years many bands have tried to recreate the addictive ingredients which make up Goat ’s cosmic soup, but none have ever come close to getting the recipe right. What Goat have is unique. They have an unsurpassed level of authenticity and honesty that makes them stand head and shoulders above all their imitators. They’ve managed to create a sound unrestrained by genre boundaries. There literally is still no other band on earth that sounds quite like them

* Remastered At Abbey Road * Ltd Colour 180gm Vinyl * Die Cut Sleeve * Two New Sleeve Designs * Fold Out Poster. When the mysterious masked collective calling themselves Goat first emerged in 2012, armed with an incendiary debut album ‘World Music’ and a backstory for the ages – the band’s anonymous members hailing from the remote village of Korpilombo in northern Sweden, where inhabitants had for centuries been devoted to a form of voodoo introduced by a travelling witch doctor – there was, and there still isn’t, anyone else on earth quite like them. Their mythology enticing, their music full of sinuous grooves and manic explosions of fuzz, Goat were outliers from the very beginning. ‘World Music’ received an avalanche of acclaim with critics, psych heads, outernational crate diggers etc, all left enraptured by its thunderous intensity, conjured from a singular mix of sounds from across the globe.Now, exactly a decade later, Rocket Recordings and the band have decided to dust-off the original recordings of ‘World Music’ and pass them over to the capable hands of the team at the legendary Abbey Road Studios to remaster the tracks and make them shine like they have never before. The results are better than we could have hoped. New details within the tracks have been revealed and - most importantly - the fuzz is even more explosive than before. You hear every crackle of electricity as it flows through the pedals. ‘World Music’ s famous die-cut sleeve has been updated too, the colours of the eye-popping pattern have been reversed from the original, making this package even more desirable. The album is brimming with tracks now seen as ‘classic’ Goat live favourites. Tracks that have been wowing audiences all over the world; the afrobeat stomp of ‘Disco Fever’ , the fuzz abuse of ‘Goathead’, the post-punk groove of ‘Let it Bleed’, the sing-along repetitive pop of ‘Run to your Mama’ ...From the first note to the last, ‘World Music’ oozes with a sonic confidence rarely seen on a debut album. Over the last 10 years many bands have tried to recreate the addictive ingredients which make up Goat ’s cosmic soup, but none have ever come close to getting the recipe right. What Goat have is unique. They have an unsurpassed level of authenticity and honesty that makes them stand head and shoulders above all their imitators. They’ve managed to create a sound unrestrained by genre boundaries. There literally is still no other band on earth that sounds quite like them

Joke Lanz and Sudden Infant once again return in their razor-sharp trio setting whereby the absurdist nature that Joke’s work is already cut with is reconfigured in a gnarled and beefy punk-fucked contorted rock setting. Short bursts of angular flex are heavily propelled by depth-charge rhythms, wry lyrical musings on modern living, and sensibilities hatched from years of experience in the worlds of sound art, abstract music, industrialised junk-noise and related areas have manifested in the perfect follow up to 2018’s Buddhist Nihilism album on Harbinger Sound. Aided by Christian Weber on bass and Alexandre Babel on drums, Joke lays on a battery of electronics, loops, field recordings and samples to complement mostly semi-spoken vocals that appear like they’ve been swept from the overflowing gutters of a shopping centre into a huge ball of malaise that can only be laughed at as world leaders look on perplexed. Exactly as the title suggests, 'Lunatic Asylum' depicts a world in absolute disarray as the seams binding it together slowly fall apart to reveal jesters whose best attempts to glue everything back in place are built on bigger lies more transparent than ever. Meanwhile, citizens of the developed world turn on each other for the stupidest of reasons or grow fatter with their descent into an ignorance nourished by half-baked cultural nuggets pre-packaged and sold as great and awe-inspiring work. And everything has to be recorded, photographed and shared as brain cells are decimated by false ideals, propaganda, exaggerated lifestyles and a huge tub of popcorn swimming in indiscernible yellow gloop. Such are the snapshots that resonate as Lunatic Asylum takes some well-aimed swipes at the human condition of the 21st Century. Featuring a fantastic guest appearance by Franz Treichler (The Young Gods) on ' Il y a des Enfants', each of the 12 songs that constitute Lunatic Asylum are bold, heavy, playful and rife with surprising twists and turns Joke’s mostly English splatter-poetry helps guide into a space that’s about as accessible as the outer reaches of rock can get. In a perfect world, this is the stuff even daytime airwaves should be pregnant with but, since the world is presently tripping over its own feet more so than ever, we will have to suffice with wherever this can nudge with the help of Fourth Dimension Records. One day, hopefully, more will catch up. The CD version of Lunatic Asylum features two exclusive bonus tracks. It was released in April 2022. TRACKLIST 1/Good Morning! 2/Head 3/I Ghore Es Gloeggli 4/Mood Swings 5/Damage Control 6/Happiness to Go 7/Pain is a Pain 8/Il y a des Enfants 9/The Lived Body 10/Ah-Ah-Ah 1921 11/Mika the Dog 12/Tuba Manifesto

Inspiration Information Is Presented In An Opaque Metalic Silver Pressing. Well before Shuggie Otis cut his debut album, musicianship and performance had long been a part of his life. The son of rhythm and blues legend Johnny Otis, Shuggie learned to play guitar as early as the age of two, and performed professionally with his father's band at eleven. Throughout his long and illustrious career he performed on records for the likes of Frank Zappa, Al Kooper, Etta James, and George Duke, to name a few. Despite only moderate success upon its initial release, Shuggie Otis' third album Inspiration Information turned into underground smash decades later and has since maintained a level of cult status normally reserved for mysterious, unearthed legends like Sixto Rodriguez or Lee Fields. Inspiration Information is also noteworthy among Shuggie's other releases, as it was entirely self-produced, as opposed to being overseen by his father Johnny Otis. Shuggie's signature blend of baroque funk is on full display, but with a heavy dosage of psychedelic soul blended in, resulting in an album that's equally swarthy, lush, funky, and emotional; gathering all the best bits of Marvin Gaye, Love, Miles Davis, and even Os Mutantes. Inspiration Information is more than worthy of all acclaim awarded to it, despite the delayed reverence. Track Listing: A1. Inspiration / Information A2. Island Letter A3. Sparkle City A4. Aht Uh Mi Hed B1. Happy House B2. Rainy Day B3. XL-30 B4. Pling! B5. Not Available

The "Million Dollar Quartet" is a recording of a celebrated impromptu
session that brought rock & roll icons Elvis Presley, Johnny Cash, Jerry
Lee Lewis, and Carl Perkins together for the first and only time
2LP set in gatefold sleeve edition - 180g coloured vinyl (disc 1 red, disc 2 yellow).
On December 4, 1956, these four young musicians gathered at Sun Records in
Memphis for what would be one of the greatest jam sessions ever. This essential
double LP edition (gatefold open cover) presents that legendary event in its
entirety, while maintaining the original recording sequence.
Rock & roll was born of gospel, country, doo-wop, blues, pop, and cowboy songs,
all of which can be heard here. Included here are several popular numbers from
that period, such as "Rip It Up," "Don't Forbid Me," and "Out of Sight, Out of Mind,"
plus some of Elvis' own songs ("Don't Be Cruel," "Love Me Tender," and
"Paralyzed"), and covers of Chuck Berry's "Brown-Eyed Handsome Man" and "Too
Much Monkey Business," as well as traditional tunes, and some classic country
and bluegrass songs penned by Hank Snow, Faron Young, Gene Autry and Bill
Monroe.
The joyous spontaneity and the fly- on- the- wall feel of the occasion make for
fascinating listening. This set represents a memorable slice of American culture
and allows listeners to experience a historic moment of the original rock & roll
era.

Raised somewhere between Ministry Of Sound’s ‘The Annual’ and early music message boards, Kolya’s taste still extends from obscure tape-only releases to turn-of-the-millennium trance anthems.

As a DJ, it’s taken the South Londoner from Bugged Out! to Berlin – at home supporting Demdike Stare with coldwave, spinning runway house alongside MikeQ while a House Of Trax resident, or unleashing noughties fidget at the closing of Camden’s infamous Lock Tavern. All of which is to say, his debut EP for Ecstasy Garage Disco arrives steeped in musical history.

Recorded during lockdown, it draws on perhaps his greatest love, deep (deep, deep) house. A soaring synth work out, opener ‘Stick Together’ is a case in point, standing on the shoulders of giants like Peter Daou, but with a life-affirming exuberance all of its own. ‘Miss Honey Prancin’ In The Twilite’, meanwhile, is a tribute to Moi Rene, as well as a love letter to Project X Records in general, her vocal recast over a groove that alternates between outer space iciness and snare-rolling high drama.

On the flip, ‘Crying Over Spilt Poppers’ blends the flavour of amyl-soaked Gherkin with the emotional nuance of Nu Groove, joyous and reflective in equal measure. And ‘Jamais Vu’ signs off, its bumping kick pattern and intertwining melodic layers connecting glimmering 90s electronica and contemporary, future-facing house.

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Subb-an returns to 20/20 Vision with 'State Of Flow' featuring vocals from Oli Gosh (Crosstown Rebels). Ash Subhan has been an integral part of the deep house and techno scenes over the last decade and more with releases for One Records, Spectral and Culprit.

'State Of Flow' is a beautiful slice of deep techno that incapsulates atmospheric layers of melodies and vocals with powerful bottom heavy bass and percussive floor control. SOF is the first collaboration between Subb-an and singer songwriter Oli Gosh and has resulted in new directions and musical landscapes.ASOF comes complete with remixes from Adam Pits and Armec.
Adam Pits delivers a devious little gem aimed at dance-floor destruction that winds it's way between a heavy garage bassline and 90's four to floor house rhythms, fragmenting the vocal around an increasingly unhinged and infectious groove. It's fusion served at it's finest and a super fresh sound perfectly placed for the current club scene.

Armec accentuates and expands the immense power hidden in 'State Of Flow' by breakin' the beats up and adding heavily swung filtered loops snaking around a massive bass. The Armec remix comes complete with a twist to its tale with the additional of a magnificently wobbly arpeggiated synth twisting our melons into a right old state.

Like in a fever dream she’s calling out to you to let you know… She loves you…

Original copies of this feel-good evergreen are few and far between but now it’ll finally make its way to your bag as for the first time in 30 years, KSM’s “Te Quiero” will see an official reissue. Originally released on X-Energy Records, one of Italy’s OG independent dance labels, it has everything you’re looking for in Italian deep house: silky pads, pianos, flutes, a killer vibraphone solo, and of course a sultry vocal. Non dormire, molto bene!

In Flagranti needs no introduction they have been at it for more than 25 years. The project is a compressed package of all their experiments in music, art and graphics, and is defined by a raw cut'n'paste aesthetic and DIY attitude. This EP is no different featuring two magnificent tracks with remixes by Eric Duncan and Fango Calypso Records is happy to welcome these legends to our catalogue.

'Body Riddle', ein Highlight des frühen Clark-Katalogs, von Produzenten wie Arca, Rustie und Hudson Mohawke als massgeblicher Einfluß bezeichnet, wurde unter persönlicher Betreuung von Clark neu für mehr Dynamik remastered und erscheint erstmals wieder seit 16 Jahren.

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BIO: Chris Clark arbeitet seit 20 Jahren mit Musik und Ton. Schon in jungen Jahren wurde er von Warp Records gesignt und veröffentlichte bis dato 13 Alben und eine Vielzahl an EPs und Singles. Sein jüngstes Studioalbum 'Playground In A Lake' für das Klassik-Label Deutsche Grammophon verschmolz sein Markenzeichen, die elektronische Musik, mit den Streichertönen des Cellisten Oliver Coates, der Geigerin Rakhi Singh und des Budapest Art Orchestra.

Nach seiner ersten Filmmusik für die Sky/Canal+ TV-Serie 'The Last Panthers' schrieb Clark die Scores zu 'Rellik' (BBC1/HBO) und das Drama 'Kiri' (Channel 4/Hulu). Kürzlich lieferte er die Filmmusik für Apple TV+ 'Lisey's Story', basierend auf Stephen Kings gleichnamigem Roman, sowie für 'Daniel Isn't Real', einem psychologischen Horrorfilm von Spectre Vision, der Produktionsfirma des Nicolas Cage-Kultfilms 'Mandy'. Dieser OST wurde ebenfalls von der Deutschen Grammophon veröffentlicht.

Chris arbeitete mit der Choreografin Melanie Lane zusammen und vertonte 12 zeitgenössische Tanzprojekte, darunter die Aufführung ihres Soloprojekts 'Tilted Fawn' im Sydney Opera House und zuletzt 'Personal Effigies', das im März 2018 mit dem Kier Choreographic Prize ausgezeichnet wurde, sowie 'WOOF' für die renommierte Sydney Dance Company.

Chris' umfangreiches Verzeichnis an Remixen für Künstler wie Thom Yorke, Massive Attack, Depeche Mode, Max Richter, Battles und Nils Frahm wurde 2013 als Doppelalbum 'Feast / Beast' veröffentlicht.

'What's always set Clark apart is his eclecticism, dynamism, and flair for the dramatic... His tracks don't drop as much as they slip or swerve... He'll end a techno album with eight minutes of beatless, sky-cracking ecstasy and it will make sense. He's allergic to the idea of standard sounds and presets. And unlike many of his more insular peers, Clark can be open to sentimentality — not schmaltz — as much as a belief in humanness and all its inexact wonder. In electronic music's never-ending battle between man and machine, he's seeking a third way.' - Pitchfork

As the sun sets on a quaint East Nashville house, a young man bares a piece of his soul. Facing the camera, sporting a silky suit jacket/shirt/slacks/fingerless gloves ensemble that announces "singer" before he's even opened his mouth, Lee Tracy Johnson settles onto his stage, the front yard. He sways to the dirge-like drum machine pulse of a synth-soaked slow jam, extends his arms as if gaining his balance, and croons in affecting, fragile earnest, "I need your love… oh baby…"

Dogs in the yard next door begin barking. A mysterious cardboard robot figure, beamed in from galaxies unknown and affixed to a tree, is less vocal. Lee doesn't acknowledge either's presence. He's busy feeling it, arms and hands gesticulating. His voice rises in falsetto over the now-quiet dogs, over the ambient noise from the street that seeps into the handheld camcorder's microphone, over the recording of his own voice played back from a boombox off-camera. After six minutes the single, continuous shot ends. In this intimate creative universe there are no re-takes. There are many more music videos to shoot, and as Lee later puts it, "The first time you do it is actually the best. Because you can never get that again. You expressing yourself from within."

"I Need Your Love" dates from a lost heyday. From some time in the '80s or early '90s, when Lee Tracy (as he was known in performance) and his music partner/producer/manager Isaac Manning committed hours upon hours of their sonic and visual ideas to tape. Embracing drum machines and synthesizers – electronics that made their personal futurism palpable – they recorded exclusively at home, live in a room into a simple cassette deck. Soul, funk, electro and new wave informed their songs, yet Lee and Isaac eschewed the confinement of conventional categories and genres, preferring to let experimentation guide them.

"Anytime somebody put out a new record they had the same instruments or the same sound," explains Isaac. "So I basically wanted to find something that's really gonna stand out away from all of the rest of 'em." Their ethos meant that every idea they came up with was at least worth trying: echoed out half-rapped exhortations over frantic techno-style beats, gospel synth soul, modal electro-funk, oddball pop reinterpretations, emo AOR balladry, nods to Prince and the Fat Boys, or arrangements that might collapse mid-song into a mess of arcade game-ish blips before rallying to reach the finish line. All of it conjoined by consistent tape hiss, and most vitally, Lee's chameleonic voice, which managed to wildly shape shift and still evoke something sincere – whether toggling between falsetto and tenor exalting Jesus's return, or punctuating a melismatic romantic adlib with a succinct, "We all know how it feels to be alone."

"People think we went to a studio," says Isaac derisively. "We never went to no studio. We didn't have the money to go to no studio! We did this stuff at home. I shot videos in my front yard with whatever we could to get things together." Sometimes Isaac would just put on an instrumental record, be it "Planet Rock" or "Don't Cry For Me Argentina" (from Evita), press "record," and let Lee improvise over it, yielding peculiar love songs, would-be patriotic anthems, or Elvis Presley or Marilyn Monroe tributes. Technical limitations and a lack of professional polish never dissuaded them. They believed they were onto something.

"That struggle," Isaac says, "made that sound sound good to me."

In the parlance of modern music criticism Lee and Isaac's dizzying DIY efforts would inevitably be described as "outsider." But "outsider" carries the burden of untold additional layers of meaning if you're Black and from the South, creating on a budget, and trying to get someone, anyone within the country music capital of the world to take your vision seriously. "What category should we put it in?" Isaac asks rhetorically. "I don't know. All I know is feeling. I ain't gonna name it nothing. It's music. If it grabs your soul and touch your heart that's what it basically is supposed to do."

=

Born in 1963, the baby boy of nine siblings, Lee Tracy spent his earliest years living amidst the shotgun houses on Nashville's south side. "We was poor, man!" he says, recalling the outhouse his family used for a bathroom and the blocks of ice they kept in the kitchen to chill perishables. "But I actually don't think I really realized I was in poverty until I got grown and started thinking about it." Lee's mom worked at the Holiday Inn; his dad did whatever he had to do, from selling fruit from a horse drawn cart to bootlegging. "We didn't have much," Lee continues, "but my mother and my father got us the things we needed, the clothes on our back." By the end of the decade with the city's urban renewal programs razing entire neighborhoods to accommodate construction of the Interstate, the family moved to Edgehill Projects. Lee remembers music and art as a constant source of inspiration for he and his brothers and sisters – especially after seeing the Jackson 5 perform on Ed Sullivan. "As a small child I just knew that was what I wanted to do."

His older brother Don began musically mentoring him, introducing Lee to a variety of instruments and sounds. "He would never play one particular type of music, like R&B," says Lee. "I was surrounded by jazz, hard rock and roll, easy listening, gospel, reggae, country music; I mean I was a sponge absorbing all of that." Lee taught himself to play drums by beating on cardboard boxes, gaining a rep around the way for his timekeeping, and his singing voice. Emulating his favorites, Earth Wind & Fire and Cameo, he formed groups with other kids with era-evocative band names like Concept and TNT Connection, and emerged as the leader of disciplined rehearsals. "I made them practice," says Lee. "We practiced and practiced and practiced. Because I wanted that perfection." By high school the most accomplished of these bands would take top prize in a prominent local talent show. It was a big moment for Lee, and he felt ready to take things to the next level. But his band-mates had other ideas.

"I don't know what happened," he says, still miffed at the memory. "It must have blew they mind after we won and people started showing notice, because it's like everybody quit! I was like, where the hell did everybody go?" Lee had always made a point of interrogating prospective musicians about their intentions before joining his groups: were they really serious or just looking for a way to pick up girls? Now he understood even more the importance of finding a collaborator just as committed to the music as he was.

=

Isaac Manning had spent much of his life immersed in music and the arts – singing in the church choir with his family on Nashville's north side, writing, painting, dancing, and working various gigs within the entertainment industry. After serving in the armed forces, in the early '70s he ran The Teenage Place, a music and performance venue that catered to the local youth. But he was forced out of town when word of one of his recreational routines created a stir beyond the safe haven of his bohemian circles.

"I was growing marijuana," Isaac explains. "It wasn't no business, I was smoking it myself… I would put marijuana in scrambled eggs, cornbread and stuff." His weed use originated as a form of self-medication to combat severe tooth pain. But when he began sharing it with some of the other young people he hung out with, some of who just so happened to be the kids of Nashville politicians, the cops came calling. "When I got busted," he remembers, "they were talking about how they were gonna get rid of me because they didn't want me saying nothing about they children because of the politics and stuff. So I got my family, took two raggedy cars, and left Nashville and went to Vegas."

Out in the desert, Isaac happened to meet Chubby Checker of "The Twist" fame while the singer was gigging at The Flamingo. Impressed by Isaac's zeal, Checker invited him to go on the road with him as his tour manager/roadie/valet. The experience gave Isaac a window into a part of the entertainment world he'd never encountered – a glimpse of what a true pop act's audience looked like. "Chubby Checker, none of his shows were played for Black folks," he remembers. "All his gigs were done at high-class white people areas." Returning home after a few years with Chubby, Isaac was properly motivated to make it in Music City. He began writing songs and scouting around Nashville for local talent anywhere he could find it with an expressed goal: "Find someone who can deliver your songs the way you want 'em delivered and make people feel what you want them to feel."

One day while walking through Edgehill Projects Isaac heard someone playing the drums in a way that made him stop and take notice. "The music was so tight, just the drums made me feel like, oh I'm-a find this person," he recalls. "So I circled through the projects until I found who it was.

"That's how I met him – Lee Tracy. When I found him and he started singing and stuff, I said, ohhh, this is somebody different."

=

Theirs was a true complementary partnership: young Lee possessed the raw talent, the older Isaac the belief. "He's really the only one besides my brother and my family that really seen the potential in me," says Lee. "He made me see that I could do it."

Isaac long being a night owl, his house also made for a fertile collaborative environment – a space where there always seemed to be a new piece of his visual art on display: paintings, illustrations, and dolls and figures (including an enigmatic cardboard robot). Lee and Issac would hang out together and talk, listen to music, conjure ideas, and smoke the herb Isaac had resumed growing in his yard. "It got to where I could trust him, he could trust me," Isaac says of their bond. They also worked together for hours on drawings, spreading larges rolls of paper on the walls and sketching faces with abstract patterns and imagery: alien-like beings, tri-horned horse heads, inverted Janus-like characters where one visage blurred into the other.

Soon it became apparent that they didn't need other collaborators; self-sufficiency was the natural way forward. At Isaac's behest Lee, already fed up with dealing with band musicians, began playing around with a poly-sonic Yamaha keyboard at the local music store. "It had everything on it – trumpet, bass, drums, organ," remembers Lee. "And that's when I started recording my own stuff."

The technology afforded Lee the flexibility and independence he craved, setting him on a path other bedroom musicians and producers around the world were simultaneously following through the '80s into the early '90s. Saving up money from day jobs, he eventually supplemented the Yamaha Isaac had gotten him with Roland and Casio drum machines and a Moog. Lee was living in an apartment in Hillside at that point caring for his dad, who'd been partially paralyzed since early in life. In the evenings up in his second floor room, the music put him in a zone where he could tune out everything and lose himself in his ideas.

"Oh I loved it," he recalls. "I would really experiment with the instruments and use a lot of different sound effects. I was looking for something nobody else had. I wanted something totally different. And once I found the sound I was looking for, I would just smoke me a good joint and just let it go, hit the record button." More potent a creative stimulant than even Isaac's weed was the holistic flow and spontaneity of recording. Between sessions at Isaac's place and Lee's apartment, their volume of output quickly ballooned.

"We was always recording," says Lee. "That's why we have so much music. Even when I went to Isaac's and we start creating, I get home, my mind is racing, I gotta start creating, creating, creating. I remember there were times when I took a 90-minute tape from front to back and just filled it up."

"We never practiced," says Isaac. "See, that was just so odd about the whole thing. I could relate to him, and tell him about the songs I had ideas for and everything and stuff. And then he would bring it back or whatever, and we'd get together and put it down." Once the taskmaster hell bent on rehearsing, Lee had flipped a full 180. Perfection was no longer an aspiration, but the enemy of inspiration.

"I seen where practicing and practicing got me," says Lee. "A lot of musicians you get to playing and they gotta stop, they have to analyze the music. But while you analyzing you losing a lot of the greatness of what you creating. Stop analyzing what you play, just play! And it'll all take shape."

=

"I hope you understood the beginning of the record because this was invented from a dream I had today… (You tell me, I'll tell you, we'll figure it out together)" – Lee Tracy and Isaac Manning, "Hope You Understand"

Lee lets loose a maniacal cackle when he acknowledges that the material that he and Isaac recorded was by anyone's estimation pretty out there. It's the same laugh that commences "Hope You Understand" – a chaotic transmission that encapsulates the duality at the heart of their music: a stated desire to reach people and a compulsion to go as leftfield as they saw fit.

"We just did it," says Lee. "We cut the music on and cut loose. I don't sit around and write. I do it by listening, get a feeling, play the music, and the lyrics and stuff just come out of me."

The approach proved adaptable to interpreting other artists' material. While recording a cover of Whitney Houston's pop ballad "Saving All My Love For You," Lee played Whitney's version in his headphones as he laid down his own vocals – partially following the lyrics, partially using them as a departure point. The end result is barely recognizable compared with the original, Lee and Isaac having switched up the time signature and reinvented the melody along the way towards morphing a slick mainstream radio standard into something that sounds solely their own.

"I really used that song to get me started," says Lee. "Then I said, well I need something else, something is missing. Something just came over me. That's when I came up with 'Is It What You Want.'"

The song would become the centerpiece of Lee and Isaac's repertoire. Pushed along by a percolating metronomic Rhythm King style beat somewhere between a military march and a samba, "Is It What You Want" finds Lee pleading the sincerity of his commitment to a potential love interest embellished by vocal tics and hiccups subtlely reminiscent of his childhood hero MJ. Absent chord changes, only synth riffs gliding in and out like apparitions, the song achieves a lingering lo-fi power that leaves you feeling like it's still playing, somewhere, even after the fade out.

"I don't know, it's like a real spiritual song," Lee reflects. "But it's not just spiritual. To me the more I listen to it it's like about everything that you do in your everyday life, period. Is it what you want? Do you want a car or you don't want a car? Do you want Jesus or do you want the Devil? It's basically asking you the question. Can't nobody answer the question but you yourself."

In 1989 Lee won a lawsuit stemming from injuries sustained from a fight he'd gotten into. He took part of the settlement money and with Isaac pressed up "Saving All My Love For You" b/w "Is It What You Want" as a 45 single. Isaac christened the label One Chance Records. "Because that's all we wanted," he says with a laugh, "one chance."

Isaac sent the record out to radio stations and major labels, hoping for it to make enough noise to get picked up nationally. But the response he and Lee were hoping for never materialized. According to Isaac the closest the single got to getting played on the radio is when a disk jock from a local station made a highly unusual announcement on air: "The dude said on the radio, 107.5 – 'We are not gonna play 'Is It What You Want.' We cracked up! Wow, that's deep.

"It was a whole racist thing that was going on," he reflects. "So we just looked over and kept on going. That was it. That was about the way it goes… If you were Black and you were living in Nashville and stuff, that's the way you got treated." Isaac already knew as much from all the times he'd brought he and Lee's tapes (even their cache of country music tunes) over to Music Row to try to drum up interest to no avail.

"Isaac, he really worked his ass off," says Lee. "He probably been to every record place down on Music Row." Nashville's famed recording and music business corridor wasn't but a few blocks from where Lee grew up. Close enough, he remembers, for him to ride his bike along its back alleys and stumble upon the occasional random treasure, like a discarded box of harmonicas. Getting in through the front door, however, still felt a world away.

"I just don't think at the time our music fell into a category for them," he concedes. "It was before its time."

=

Lee stopped making music some time in the latter part of the '90s, around the time his mom passed away and life became increasingly tough to manage. "When my mother died I had a nervous breakdown," he says, "So I shut down for a long time. I was in such a sadness frame of mind. That's why nobody seen me. I had just disappeared off the map." He fell out of touch with Isaac, and in an indication of just how bad things had gotten for him, lost track of all the recordings they'd made together. Music became a distant memory.

Fortunately, Isaac kept the faith. In a self-published collection of his poetry – paeans to some of his favorite entertainment and public figures entitled Friends and Dick Clark – he'd written that he believed "music has a life of its own." But his prescience and presence of mind were truly manifested in the fact that he kept an archive of he and Lee's work. As perfectly imperfect as "Is It What You Want" now sounds in a post-Personal Space world, Lee and Isaac's lone official release was in fact just a taste. The bulk of the Is It What You Want album is culled from the pair's essentially unheard home recordings – complete songs, half-realized experiments, Isaac's blue monologues and pronouncements et al – compiled, mixed and programmed in the loose and impulsive creative spirit of their regular get-togethers from decades ago. The rest of us, it seems, may have finally caught up to them.

On the prospect of at long last reaching a wider audience, Isaac says simply, "I been trying for a long time, it feels good." Ever the survivor, he adds, "The only way I know how to make it to the top is to keep climbing. If one leg break on the ladder, hey, you gotta fix it and keep on going… That's where I be at. I'll kill death to make it out there."

For Lee it all feels akin to a personal resurrection: "It's like I was in a tomb and the tomb was opened and I'm back… Man, it feels so great. I feel like I'm gonna jump out of my skin." Success at this stage of his life, he realizes, probably means something different than what it did back when he was singing and dancing in Isaac's front yard. "What I really mean by 'making it,'" he explains isn't just the music being heard but, "the story being told."

Occasionally Lee will pull up "Is It What You Want" on YouTube on his phone, put on his headphones, and listen. He remembers the first time he heard his recorded voice. How surreal it was, how he thought to himself, "Is that really me?" What would he say to that younger version of himself now?

"I would probably tell myself, hang in there, don't give up. Keep striving for the goal. And everything will work out."

Despite what's printed on the record label, sometimes you do get more than one chance.

DJ Swamp brings you Wearing My Mask EP!

Alongside Decadent Records and Ruined Vibes - with a hologram sleeve cover!

Limited edition BLACK 7inch vinyl.

4 tracks
Skip proof scratch tool section
5 lock-groove beats
Lock-groove tone
Lenticular hologram cover

Decadent Records recording artist, USA DMC Champion 1996, also known for his work with Beck, Death Grips, Ministry and The Crystal Method, DJ Swamp is the inventor of the highly imitated skip-proof scratch tool.

He was also in the DJ documentary “Scratch” ,The movie “CLOCK STOPPERS”, and 2017 movie “Banger.” Swamp began mastering his DJ skills more than 25 years ago. In 1996, his rookie year, he took the title of USA DMC Champion. Being true to his nature in an arena that was predominantly influenced by a very hip hop-esque culture, Swamp stepped up to the decks looking like some kind of junky punk. He was well received by the audience despite his counter-culture appearance because he exhibited skills that defied perception and already possessed a stage presence that many of his contemporaries still lacked. The finale came when he closed his set by freakin’ Deep Purple’s ‘Smoke on the Water’ and then smashing his records.
Notorious for mischief, while he’s on the turntables his shows are highly anticipated by those who know that they can expect to see something spectacular.

‘Amorpha’, a side-long shower of synthetic bells and bass, as
patterns interlock and repeat and the beat within the bar lines
shifts constantly, forms a new, latest miniature of infinity. You flip
it, and ‘Geomancy’ resets you, starting anew, with heavy drift and
drone leading into a space of shorter broken lines and Middle
Eastern tonalities, that roll back into ether again - new spaces, but
mysteriously consonant with the vibe.
 ‘Bajascillators’ arrives almost five years since their last official fulllength, 2017’s ‘Bajas Fresh’. In the eight years prior to ‘Bajas
Fresh’, Bitchin Bajas issued seven albums, plus cassettes, EPs,
singles… wave after wave of analogue synth tones and zones
extending into a stratospheric arc. Each release its own
headspace, shape and timbre, each one sliding naturally into their
implacable, eternal gene pool.
 Following the flow, always, the Bajas went ever-deeper-and-higher
on these records, whether making soundtracks or collaborating
with Bonnie ‘Prince’ Billy, using only fortune cookie fortunes as a
libretto. Plus engagement, with a steady stream of shows and
tours around the world; live re-airings and expansions of the space
captured in their records as they continued to grow and flow - all
the way through, really, to the present moment.
 Plus, there have been releases since 2017 - a split 12”, a 7”
single, digital track release and two ‘Cuts’ cassettes, plus the allcovers cassette release ‘Switched On Ra’. But the overall number
of releases, plus the five years between long players, implies a
potential distance between phases, a new line in the sand. The
sound of Bajascillators bear this out. How couldn’t it? Compared to
2017, this is a different world.
 Mastered directly from half-inch analogue tape, ‘Bajascillators’
floats transparently from the speakers, its expansive grooves
gathering resonance and building momentum over the four sides,
from genesis to re-conclusion, cascading ecstatically. The elastic
magic of time at its brightest. As the world keeps turning, so too do
Bitchin Bajas, in the same unknowable way. You can’t explain it -
just keep turning.

The Brussels based power trio Don Kapot has gained a lot of attention on the national and international music scene in recent years. Their raw and energetic in your face mix of punk, free jazz, afrobeat and other global sounds took them to stages all over Europe.

Their first two records were based on the unique combined sound of Viktor Perdieus' baritone saxophone, the raw and pumping electric bass of Giotis Damianidis and the powerful and creative drumming of Jakob Warmenbol. Recently, the band has been experimenting with incorporating other sounds and instruments into their repertoire. In anticipation of their new full album, they invited a number of musical friends to their rehearsal room at various times at the end of 2021 and recorded an improvised repertoire with them on the spot. One of those musicians is the multi-talented all-round musician and singer Fulco Ottervanger (known from FULCO, De Beren Gieren, BeraadGeslagen). The recording they made turned out to be so successful that they couldn't just let it pass.

In two twenty-minute suites, Don Kapot & Fulco Ottervanger take the listener on a haunting musical trip, in which numerous influences and genres are reviewed: Classical Indian music, blues, krautrock, free jazz, synth-pop, post-punk, ambient, ... you name it. The musical brilliance of these four extraordinary musicians reaches unprecedented heights.

The record, simply titled 'un peu live', will be officially released on the Belgian jazz not jazz label WERF records on September 23.

Joni Mitchell was at a turning point 50 years ago. After making four acclaimed albums with Reprise Records, including her 1971 masterpiece Blue, she left the label to join the brand-new Asylum Records in 1972. Over the next seven years, Mitchell would record some of the most acclaimed music of her career while changing her musical direction by adding more jazz elements into her song writing. The evolution culminated in 1979 with Mingus, her collaboration with jazz titan Charles Mingus, and her studio last album for Asylum.

The Asylum Albums (1972-1975), the next instalment in the Joni Mitchell archive series, explores the beginning of that prolific era. The collection features newly remastered versions of For The Roses (1972), Court And Spark (1974), the double live album Miles Of Aisles (1974), and The Hissing Of Summer Lawns (1975). All four were recently remastered by Bernie Grundman. The Asylum Albums (1972-1975 will be available on 23rd September on 5-LP 180-gram vinyl (Limited Edition Of 20,000) and as a 4CD set. The cover art for the set features a previously unseen painting by Mitchell. The set also includes an essay by friend and fellow Canadian Neil Young.

The Asylum Albums (1972-1975), follows Mitchell’s musical evolution over four albums as she embraced more jazz-inspired pieces and moved away from the folk and pop of her early years. It includes essential tracks like her first Top 40 hit, “You Turn Me On, I’m A Radio” and her highest-charting (#7) single “Help Me,” plus favourites like “Free Man In Paris,” “Raised On Robbery” and “In France They Kiss On Main Street.” Mitchell has been intimately involved in producing the collection, lending her vision and personal touch to every element.













l b6. Judgement Of The Moon And Stars (Ludwig’s Tune) 2022 Remaster











[x] e1. You Turn Me On I’m A Radio (Live) [2022 Remaster]
[y] e2. Big Yellow Taxi (Live) [2022 Remaster]
[2022 Remaster]
[xa] e4. Woodstock (Live) [2022 Remaster]
[xb] f1. Cactus Tree (Live) [2022 Remaster]
[xc] f2. Cold Blue Steel And Sweet Fire (Live) [2022 Remaster]
[xd] f3. Woman Of Heart And Mind (Live) [2022 Remaster]
[xe] f4. A Case Of You (Live) [2022 Remaster]
[xf] f5. Blue (Live) [2022 Remaster]
[xg] g1. Circle Game (Live) [2022 Remaster]
[xh] g2. People’s Parties (Live) [2022 Remaster]
[xi] g3. All I Want (Live) [2022 Remaster]
[xj] g4. Real Good For Free (Live) [2022 Remaster]
[xk] g5. Both Sides Now (Live) [2022 Remaster]
[xl] h1. Carey (Live) [2022 Remaster]
[xm] h2. The Last Time I Saw Richard (Live) [2022 Remaster]
[xn] h3. Jericho (Live) [2022 Remaster]
[xo] h4. Love Or Money (Live) [2022 Remaster]

This album records a mystic standoff between Shahzad Ismaily on drums and Niño Lento es Fuego on electric guitar, featuring hypnotic synth storms and spiritual beats brewed into a heavy healing trance. “It was like having that conversation that we never really had,” says Niño Lento es Fuego (a.k.a guitarist Camilo Rodriguez), “‘cause he’s shy, and me too.” Niño Lento and Shahzad Ismaily – multi-instrumentalist, producer and studio owner – have been circling each other for years. They are both legendary players and leaders in their own right who have built many musical worlds in Brooklyn. Ismaily records and performs with artists such as Laurie Anderson, Lou Reed, Tom Waits, Laura Veirs, Sam Amidon, Ceramic Dog, Secret Chiefs 3, John Zorn, Will Oldham and Nels Cline. Rodriguez is a NY-based guitarist and percussionist who co-founded Combo Chimbita, M.A.K.U Soundsystem, Bulla en el Barrio, and Carolina Oliveros y la Nación along with fellow Colombians in New York. He also performs with La Cumbiamba eNeYé, where he first met Ismaily. On September 22, 2022, Figure & Ground releases Ahora Contra el Resto de los Tiempos, Vol. 1, an exploratory and improvisational project comprising six original tracks composed in real time by Shahzad Ali Ismaily (drums) and Niño Lento es Fuego (electric guitar). Produced, recorded and mixed by Lily Wen, the duo recorded guitar and drums live in the room at Figure 8 Recording.

Vinyl Only

Following his maiden collaboration project with the immensely talented Furz, Ali Demir is not looking to slow things down any time soon with his record label. The Iceland-based label is not only carrying the aesthetic set in this debut but delving further into it. Distrakt Audio proudly presents the secret ingredient, the multi-talented Patagonian soul and Pryma Records co-owner, Dani Labb!

Up first is Dani Labb's mind-bending, bass-driven groove, "Atemporal" that builds through signature drums and dystopic pads. It's an absolute club cut. Followed by a darker one, "Adori Vita Vis" is a perfect sound for that meditative, hazy, late morning mood.

Much like the previous release, Ali provides the pleasure of his calm and refreshing, yet unique take of dancefloor heaters. "Rewind the Mind" is a hypnotic bass jam, tightened with deeply atmospheric pads and sparkled with floating synth lines. It's a must-have opener. "Trip to Andes" is a subtle club cut offering a juicy sub bassline that propels the track forward and balances it with dreamy melodic elements. This post-pandemic masterpiece is a surefire filled with instant all-timer dancefloor hitters.

Previously only available on a limited pressing on the Music On Vinyl label in 2012. Rubyworks are pleased to present a newly remastered tenth anniversary pressing of 'Area 52' by Rodrigo y Gabriela. Recorded in Havana with some of the best Cuban musicians on the island, with a stellar guest line-up including John Tempesta on drums, Anoushka Shankar on sitar, Carles Benavent on bass guitar and Les Trio Joubran on ouds. Newly mastered for vinyl by John Webber at Air Studios in London, working with the original mixes supplied by Grammy award winning mixer Rafa Sardina. This new edition comes on 2 x sky-blue and red splattered 140gsm vinyl records in a spot-UV finish, gatefold sleeve with a 12" x 12" colour insert on 150g art paper. Long unavailable, 'Area 52' sells for upwards of $65.00 on Discogs.

Ola Szmidt's third EP is the culmination of many years' creative output and also marks the beginning of a new era, as her first release since signing with Matthew Herbert's Accidental Records.

A real bravery of spirit runs through EP3, which feels like her most intimate recording to date: underpinned by pulsating processed

loops and a lyricism that is viscerally ‘openhearted’ (to use a favourite adjective of Ola’s). The palpable physicality of the sound is wrapped in an expansive translucence. Breath is a consistent thread, joining each textural vista to the next. The unifying theme is healing, in myriad forms, from cell to mind, individual to collective.

Back on track with a fresh Depth Over Distance release. Jean Bressan delivering the goods with a remix full of filtered percussion by Voigtmann on the flip side.

Important: all records are uniquely different visual versions with a mix of colored, marbled and transparent vinyl, making each record 100% one of a kind.

El Goodo guitarist and songwriter 'Pixy Jones' has announced that his debut album entitled 'Bits n Bobs' is due for release on 16th of September via Strangetown Records. 
After 4 albums with El Goodo, Welsh psych scene stalwart Pixy Jones has himself compiled a truly remarkable collection of tracks that fluctuate from 60's harmony-rich psych pop, to Alt-Country with ringing tremelo guitar. 

The swaggering 'I'm Not There' is the first single to be taken from 'Bits n Bobs' accompanied by a magical version of Beatles track 'And Your Bird Can Sing' as it's B SIde, which will be released digitally on Friday 1st of July.

Pixy had this to say about the release: 
The album was originally intended as a solo project under the pseudonym of “Wallace Russell”. I recorded it alongside the recording of Zombie (El Goodo) whenever I could get in the studio. There are some really old songs that have always been overlooked for 'El Goodo' albums for one reason or another, a few new ones which I wrote specifically for this, and a couple that would have probably ended up on the intended double album version of Zombie if we’d kept going with the double album idea. I’ve since ditched the 'Wallace Russell' name and gone back to 'Pixy Jones' as I figured there’s no need to have a pseudonym if nobody knows who you are in the first place. Even though I dropped the name I’ve kept the walrus mask for now as it is more photogenic than my actual face.
I had no recording budget so I had to fund it by quitting smoking and saving the money up to pay for studio time. It took, I think, two and a half years to record, which is by far the quickest I’ve ever recorded an album.

Originally I wanted it to just be a quickly recorded slap dash and get it out sort of thing but I had a year and a half during Covid to think about it a bit more and ended up taking more care to get it done properly. It was just me there so I played most of it myself apart from Stephen Black (Sweet Baboo) who played brass and woodwind on one song and Rhodri Brooks (AhGeeBe) plays some pedal steel on a couple. 

Elliott and Canny from 'El Goodo' played drums and bass on Wind Street during the ‘Zombie’ recording sessions. 

The album was recorded and mixed in Aerial Studios with Tim Lewis, (Thighpaulsandra), a couple of songs were finished in the house during the lockdowns.

Three years after Reno Wurzbacher’s entry into the series, Cook Strummer now offers up his own Berlin Gets Physical, a collection of all-new and exclusive tracks.

Berlin-based, Belgium-born Strummer has been a Get Physical associate for several years. He has dropped various singles including the standout 'Rising' which also featured on the Words Don't Come Easy series, and always crafts the perfect mix of rhythm and melody with plenty of hints of his homeland's famous cold wave sound. He often uses his own voice, drum machines, synths and guitars in his music, and since his debut album in 2018 on LOK Recordings, he has had high profile support from the likes of Laurent Garnier, Adam Port and Ame. This summer, he dropped 'Atmosphere' on Obsolet Records which proved another successful outing and now Berlin Gets Physical finds him digging deep into the famous city's freshest and most essential house sounds across 15 well-sequenced tracks.

His own new offering 'For Berlin' kicks off with a dark and edgy vibe, gothic vocals and tense drums. Glitchy hits and blurting synths add to the prickly atmosphere and immediately lock you in while Los Cabra & Manuel Sahagun's 'Italian Groove' then takes off on waves of serrated dark disco synths and Freudenthal feat. Nowhere People continue that macho disco vibe with the rugged chug and cosmic rays of 'Cipher.'

The twinkling 'Bad Karma' by Marvin Jam & Le Mythe then allows you to catch your breath with a slower, more spacious dub disco sound and the twanging bass riffs and exotic effects of Daniel Jaeger & Valenti's 'Quarantine Cowboys' rebuilds the atmosphere with some innovative house blues. The mid-section brings brain-frying synth work on 'Out Of The Blue', bubbling dub house and disco courtesy of dramasquad's sprawling 'ziggy' and percussive deep house looseness from 'Abayomi.'

After KEENE's rubbery and rolling Afro sounds comes more cosmic house richness from Dan Buri and Max Joni & MUKKIMIAU, the driving tech of Red Pig Flower & Lulla and heady sounds of Mike Book. There is a raw house heaviness to FreedomB's 'State of Shock' and things shut down with Electronic Elephant's tightly coiled minimal drum funk on 'Ask Yourself'.

This on point collection is an authentic snapshot of the contemporary underground sound of the Berlin.

The iconic first album of the finest instrumental soul group from Stax Records including the " Green Onions " Anthem ! Originals Versions Remastered

‘Land of Dreams’, Mark Owen’s first solo record in over nine years.

Mark Owen is one of Britain's most celebrated music stars. As part of pop group Take That, he has won eight BRIT Awards, scored 12 UK No.1 singles, eight UK No.1 albums, sold over 45 million records and played live to millions of fans around the world. He released his first solo album, Green Man, after Take That first split in 1996 and, since then, he has released a further four solo albums. His last, 2013’s The Art Of Doing Nothing, was his highest charting album to date.

Mark’s distinctive vocals drive the first single, You Only Want Me, layered over upbeat instrumentation and a rousing chorus with the end result a punchy, singalong pop track. The track was written by Mark and Will Bloomfield (The Vaccines, Freya Ridings, Tom Grennan, Holly Humberstone) and was produced by Jennifer Decilveo (Miley Cyrus, Marina, Anne-Marie, Demi Lovato).

‘Land of Dreams’, Mark Owen’s first solo record in over nine years.

Mark Owen is one of Britain's most celebrated music stars. As part of pop group Take That, he has won eight BRIT Awards, scored 12 UK No.1 singles, eight UK No.1 albums, sold over 45 million records and played live to millions of fans around the world. He released his first solo album, Green Man, after Take That first split in 1996 and, since then, he has released a further four solo albums. His last, 2013’s The Art Of Doing Nothing, was his highest charting album to date.

Mark’s distinctive vocals drive the first single, You Only Want Me, layered over upbeat instrumentation and a rousing chorus with the end result a punchy, singalong pop track. The track was written by Mark and Will Bloomfield (The Vaccines, Freya Ridings, Tom Grennan, Holly Humberstone) and was produced by Jennifer Decilveo (Miley Cyrus, Marina, Anne-Marie, Demi Lovato).

Der gefeierte Rock/Metal-Gitarrist Jim Matheos (Fates Warning, Arch / Matheos) hat sich mit der Rockröhre Steve Overland (FM) zusammengetan und die Band Kings of Mercia gegründet. Begleitet wird das Duo auf dem kommenden Debütalbum von Matheos' Fates Warning-Bandkollegen Joey Vera am Bass und dem legendären Schlagzeuger Simon Philips. Das selbstbetitelte Album wird am 23. September 2022 über Metal Blade Records veröffentlicht.

M_Sessions - Rare Originals is offering a selection of Mania D., Malaria and Matador’s music for the 40th anniversary. Bringing the past into the now and into the future. The original core team of Beate Bartel, Bettina Köster, Manon P. Duursma and Gudrun Gut selected "Rare Originals" from the repertoire of the 3 bands where they saw special relevance and beauty. There are live tracks, living room recordings and demo versions from times long gone.

The project M_Sessions focuses on the All Female bands Mania D., Malaria! and Matador in the West Berlin music and art scene of the late 1970s and 1980s. The three bands around their members Beate Bartel, Bettina Köster and Gudrun Gut played concerts in different formations from 1979 on, released records and toured around the world. The self-determined appearance of the musicians was new, raised some eyebrows and was reflected both in the music and the lyrics, but also in their unique style and the genre-crossing approach of "more art in the music, more music in the art". To this day, the bands are considered visionary, they shaped a new image of women in pop culture and are pioneers and role models for the still important and necessary emancipatory movement in the music industry. Far beyond the borders of Berlin.

Popa Chubby stands before a sold-out crowd in Paris at l'Olympia - The
theatre where Hendrix, Miles, The Beatles and so many greatsplayed - He
tells the audience : "Je T'aime Mes Amis" !"I love you my friends" and in
that moment it's like the pandemicnever happened.Popa has not stopped
working
He followed the 2020 release celebrating his 30thanniversary ("It's A Mighty Hard
Road") with an introspective outing reflecting his timeat home : "Tinfoil Hat". The
year that has followed has lead to more upbeat themes andtimes. This is strongly
reflected on his latest recording, "Emotional Gangster", out worldwide on
Dixiefrog records on March 2022.And indeed the emotions run high on this
recording. 11 tracks featuring The Chubbfatha on many instruments and doing all
the mixing and recording duties. "Thisrecord definitely reflects happier times and
good solid dose of classic blues !" Says Popafrom his studio full of guitars in the
Hudson Valley. "I specifically included covered like"Hoochie Coochie Man" and
"Dust My Broom" to show respect for the Fathers. WillieDixon has always been my
idol you know".But the real gems here come in Popa's original compositions.
"Equal Opportunity"is a light-hearted sing along that celebrates the feminine at a
time when it is seriouslyneeded. And songs like "Fly Away" and both French and
English versions of "Why YouWanna Make War?" are big standouts !There is more
than an ample amount of pure guitar bliss on this record and slideguitar on tracks
like "Tonight I'm Gonna Be The Man" add flavor to a savory mix ! For an added
bonus Harmonica Wizard Jason Ricci joins Popa on the Blues Rockanthem "New
Way Of Walking" and the swing shuffle "Best For Last".Popa has been given many
accolades in a 30 years career. He shuns recognitionand has little use for awards
as he says it just gets in the way of the music. This has notstopped his last 3
outings from reaching the Billboard Blues Charts. He has also beengiven the
prestigious Red Rooster Award by Willie Dixon's family and been nominatedfor a
Grammy and a W.C. Handy Award.With "Emotional Gansgster Popa puts his heart
on the line and makes a play tosteal yours !

Rising star pianist/composer Connie Han brings the ancient Sumerian
culture to the present day by channeling Inanna - the ancient Sumerian
goddess of love, beauty and war - on her third release for Mack Avenue
Records
Featuring Katisse Buckingham (alto flute and piccolo), John Patitucci (bass), Rich
Perry (tenor saxophonist) and drummer Bill Wysaske, Secrets of Inanna creates a
new world open to interpretation, harkening back to the ethereal soundscapes of
1970s spiritual jazz with the modern composition Han has received praise for
since her 2018 debut Crime Zone, creating a truly unique soundscape of great
depth.

With Out Here, premier bassist Christian McBride's fifth recording on
Mack Avenue Records, McBride introduces his latest working group: a
trio, fully embracing at age 41 his role as standard-bearer and mentor
Pianist Christian Sands and drummer Ulysses Owens, Jr. - both younger,
emerging artists - have been performing with McBride's smallest group for about
three years, honing their trio conception to a fine point of expressive depth and
nuance with select performances around the world.

In a world hurtling towards new frontiers of horror on a daily basis, there’s precious little time for pause. For the self respecting artist, the only reasonable solution is psychic warfare. Such is the terrain of Petbrick on the titanic and transformative Liminal. Here on their second album the duo of Wayne Adams (Big Lad/Johnny Broke) and Iggor Cavalera (Sepultura/Cavalera Conspiracy/Soulwax) lays waste to all or any constrictions in its path, Blending a vast sonic landscape with a relentless compunction to break the pain barrier, Liminal is a dizzying exercise in overdrive which can take in industrial abrasions, pulverising rhythmic drive, acid-damaged freakery, cinematic tension and balladic gravitas in disarmingly coherent fashion. Other heads and personalities also came on board to add richness and intrigue to the onslaught - “I believe we got an amazing team of collaborators - from old school friends like Neurosis’ Steve Von Tilll and Converge’s Jacob Bannon to new school artists like Paula Rebbeledo from Rakta and New York doom rappers Lord Goat and Truck Jewelz” notes Iggor. This is an album birthed in difficult times and expressly engaged with raging against the dying of the light. As Iggor puts it “Liminal is an insane mirror of what being isolated feels like - madness through noise experimentations” An alchemical vision fit to both elevate the spirit and destroy everything in its path, ‘Liminal’ is the sound of Petbrick blasting their way through the boundaries of a fresh hell. Tracks: 01. Primer 02. Arboria 03. Pigeon Kick 04. Raijin 05. Lysergic Aura (Feat. Lord Goat & Truck Jewelz) 06. Damballa 07. Ayan 08. Grind You Dull (Feat. Jake Bannon) 09. Chemical Returns 10. Distorted Peace (Feat. Paula Rebellato) 11. Reckoning (Feat. Steve Von Till

The Crystal Furs are a queer indie pop/rock band from Portland, OR. They write melodic, textured songs about anxiety, architecture, lesbians, and queer feels - loud music for quiet hearts. In Coastal Light is the band’s fifth album, following on from 2020 LP Beautiful and True, and hears them honing their blend of grungey riffs and 60s-girl-group vocals. As featured on: KEXP, WFMU, BBC Radio, Freeform Portland, KBOO Portland, Portland Radio Project, Chasing Infinity on WRUW, Get In Her Ears, Grrls Like Us “Had Portland’s (via Forth Worth) The Crystal Furs been around in the late 80s – early 90s there is a possibility they would have been signed to Sarah Records, home of OG jangle pop bands like The Field Mice and The Sea Urchins. Then again with their sunny, bright melodies, they might have found themselves riding the charts alongside The Bangles.” 50Thirdand3rd “It’s something of a well-worn expression, that adult life is about ‘finding oneself’, but it certainly seems for the Buchanans, and their band, that all of the changes in their life have enabled them to do just that. And what they’ve found are winning alt. indie-pop purveyors in the mould of Helen Love. Beautiful And True is an album whose title could not be clearer: it is what it says it is.” Get In Her Ears “Think of those jangly C86 tunes mixing genteel harmonies, spiraling keyboards, melodic guitar/ bass sounds and wistful vocals and you begin to get the drift here.” Into Creative “From the opening tones of the Farfisa organ on ‘Comeback Girls’ the lo-fi indie pop shines through, with jangly guitars, unassuming instrumental breaks and a naturalistic production that puts the Furs right there in the room with you.” Cambridge Music Review“Retro without being jaded, cute without being cliched what The Crystal Furs do so well – and demonstrate deeply on both tracks in this release – is as we’ve said pair light, sparkling and downright danceable melodies with dark-hearted lyrics emerging from shadowy inner worlds and harder lived experiences.” Popoptica 1. Winter Stars 2. Charlatan 3. Miss Hughes 4. California Misses You 5. Stay With Me 6. Mr Moses 7. Rose-Colored Glasses 8. We Never Sang 9. Please Fade Away10. Girl in the Background

In Memory of Chris Broderick of the Singing Loins, who passed away earlier this year. We proudly present a vinyl reissue of this Medway folk classic! A re-issue of one of our favourite early releases and a rather overlooked classic album, a one off collaboration between Billy Childish and legendary Medway folkies The Singing Loins. This was recorded in 1993 when Billy was in Thee Headcoats and The Singing Loins were in their first incarnation. The Singing Loins formed in late 1990, a two piece band playing “Authentic raw folk from the Medway Delta”. They were Chris Broderick on vocals/stick and Chris ‘Arfur’ Allen on guitar. They had recorded two classic albums before this both of which were released on Billy’s own Hangman records. The album features a few Childish classics reworked including ‘You Make Me Die’ and ‘Every Bit Of Me’ as well as 4 tracks written by Billy & The Loins especially for this album. TRACKLISTING 1. The Bitter Cup 2. Pocahontas Was Her Name 3. The Hanged Man's Dance 4. You Make Me Die 5. I Don't Like The Man That I Am 6. The Double Axe 7. At The Bridge 8. Every Bit Of Me 9. Somebody Else 10. The Ferry Man (Zeebrugge) 11. One Day You Die 12. Brimfull of Hate 13. Dragging Through This 14. One More Bottle to Drink

This is a limited edition pressing of 500, 140-gram, black vinyl records in deluxe tip-on “old style” jackets. Exquisitely printed on textured, water color paper. Digital download included. Be Earth Now comprises forty minutes of potent poetic recitation by Joanna Macy and Anita Barrows from their seminal translation of Rainer Maria Rilke’s The Book of Hours. Channeled in a spiritual fervor in 1899, The Books of Hours remains a profound and highly prescient body of work. Rilke’s poems illuminate paths of embodied mysticism, passionately express ecological grief, and reveal the exquisite expanses of the human heart. The Book of Hours, and now Be Earth Now, offer a poetic map for navigating the heartbreak, rage, and soaring love that so many of us feel in these ecologically urgent and socially emergent times. Rilke’s poems surge with passion and pain for a world that was already teetering toward peril at the turn of the last century, due to the rapid industrialization of Europe, and humankind’s increasing alienation from nature. This work flowed through Rilke in a torrent with sometimes as many as five or six poems arriving in a single day, each self-complete and with no need for later revision. While truly mystical poetry, Rilke’s musings on spirituality overtly critique fundamentalism and organized religion. Instead, Rilke extolls what he finds sacred in the mundane and conjures a sense of wonder for both the more-than-human-world and simply for existence itself. So, who better to give voice to these mystic treasures than Joanna Macy and Anita Barrows? Not only because of their enchanted translations, but also because these women are unquestionably two of our righteous elders. Macy and Barrows have worked diligently for many decades, through art, activism, education, psychology, and spiritual practice, to bring some balance back to this world. The same world that Rilke pleaded with his God to sustain for “just a few more hours,” so that we might have time to mend our relationship with the natural world, to cherish and connect with what is good and real, and to possibly even learn to “be earth now.” A1 Anita Barrows Recites Selections from Rainer Maria Rilke's 'The Book of Hours' B1 Joanna Macy Recites Selections from Rainer Maria Rilke's 'The Book of Hours'

Within the last ten years the resurgence of sixties Gallic Pop, once known as Ye-Ye music, has escalated beyond an inter-stellar dizzy height. What might have been a waning, embarrassing genre destined for a shelf life/death gathering dust amongst the Eurovisions of yesteryear, the ‘jerk-beat’ psychsploitation records of the latter day French-Disco had soon found new floor space in some of the most credible nightspots in London and Japan.

Without a shadow of doubt, the flagship LP with best odds on becoming a discerning household object was “Histoire de Melody Nelson” by one Serge Gainsbourg. An inimitable, 45-minute concept LP handcrafted by a bass-driven psychedelic rock group and a heaven sent, 1001 piece orchestral and choral symphony. The album left hip hop producers alongside progressive rock aficionados crying out for more and more for years to come. This LP was in a league of its very own… or was it?

The seldom-sung musical arranger for Melody Nelson has become one of the most enigmatic names in French-funk; lorded by many as the “French David Axelrod” Jean-Claude Vannier’s name is the lesser-spotted, tell-tale seal of sample-friendly quality when it comes to crate-digging ‘en Francais’. Suitably, when rumours amongst French record dealers claiming “the band who played Melody Nelson recorded a follow-up lp” became a legend of psychedelic folk-lore. Another unconfirmed rumour about JCV taking the remaining out-takes of the beloved Melody Nelson to create a promo-only experimental rock LP left sample hungry producers and DJs in turmoil…

For those in the know the answers to these mysteries lay flat between the anonymous gatefold sleeve of an undiscovered conceptual album bizarrely entitled “L’Enfant Assassin des Mouches” by a custom-built avant-rock entourage called Insolitudes. The rocking-horse manure treasure hunt began.

So here we have it. The mythical teen-tonic for all those suffering from Melody Nelson withdrawal symptoms. For record collectors looking for that special something, this LP contains the extra-special EVERYTHING. Peruse the following genres: Psychedelic, Classical, Soundtracks, Jazz, Hip Hop, Samples, Avant Garde, Funk. Then place a copy of “L’Enfant Assassin des Mouches” in each section.

History denotes that when ‘our man in Paris’ Msr. Gainsbourg first heard the initial bones of this LP he took his poetic pencil to paper providing bizarre liner notes, thus consummating the most extraordinary concept album of all time. The story “The Child Assassin Of The Flies” was to be included as the only information to grace the LPs highly collectible, concertina gatefold sleeve. The story in full is reproduced in its native-tongue on this very special re-release package. The CD also includes the bonus track “Je M’ Appelle Geraldine”, a beat heavy John Barry-esque track taken from Vannier’s super-rare 7? EP “Point D’Interrogation”.

DJs and Producers such as Jim O’Rourke, Stereolab’s Tim Gane and David Holmes have spent sleepless nights in perusal of original copies of this perfect release and now regard it as ‘One Of The Best’. Recent copies on eBay have commanded ridiculous price-tags, and is now one of the most sought-after articles amongst the vinyl hungry hip-hop community.

CircoLoco Records is proud to announce CircoLoco Records & NEZ Present CLR 002, now on vinyl with cover art designed by TOILETPAPER.

The second release from the collaborative record label project between CircoLoco and Rockstar Games, CircoLoco Records & NEZ Present CLR 002 features three genre-blending tracks from the Chicago-born, LA-based artist and producer, with guests including Detroit master Moodymann, Three 6 Mafia’s Gangsta Boo, and longtime collaborator ScHoolboy Q:

NEZ – “You Wanna?”
NEZ and ScHoolboy Q – “Let’s Get It”
NEZ, Moodymann, and Gangsta Boo – “Freaks”

CircoLoco Records & NEZ Present CLR 002 takes NEZ’s blend of house, hip-hop, R&B, and electro elements are taken to new heights, adding to his illustrious catalog including heavy-hitting house anthems with Felix da Housecat, Theophilus London, 8AE and others, alongside his production work with Rio on tracks like ScHoolboy Q’s “Man of the Year” and A$AP Rocky’s “Lord Pretty Flacko Jodye 2.”

The tracks have made appearances in sets from BBC Radio 1’s Pete Tong and has support from the scene with artists such as Paul Woolford, Myd, Black Coffee, Jamie Jones, Marco Carlo, Joris Voorn, Tim Sweeney, Luke Solomon, and more.

The EP is also featured in Rockstar Games’ Grand Theft Auto Online, with appearances on in-game radio and as a media collectable within the dynamic world of Los Santos. “Freaks” made its debut appearance in the teaser trailer for Los Santos Tuners.

Sounding simultaneously from the past, the present, and the future, the debut album 'MLDE' by Marxist Love Disco Ensemble seeks to eradicate both the trite from disco and the sobriety from political music. Half poetic, half tongue-in-cheek, this stunning compact eight-track album is influenced by Eastern European and Mediterranean 70s disco records. In the words of band member Paolo, ''it was written in response to hearing 'I love America' by Patrick Juvet. The song prompted the question: why does disco, a genre originally created by oppressed minorities, eventually become synonymous with American capitalist excess?" MLDE seeks to break this connection.

Merging disco, post-disco 80s pop, and boogie into the fold, 'MLDE' was recorded using only analogue instruments, giving it warmth and space. Recorded on cassette, ¼ and ½ inch tape, this gives moments of lo-fi abstraction between the beats of an aggressive, tight drum kit. Instruments used for this recording range from saxophone, trumpet, harpsichord, guitar, and rare analogue synthesisers. The bass sound is shaped by early 80s boogie records, whilst the influence of artists such as Hamlet Minassian can be heard in some of MLDE's more driving-disco outings, such as 'Hues of Red'. In the tradition of Soviet vocal group records, which the band has studied, some songs are sung by a vocal quartet in homage to this tradition.

Tracks such as '1905' and 'Brumaire' have a greater pop aesthetic, with Paolo's vocal style on these more pop-driven songs evoking early 80s bands such as Orange Juice and Chas Jankel.

The format and message of pop and disco are commonly viewed just to entertain and move bodies around a dancefloor; however, lyrically, the subjects range from dialectical and historical materialism, class struggle, Marxist theory and praxis, as well as the concept of Marxist disco music.

Adding the icing to the cake, mastering don Joker aka Liam McLean dusted the album with his magic, giving the songs space where the room is needed, as well as the kick and punch demanded by the modern dancefloor.

Yes, this is a press release, and they are always full of hype, but we were blown away when we heard this album, and we hope it enriches you too.

Emotional Rescue completes the Dancefloor Records trilogy with a detour from House to the oft forgotten movement, Freestyle. Shavonne's So, Tell Me, Tell Me is a unique combination of all time-classic, but underground jam too. Emanating out of Hamilton, Ontario the one off project came about when Rose Iovio was introduced to Massimo Rosati. Her voice and tone instantly made the team pitch at their love of the burgeoning Freestyle scene and the raw track was soon formed. Things came together when they fell in to the orbit of Dancefloor's Jeffrey Osbourne. His expanding labels were looking at the new scene via the M-Pire label and under his guidance the record developed and was released in 1989. With 3 versions included here, the breathless vocals of the original Vocal Mix encapsulate Freestyle in essence. Pitched Lovers vocals atop arpeggios, electro-house bass and skipping hats meets breaks-influenced percussion and its all there. Do you smirk or dance For the deeper heads simply flip it for the Trance Mix. Accentuating the bass, added Enigma-style vocal samples and a yearning key line and you have a late night heads down DJ tool. The Dancefloor series ends with the all out Clubhouse Mix. A time capsule in vinyl form, everything is thrown in the mix. Held together with a stepping bass line and stabbing keys and there you have it - things can also end with an E.

Born in Juazeiro, Bahia, Brazil on June 10, 1931 (and 87 years .old at this writing), singer/song writer Joao Gilberto is a living legend of bossa nova. While Antonio Carlos Jobim set the standard for the creation of bossa nova in the mid-’50s (with songs like “The Girl from Ipanema” and “Desafinado”), it was Gilberto who brilliantly reimagined (and, arguably, defined) the genre. The first bossa nova song, titled “Bim-Bom”, was written as Gilberto watched passing
laundresses on the banks of the Sao Francisco River balance loads of clothes on their heads. In 1956 he went to Rio de Janeiro and struck up old acquaintances, most significantly Antonio Carlos Jobim, who was by then working as a composer, producer and arranger with Odeon Records. Jobim was impressed with Gilberto’s new style of guitar playing, and set about finding a suitable song to pitch the style to Odeon management. In 1959 Gilberto presented his first LP, Chega de Saudade. The title song turned into a hit, launching Gilberto’s career and the bossa nova craze. Besides a number of Jobim compositions, the album featured older sambas and popular songs from the 1940s and 1950s, all performed in Gilberto’s distinctive style. This album was followed by two more in 1960 and 1961, by which time the singer featured new songs by a younger generation of performer/composers such as Carlos Lyra and Roberto Menescal.
By 1962, bossa nova had been embraced by North American jazz musicians such as Herbie Mann, Charlie Byrd, and Stan Getz, who invited Gilberto and Jobim to collaborate on what became one of the best-selling jazz albums of all time, Getz/Gilberto. Chega de Saudade was issued in the United States as The Warm World of Jo o Gilberto.

Right On Time - Trojan Rock Steady is the 2nd part of the exclusive Music On Vinyl’s Trojan compilation series, which celebrates the best works from the legendary reggae label Trojan Records. It was compiled by Laurence Cane-Honeysett, who also wrote the linernotes. Some of Trojan’s finest are featured on this compilation; as there are The Gladiators, The Melodians, The Gladiators, Ken Boothe a.o.

SO, it all started with a conversation with Mark GV Taylor of Reference Point: ‘Do you know anyone who has a Grady Tate 7” ‘Lady Love’ promo single in decent condition for sale?’ It’s the song penned by Jon Lucien.
Sometime after our conversation the man himself, Gilles Peterson then dropped it as his last record in his Boiler Room x Dommune x Technics: A celebration of 50 years of the SL-1200 set and so it snowballed from there. We did some research and found out that to try and find this promotional track in form of good condition was as rare as rocking horse poo!
So here we now are, with Diplomats of Soul & Expansion Records proud to announce the first official release (from the actual master tapes) of the Grady Tate cover of the Jon Lucien classic ‘Lady Love’ with the in demand, first time 7” release of ‘Moondance’ as the B side!!
Why this never got an official release back in 1974 nobody seems to know and we will not attempt to describe this version as no words can really do it justice, if you have not heard it then once you do you will understand why we are so excited!!

Taken from Dilla's 2001 BBE Music debut solo album Welcome 2 Detroit, 'Big Booty Express' gets the remix treatment from German duo Âme, Parisian Pépé Bradock and London's Coda Deep. Alongside the OG version these new productions add up to a six track exploration of Dilla's tribute to Detroit's melding of the Motor City's Black music heritage with Kraftwerk's experimental Euroelectro. Contributing two mixes to the EP, Parisian producer Pépé Bradock AKA Julien Auger first forays into music were after learning guitar as a 14 year old and playing with various Jazz-Funk bands. At this time he also started DJing with Hip-Hop bands and turning his hand to producing their tracks. As the 90s progressed he also discovered Techno and House music. His musical influences range from Jazz to Dub Reggae and he has remixed for Blaze, Cassius and Alex Gopher among others. Also providing a remix of Big Booty Express is the German production duo of Frank Wiedemann and Kristian Beyer who work together under the name of Âme. After first meeting in Kristian's record shop in their home town of Karlsruhe and bonding over a shared love of Chicago House and Detroit Techno the pair started working together and producing records for Sonar Kollektiv in 2003. The final two remixes on the Big Booty Express EP and only included on the digital package come from the Londoner Coda Deep. Influenced by avant-garde Electronica, Nu Wave and African Tribal sounds, he is a DJ and producer playing deep and melodic Tech and Techno and will also be known to music fans for his 2019 BBE release 'The Running of the Bulls'. This EP of remixes sits very well alongside the catalogue of J Dilla releases on BBE Music and adds to the rich heritage of innovative beat making and music production that we can associate with Dilla and those he worked with.

Say ZuZu is an Americana rock band from New Hampshire - Originally
formed in 1991,Say ZuZu recorded and released nine full-length albums
before disbanding in 2003 and reuniting in 2019
The band's first release on Strolling Bones Records is Here Again: A Retrospective
(1994-2002) and includes highlights from the group's five studio albums recorded
during its touring heyday. A new studio record from the band is scheduled for
release in October 2022 on Strolling Bones Records. 'For those who haven't met
our music before, these are highlights from five records released between
1994-2002. The songs focus on the large internal lives of people in small mill
towns like ours. This record also chronicles a decade of growth from a fiercely
independent, self-produced New Hampshire band that flew under the radar during
the heyday of the 1990s alt- country movement. The title of the record, "Here
Again", is inspired by a song from our 1994 self-titled record. We've always sought
to write songs that hold up, personal songs that are durable and can stand on
their own in a variety of arrangements. "Here Again" is one of those songs. It's
also a fitting title for a record that's an opening salvo from a recently reunited
band with its first new studio record forthcoming in Fall of '22.' Here Again is set
for release on February 25, 2022 via Strolling Bones Records.

Dark-folk songwriter Chantal Acda and beyond drums-percussion musician extraordinaire Eric Thielemans propose a new score for Koyaanisqatsi, re-actualising the incredibly beautiful, raw, rhythmic and touching images of this 80-ties cinematographic masterpiece. Slow deep electric waves, lonely synths in sonic desert landscapes, rhythmic pulses, transporting drums and bells, and deeply longing sounds and voices make up the audible fundamentals of this imagined, neo shamanic, ritualistic music to accompany the Earth as it keeps on supporting our post human frenetics even today. This release contains a selection of the musical material scored for a live performance together with the screening of the movie. The live performance premiered on Film Festival Gent and Vooruit in the fall of 2022.

Currently based in Belgium, Dutch-born Chantal Acda (b. 1978) has worked under the Sleepingdog moniker since 2006, making three acclaimed albums that closed on the 'With Our Heads in the Clouds and Our Hearts in the Fields' (2010) album for which she collaborated with Adam Wiltzie (Stars of the Lid, A Winged Victory For The Sullen). They toured the UK and Benelux with Low in 2011. After all this, it was time for her first real solo record. Playing in various formations (Isbells, True Bypass, Marble Sounds) had made her conscious of the patterns that we all, as humans, share in. So, she sought out kindred spirits with whom she might record an album filled with freedom and intensity, and who were conscious of the patterns we so often fall back on. Nils Frahm was the first of these to cross her path. The inventive German pianist and producer is an intense and adventurous performer and was a perfect match for it. Acda also experienced a direct bond with Peter Broderick, a multi-instrumentalist known from his solo work (on labels such as Bella Union and Erased Tapes) and from his work with, among others, Efterklang. Cellist extraordinaire Gyda Valtysdottir from Icelandic group Múm had previously worked with Chantal as a member of the Sleepingdog live band. And lastly, Shahzad Ismaily stumbled into this picture by chance, but when Acda and he found themselves in the same room they formed an instant rapport. After this first record, 3 other solorecords followed. Chantal kept on searching for a deeper connection with the outside world and recorded "The Sparkle In Our Flaws" (2015) and "Bounce Back" (2017). She also released some live recordings with her band and also Bill Frisell, a highly respected jazz guitarist.(2018). These records were released on the German label Glitterhouse. Chantal and her band toured with these records in Europe. In 2019 Chantal created her first music/theatre performance P_wawau for Oerol Festival, The Netherlands. She worked with Valgeir Sigurdson (Björk, Bonnie Prince Billy,...) and singers from Het Nederlands Kamerkoor. As a result of this, she released the recorded music: Puwawau (2019). In 2021 Chantal released her most recent album Saturday Moon. (2021) For this album she worked with her band (Eric Thielemans, Alan Gevaert, Gaetan Vandewoude and Niels Van Heertum) but also with Bill Frisell, Shahzad Ismaily and Mimi and Alan Sparhawk (Low). Saturday Moon was very well received, internationally, by the press.

Eric Thielemans is a drummer and percussionist. Travelling across music scenes and disciplines, Thielemans navigates by means of his own compass. Most known for his resonant solo works like a Snare is a Bell, Sprang, Aural Mist and Bata Baba Loka and many collaborations with musicians in the experimental music scene, as well as the Jazz scene, and indie folk/pop/rock scenes Thielemans keeps on pushing the borders and expanding conscious aural spaces and territories. Recently, Thielemans has collaborated with PVT - a trio together with Mika Vainio & Charlemagne Palestine (album released April 2020) , PAT - a new trio together with Oren Ambarchi and Charlemagne Palestine, A new duo together with Oren Ambarchi, Billy Hart ("Talking about the Weather"), Chantal Acda ("The Sparkle in our Flaws", "Bounce Back", "Puwawau", "Saturday Moon"), Marshall Allen (Sun Ra), Tape Cuts Tape, Distance Light & Sky, Jozef Dumoulin, Trevor Dunn, Shahzad Ismaily, Vaast Colson, Nico Dockx, and many more. Currently Thielemans is working on r-e-s-o-n-a-n-c-e , a culminative work that encompasses and brings to the surface the underlying currents within his life in and with music. Withing r-e-s-o-n-a-n-c-e he investigates the everyday magic through conversations, writing and score writing to invite as many souls as possible to experience and co create the magic in the everyday.

Saib is the prolific producer and guitarist whose insatiable desire to create comes from his childhood: passionate about Bossa Nova, Japanese Anime Soundtracks, Jazz as well as old school Hip-Hop, he draws his inspiration from composers and musicians such as Yoko Kanno, Joe Pass and Nujabes. Bathing in the cosmopolitan culture of Casablanca, a melting pot at the crossroads of the two African and European continents. This diversity is a constant in his music, where groove and melody are skillfully mixed in a style inspired by the classic hip-hop productions of the 90s. Hip Hop beats form the backbone of Saib’s musical palette, as his style skips from Jazz flavors to lounge experiments and to upbeat four on the floor grooves ... and sometimes within a single track.

Saib’s hyper-productivity has allowed him to release, over the last five years, seven albums and more than a dozen EPs and singles, including releases on labels such as Chillhop Music, Cold Busted, Majestic Casual and Blue Note Records. Saib’s tracks are a regular fixture on Editorial Playlists including Spotify’s “Jazz Vibes” (2 million Likes) and “lofi beats” and have accumulated more than 500 million plays on streaming platforms.

Saib’s new LP, “Unwind” maintains the stupendous head-nodding grooviness that listeners have come to love from the young producer with a healthy added dose of Tropical and Lounge/Bossa-jazz influence. Album and single artwork done by star-Moroccan photographer Ismail Zaidy (IG: @l4artiste) who has seen his work featured in GQ Middle East, Art Basel, BASE Milano, Vogue Arabia, and has done partnerships with The Sims and Adobe. LP design work done by Jakarta label mainstay, Robert Winter. “Unwind” also includes features by Rotterdam’s ØDYSSEE and legendary Hip-Hop MC Masta Ace. Jakarta is ecstatic to share such a career-defining work, arriving digitally and physically September 16th, 2022.

The albums 1st single, “Mushroom Samba” arrives Wednesday, June 29th along with the vinyl pre-order announcement. The track is deliciously groovy, and is a perfect example of the kind of sunny, jubilant grooves to be encountered on the LP. Saib takes the lofi-expertise he’s become known for since his 2015 debut and brings a freshness to the beat-genre. The song is perfect for the onset of summer and will have you humming along to the brass refrain by the songs end.

2nd single, “Pennywise,” will be released July 13 and features legendary Hip-Hop MC Masta Ace on the album’s only vocal track. The track is a surefire splash of hip-hop that’s both nostalgic and forward-moving. Ace sounds as fresh as ever, flowing over a head-bobbing beat with lush, tropical guitar inflections. While the beat brings to mind sandy shores and sun rays, Ace’s two verses invoke skyscrapers and boomboxes, making “Pennywise” a perfect track for your summer hip-hop fix.

Saib’s 3rd single is the stunning, swirling, and utterly smooth “Cosmic Dust” with Rotterdam producer ØDYSSEE arriving August 10. Keeping with the tropical essence, the track comes and goes like waves on a beach. Soft sounds flow like water before the drums and bass wash in, building to a saxophone and piano heavy crescendo. Like the tide, the beat recedes and the track ends as gently as it began, leaving you wanting to hear it all again.

Single 4, the moody “Suave” arrives August 24 and is bossa nova at its core. What starts off with a familiar Brazilian groove quickly takes a hip-hop turn, with a smooth bass drop and crisp drums layered over bossa nova keystrokes. Warm / timeless saxophone punctuate the track, providing a mellow break between basslines and closing out the end. “Suave” is a sunny and soul-soothing fusion of bossa nova, jazz, and hip-hop, perfect for closing out the summer with.

“Unwind” is a project steeped in the beats that keep you moving and grooving but with a sonic and visual aesthetic palette that goes deeper and groovier than the surface level lo-fi artists that have proliferated in the last 5 years. Ranging from FloFilz and eevee imbued vibrations to Jonwayne-styled beats, Saib brings forth a sonic spa session that invokes a state of calm that leaves you an uplifting and energetic plateau. Dig it.

The ground- breaking, unique jazz/R&B/pop group Brian Auger & The Trinity were formed from the ashes of Long John Baldry’s and Brian Auger’s previous group bandThe Steampacket, an R&B Revue collective, which also featured a then barely known Rod Stewart and Julie Driscoll.

Adding the UKs then greatest soul/pop singer Julie Driscoll to this new collective meant that not only did the band have a unique, beautiful voice and face to front the group – Driscoll also embodied everything about the 1960s fashionable It Girl; her sound, her clothes, hair styles and make up assured that nearly as many column inches were dedicated to her stylish demeanour as much as the band’s genre bending music.

The group were the one of the first too to intentionally set out to break down musical barriers – Brian himself specifically stated in the sleeve notes for 1968s ‘Definitely What!’ album that his concept “lies along a straight line drawn between pop and jazz and aims at the ‘fusion’ of both elements”. ‘Fusion’ at that time was not even a recognised musical term, reinforcing Auger’s credentials as an originator and innovator.

“Back then the jazz audiences were purists. They really looked down on rock and pop,” he explains. “I had people cross the road when they saw me coming, I was persona non grata at Ronnie Scotts because of themusic we were doing and the clothes we were wearing”.

Happily – audiences of the time didn’t take the same dismissive approach, Julie Driscoll, Brian Auger & The Trinity toured the US and had exploded onto American TV screens as guests of The Monkees, and also scored hits across Europe's pop charts via the singles ‘This Wheels On Fire’ & ‘Save Me’ – but simultaneously appeared on the UK’s ‘Top Of The Pops’ in the same month as headlining major European Jazz Festivals – a feat no other act has equalled since.

Between 1967 and ’70, Brian Auger experienced a four year run of unprecedented creativity – 1967’s Open with Julie Driscoll, 1968’s Definitely What!, 1969’s Streetnoise again with Driscoll and 1970’s Befour – taking the Hammond Organ in new directions with their thrilling fusion of club R&B, jazz and psychedelic cool, engaging both the underground and the mainstream, and bringing the group chart success in the UK and Europe. “I look back on my years with The Trinity as aperiod of discovery,” Auger concludes. “I didn’t know what would happen or where it would take me but we were breaking down barriers and going someplace new.”


King Britt “The Multi-Genre Maestro, Brian Auger is every producer and DJ’s secret weapon. A hero who deserves his flower now”

DJ Format “I have more Brian Auger records in my collection than any other British artist, which says more about my love of his music than words ever could"


FOR FANS OF:
Jimmy Smith, Aretha Franklin, The Spencer Davis
Group, Nina Simone, Georgie Fame, Traffic. Sly &
The Family Stone, Jimmy McGriff.

R.M.F.C. returns in 2022 with a brand new
single from the much-anticipated,
forthcoming LP, due early 2023.
“Access” is a short, sharp, straight to the
point piece that combines an anarcho
marching beat and Devo-style guitar riff
that leads into the driving rhythm section
R.M.F.C. is known and loved for. With the
permanent addition of 12-string guitar to
the band; it’s fuller, thicker and janglier
than ever before, but still retains the
R.M.F.C. sound. Formerly based in Ulladulla, and now
relocated to Sydney, R.M.F.C. is the baby of 21
year-old Buz Clatworthy, who writes and
performs all the groups recorded output
himself from his home studio (still based in
Ulladulla). Following up in the footsteps of
2020’s “Reader” 7”, R.M.F.C.’s sound has
grown as quickly as Buz has. Giant strides
forward since the first cassette, “Hive”, was
released in 2018 - and “Access” is only
further proof of this.
On the flip side we have a phenomenal cover
originally by The Lillettes, a UK based post
punk band that wrote this great tune “Air
Conditioning” in 1981.
These two ripping tracks complete the brand new R.M.F.C. 7”. “Access” is out
NOW via Anti Fade Records - stay tuned for the LP early next year!

This album presents two multichannel works recorded at the seminal INA GRM Studio in Paris and ZKM Institute in Karlsruhe respectively, mixed to stereo at the composer's Cellule 75 Studio in Hamburg with excellent mastering by Rashad Becker. While his releases under the Black To Comm moniker often touched the fringes of acousmatic techniques and Musique Concrete this is Richter's first foray into a more abstract spatial music.

Recorded in the week leading up to the Paris terror attacks at the GRM studio, "Diode, Triode" (21:57) is loosely based on a reading of (and, in parts, a failure to understand) "Le Parasite" (1980) by Michel Serres, a philosophic metaphor about human interaction and communication (which can also be interpreted as a lyrical essay on capitalism; part confusion, part enlightenment).

As core elements Richter is using speech synthesis and the transformation and distortion of concrete sounds, instruments, voices and breathing. Abstract incognisable sounds are combined with strings, reeds and percussion while dismembered musical fragments emerge and vanish rapidly. Chunks of interfering noise are followed by long periods of silence; chaos and order are alternating. Choirs of synthetic and processed human voices are recounting stock market values, seemingly random sequences of numbers and inscrutable lyrics while parasitic sounds are trying to crack, collapse and fractionise the compositional stream and sonic interactions. Finally, a haunting piano chord is wrestling with a broken Publison machine. Like the book, it's part confusing, part enlightening - and a radical piece of sonic art.

"We are buried within ourselves; we send out signals, gestures, and sounds indefinitely and uselessly. No one listens to anyone else. Everyone speaks; no one hears; direct or reciprocal communication is blocked." (Le Parasite)

"Diode, Triode" was premiered on the Acousmonium at INA GRM's Akousma Festival in Paris, January 22, 2016 alongside new works by François Bayle, Robert Hampson, Leo Kupper and Ragnar Grippe.

The second piece "Spiral Organ of Corti" (17:00) has been composed in 2014 for the 47-speaker Klangdom concert hall at ZKM Karlsruhe at the foot of the Black Forest (where Richter was born and raised).

How does one listen with closed ears? Sine tones, alienated human voices and breathing noises build a labyrinthine puzzle alternating between the natural and the artificial. Human sounds merge with winds and strings, sine tones morph into metal sounds. Acoustic illusions confuse the listener, and dense noise-clouds slowly emerge from deceptive silence. Deep base sounds define space. Temporary focus glides into chaos. "Spiral Organ of Corti" is yet another extended composition that proves Richter is on a path of his very own.

"Spiral Organ of Corti" is dedicated to the late Gary Todd.

"Tongues that came from wind and noise. To speak in tongues after the fire." (Le Parasite)

Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and under the Mouchoir Ètanche and Jemh Circs monikers for his own Cellule 75 imprint. He collaborated with visual artists such as Ho Tzu Nyen, Jan van Hasselt and Mike Kelley. Under his own name he is composing for film and installations.

“Pure psychotropic madness.” A screaming head on fire penetrated my chest, jolting me from the universal plane back to earth.” Guitarist/Singer/Sonic Alchemist Dave W’s vivid fever dream ignited The Revenge of Heads on Fire, WHITE HILLS’ latest release, which harnesses the energy of ferocious, hedonistic rock with blissful passages of dark ambience. Exploring themes of mortality, transformation and rebirth, the band reveals a spiritual depth unparalleled in previous works. The roar of fire, swirling of oceans and hallucinogenic visions can be heard throughout the 75-minute journey. From the intrepid prelude “The Instrumental Head” to the closing punk blaze of “Eternity”, the album ebbs and flows, smouldering and seething in the middle with the 21- minute mammoth opus “Don’t Be Afraid”. “’Don't Be Afraid’ alone makes this an essential listen for fans of contemporary psychedelia.” -All Music The Revenge of Heads on Fire consummates Dave W’s prototype for the 2007 release on Rocket Recordings, Heads on Fire, later picked up by Thrill Jockey. Six rediscovered songs accompany re-mixed versions of the original material, fulfilling the master arch of the pyre lit long ago. Recorded during the band’s tumultuous early years, the music vibrates with the energy and volatility of a sonic boom. The album will be released on Heads on Fire Industries, distributed worldwide via Cargo Records.

“Pure psychotropic madness.” A screaming head on fire penetrated my chest, jolting me from the universal plane back to earth.” Guitarist/Singer/Sonic Alchemist Dave W’s vivid fever dream ignited The Revenge of Heads on Fire, WHITE HILLS’ latest release, which harnesses the energy of ferocious, hedonistic rock with blissful passages of dark ambience. Exploring themes of mortality, transformation and rebirth, the band reveals a spiritual depth unparalleled in previous works. The roar of fire, swirling of oceans and hallucinogenic visions can be heard throughout the 75-minute journey. From the intrepid prelude “The Instrumental Head” to the closing punk blaze of “Eternity”, the album ebbs and flows, smouldering and seething in the middle with the 21- minute mammoth opus “Don’t Be Afraid”. “’Don't Be Afraid’ alone makes this an essential listen for fans of contemporary psychedelia.” -All Music The Revenge of Heads on Fire consummates Dave W’s prototype for the 2007 release on Rocket Recordings, Heads on Fire, later picked up by Thrill Jockey. Six rediscovered songs accompany re-mixed versions of the original material, fulfilling the master arch of the pyre lit long ago. Recorded during the band’s tumultuous early years, the music vibrates with the energy and volatility of a sonic boom. The album will be released on Heads on Fire Industries, distributed worldwide via Cargo Records.

Gazelle Twin, Lali Puna, This Mortal Coil, Slow Walkers, Atlas Sound, Bowery Electric, Broadcast Press Release: Snakeskin is an album of visionary electronic dream pop, shapeshifting above ambient and industrial undercurrents. It is moody, unsettling, luminous – the culmination of a decade of collaboration and friendship between Lebanese producer/musician/ engineer Fadi Tabbal and singer-songwriter Julia Sabra from Beirut-based indie trio Postcards. The duo began working on Snakeskin in the aftermath of the August 2020 Beirut port explosion, which killed at least 218 people, injured 7,000, and left over 300,000 people homeless. Indeed, Julia's home was destroyed by the explosion and her partner and bandmate Pascal badly injured. The first song that they wrote together afterwards was 'Roots', which closes out the album and was composed for the Ruptured-curated series The Drone Sessions in the fall of 2020. Snakeskin utilizes tape loops, synthesizers, vocals, and drum machines, combining Julia’s pop-inspired melodies and choral roots (an echo from her religious upbringing) with Fadi’s affinity for minimalism and musique concrète. The album seamlessly incorporates the melancholy electro-pop of 'All The Birds', the quiet menace of 'In Our Garden' (long-lost treasures, ancient lies / another buried paradise), and the beat-driven 'Signs'. The title track sums up their frame of mind, beginning as a lullaby and evolving into a glittering tapestry of distortion and feedback. As the artists write, Snakeskin is a product of "the disappearance of life as we know it, and with it the decay of nature and living creatures. There is no rebirth, no renewal. It’s about what it means to feel at home in such a place." Some tracks were also inspired by events happening in the surrounding region, such as the invasion of Armenia by Azerbaijan and the Palestinian uprising of May 2021 in Sheikh Jarrah - both events shedding light on relationships to home and land across the wider region. That such compelling art can emerge from unceasing tragedy may be the ultimate testament to human resilience and the pursuit of freedom and justice. "The moon speaks in tongues we can't discern / A plastic dove hangs from a cypress branch / Haven't you heard? / Nothing grows here anymore / The air is burnt / Nothing grows..." Highlights: – This is the second volume in the Corrosion Series, a collaborative effort by Beacon Sound and Ruptured, and the sixth collaboration between the two labels. – Fadi used samples of Julia's voice on his fifth solo album Subject to Potential Errors and Distortions (2020, Beacon Sound/Ruptured) – The Tunefork Studios team, led by Fadi, administered the Beirut Musician's Fund after the port explosion, as covered by Pitchfork, NME, and the Financial Times. – Julia's band Postcards released their third full-length album After The Fire, Before The End on Berlin label T3 Records in 2021 and are currently touring Europe. Credits: All music composed, performed and produced by Julia Sabra and Fadi Tabbal between November 2020 and December 2022. Lyrics by Julia Sabra. Drum samples by Pascal Semerdjian. Recorded by Fadi Tabbal, mixed by Sary Moussa and Fadi Tabbal at Tunefork Studios, Beirut. Cover photo by Lujain Jo. Design by Josette 'ZOoz' Khalil. Mastered by Rashad Becker. Bios: Julia Sabra is a Lebanese musician, songwriter and composer. She co-founded acclaimed Lebanese dream-pop outfit Postcards in 2013 and is the band’s multi-instrumentalist, lead singer and lyricist. Postcards have released two EPs (2013, 2015) and three albums (2018, 2020, 2021) and have been regularly touring Europe and the Middle East since 2015. She has been the manager of Tunefork Studios since 2017. Lebanese musician, producer, and sound engineer Fadi Tabbal’s work consist of minimalist pieces ranging from ambient and electronic to drone and contemporary classical. He has released six solo albums and has collaborated with various musicians, artists and filmmakers through the years. Often referred to as “the hardest-working person in Lebanon’s alternative music scene”, Tabbal established Tunefork Studios, a collective of producers, engineers and musicians, which has helped shape Beirut's contemporary music scene since 2006.

Roman Flügel’s pioneering Tracks On Delivery series returns for a new EP on Rekids.

In the early 00’s, Roman Flugel’s ‘Tracks On Delivery’ releases saw the producer put out four records on Ongaku Music that helped defined an era of oddball minimal techno. Returning to the concept in 2022, the Frankfurt-based electronic music luminary delivers four idiosyncratic techno tracks for Radio Slave’s imprint.

Active since the 90s, Flügel has been at the forefront of electronic music for decades. Founding the labels Ongaku, Klang Elektronik, and Playhouse, Flügel also boasts a storied discography across labels such as Running Back, ESP Institute, Dial and many more, as well as having contributed to both Live at Robert Johnson and fabric’s iconic mix series.

Never Before Released! Vinyl Only! Captured at the height of their powers during the heyday of the grunge movement that they inspired, J Mascis and Dinosaur Jr perform tracks from their back catalogue live on MTV’s 120 Minutes show. Loud and heavy as ever, the band turn in an inspired performance, which has since become a legendary favourite among fans. Never officially released until now, and produced in association with MTV and the band, ‘Seventytwohundredseconds’ is the latest in our ongoing extensive exploration of Dinosaur Jr’s brilliant Sire Records period. A must-hear glimpse of one of the treasures from the rich seam of American alternative rock and grunge artists who reinvigorated guitar-orientated music in the late 1980s and 1990s.

"Kontakt Audio and Infinite Fog Productions proudly present the 25-th anniversary reissue of the one of most unique albums on avantgarde/neoclassic music – Ihor Tsymbrovsky – Come, Angel.

Recorded in 1995 in Ukraine and released in 1996 just as a small run on cassette on Polish label Koka Records, the album without any promotion little by little became legendary and madly wanted by many fans all around the world. And from the first seconds, you can hear why it is so. Pretty hard to explain what songs play Ihor, moreover that would be senseless. “Come, Angel” is one of those albums which are so unique that takes you in a vacuum of verbal forms in an attempt to describe the record. In a few words, this is definitely very intimate and deeply emotional music with an absolutely incredible voice. The first associations could forward you to Antony Hegarty from Antony And The Johnsons, Marc Almond, Arthur Russell, Baby Dee, Bjork. Experienced listener familiar with these great artist knows that all of them are inimitable and Ihor Tsymbrovsky is totally inimitable as well.

In 2016 well-known German label Offen Music published 3 tracks from the album “Come, Angel” which brought a lot of attention to Ihor’s music. This time we’re excited to announce the first full album reissue on CD, Double vinyl, and tapes. Beside the full version of the album, you’ll find an exclusive bonus song from the cult compilation “Music The World Does Not See” – Nefryt Records 2000.

~

“For me, music is a certain way of cultural survival. Here I do not set myself theoretical problems or experiments.
The connotations of life are important: rhythms, melodies, their connection with language, poetry, real life, virtual or imaginary space. It is very important to me how the recitation of work sounds, how consonant and vowel sounds dissolve in singing, how they combine musically. I understand sound space as a field of my interpretations, preferences, priorities, and I do not use direct imitation. If I hear a melody or a musical phrase, and it is fixed in my memory, later I extract it in my own interpretation, as already formed by this field. In art, the goal is in the work itself, not outside it. For me, the expression “To be is to create a new reality” is another winged reality.” – Ihor Tsymbrovsky

~~

“Tsymbrovsky – an architect, musician, a poet, an artist; one of the most underestimated musicians in Ukraine’s artistic world. Many critics pulled their hair out trying to get to the bottom of Tsymbrovsky’s music. It has been inspired by jazz, minimal, modern, ethnic, and meditation music. Tsymbrovsky is not a virtuoso, however, he creates whole worlds with his astonishing falsetto. Although Cymbrovsky’s music is simple it is made of many elements. Filled with magic and unusual sensitivity and warmth it can be therapeutic for the listener. This is that kind of music, which can be listened to many times – in a different way each time.” – Koka Records.

~~~

“Igor Tsymbrovsky’s only album “Come Angel” (1995) still remains perhaps the most bizarre phenomenon in Ukrainian music since independence. The story of its author is a vivid example of cultural amnesia. In the pre-Internet era, Tsymbrovsky was a prominent figure in the Ukrainian underground, performed on the “Red Route”, went on tour in Germany. However, he left a minimum of evidence of his activity and became a silent legend for a few. We talked to Igor to find out where he came from and where he was going.

The album “Come Angel” is eight compositions performed with a falsetto to the accompaniment of a piano. (Tsymbrovsky’s falsetto is a legacy of the Lviv Dudaryk choir, where he sang as a child.) It would seem that it could be easier. But, despite such ascetic tools, Tsymbrovsky managed to create a phenomenon unique to Ukrainian culture. Some people compare him to Benjamin Clementine and Anthony Hegarty, but no comparison will be exhaustive. The lyrics of the songs attract special attention: two of them were written by Tsymbrovsky himself, the others demonstrate his remarkable literary knowledge. Here and Guillaume Apollinaire, and Mikhaijl Semenko, and even less obvious poets, such as Mykola Vorobyov or Jozsef Attila.

The young performer’s first performance took place in 1987 in the club of the Forestry Institute. It is quite symbolic that this room used to be a Jesuit church because such a chamber environment suits his songs about angels much better than the noise of big festivals. However, there were also many festivals in Tsymbrovsky’s career: in 1989, Chorna Rada and Chervona Ruta, in 1991, Kharkiv’s Nova Scena and Ukrainian Nights in Gdansk, Alternativa in Lviv. Ihor calls his first performances musical performances and notes that they sounded completely different. Unfortunately, we will never know exactly how.” – Amnesia

~~~~

“The magicians at Dusseldorf’s Offen Music pluck a madly beguiling pearl of late-night songcraft by Ukraine’s Ihor Tsymbrovsky to follow their vital releases by Toresch and Rex Ilusivii. Come Angel was first recorded in Lviv, Ukraine, in 1995, and issued on cassette by Poland’s Koka Records in 1996. There appears to be no prior mention of the release or artist on the internet and quite how it came into of Offen Music possession is not disclosed, and that only ratchets the record’s enigma to astonishing degrees once you’ve heard the music. In a quivering, high register, androgynous trill, Ihor Tsymbrovsky beckons heavenly beings in the remarkable A-side Come, Angel against a swirling backdrop of phasing, subtly delayed organ. It was recorded in one take (this is the 2nd version), and, if we’re not mistaken, you can hear the keys being pressed rhythmically in the background, which seems to be the song’s only tangible connection to this mortal world as Ihor vaults octaves high and close-in-the-mix with the sort of alien, dreamlike vocal that requires pinching oneself to make sure you’re awake. Spellbinding is definitely the word. On the other side he (we’re assured it is a ‘he’ in the promo text) sets two poems by Mykola Vorobyov and Mykhal Semenko, respectively, to emphatic piano keys, this time more shy of FX save for some delay, placing that willowing, avian vocal at a dreamy arms reach in Roses for the Poet, and with a sort of liturgical dark jazz feel, sorta like Lewis repenting his sins as a castrato monk, in the spare atmosphere in By the Sea. This is gold-seal business, we tell ya. Clock the clips and clear some swooning room.” – Boomkat

credits:
Music By – Ihor Tsymbrovsky
Lyrics By: Ihor Tsymbrovsky (tracks: C2, D1)
Atilla Joszef (tracks: B1)
Mychajl Semenko (tracks: B2, C1,C3, D2)
Mykoła Worobjow (tracks: A1,A2)
Engineer – Edward Hryhorjew
Remastering – Ihor Tsymbrovsky"

Synthetic Music From Yugoslavia 1980-1989

"The galloping technical progress in the second half of the last century dominated all spheres of daily life, art and culture. In the music industry machines took over the role of classical instruments and did not stop at RnR, punk nor industrial music. No one could resist the challenge, but also the prevailing trends in the 80s. The music industry was influenced by the electronic virus globally, not sparing even the remotest corners of the planet, producing bands like Depeche Mode, New Order, Soft Cell or lesser known ones like Liquid Liquid, Section 25, The Wake as well as the pioneers of the electronic music Silver Apples, Pierre Henry,etc .
What was going on in the music industry of former Yugoslavia and at Jugoton, the biggest YU music label at that time? The all over answer is given by a new release of Everland Music: Electronic Jugoton - Synthetic music from Yugoslavia 1964. - 1989. Vol. 1

Electronic Jugoton is the first part of two double albums, where the second part will even go back to pre-electronic music from 1964. Both double albums were initially released by Croatia Records (ex-Jugoton) in 2014 on a 2CD set with no less than two and a half hours of material (47 songs, 35 performers), showing the contemporary trend of Jugoton at that time towards avant-garde and provocative directions in electronic music. This untimely compilation is released for the first time on vinyl now on two double LPs, housed in gatefold sleeves by Everland Music, where part 2 will be released in 2023.
The brave and insightful creators of the compilation Electronic Jugoton, veteran crate diggers Višeslav Laboš and Zeljko Luketić, have excelled at reconstructing the musical past of electronic music in Yugoslavia from 1964 – 1989. Jugoton's extensive research included the most exciting and progressive moments of pop and disco music, early rap, electronic responses of new wave, RnR, post punk and industrial bands to the current trend of the 80s, but also pioneers of avant-garde electronic music.

Electronic Jugoton part 1 is officially opened by the band Laboratorija with the song Devica 69, which opens a window to a completely new and experimental world in former Yugoslavia.Laboš and Luketić have boldly chosen the material without reservations, suggesting that for the first time in one place we have a section of forgotten, unique underground bands like Beograd, Data, Brazil, The Master Scratch band, DU DU A and beyond.
Besides the excellent underground bands, we find popular performers of the time performing less well-known songs: Denis & Denis, Oliver Mandić, Slađana & Neutral Design.

Electronic Jugoton part 2 is partly dedicated to unique electronic music in the performance of important Yugoslav punk, new wave, RnR and industrial bands: Zana, Pekinška patka, Električni orgazam and Borghesia, while the second part of the material is focused on avant-garde early electronic music in Yugoslavia, where the works of composers Igor Savin, Branimir Sakac, Igor Kuljerić and Miroslav Miletić were presented. Luketić and Laboš rescued the obscure electronic tune Elektra by Zdenka Kovačiček, who was at that time Jugoslovska Soul and funk diva.

The uniqueness and quality of this compilation are also audio stories for children, which were extremely fertile ground for an experimentation with electronic sounds, as they should be highly imaginative to attract the attention of the childrens. Electronic Jugoton is also the first compilation in which the listener will find fragments of interviews with actors from the time gave for Jugoton Express. This was a series of promo vinyls printed in extremely small quantities in the 80's and intended to be exclusively for radio stations. An average of 30 minutes of promotion material and interviews with musicians were available for the first time through this compilation.

The value of this compilation is time and priceless. The only question is whether you will be fast enough to catch your copy of the limited double vinyl editions!"

Another Boogie-Funk records repress for the 1st time. Recorded in Lagos, Nigeria in 1982. Features the great Nkono Teles on clavinet and electric piano and Jojo Kuo, drummer who played with Manu Dibango and Fela Kuti among others.

David Versace is an Australian multi-genre keyboardist, composer and producer based in Meanjin, Queensland. Growing up in a very musical household it was always important to express and embrace all types of music and sonics. His sound ranges from Jazz and Samba to ambient works and the odd dance-floor heater. David also plays in Meanjin nu-jazz dance outfit First Beige.

Since late 2019, he has self released around 20 different tracks and with the most recent signing to La Sape Records David is excited to announce his debut solo album 'Okra' a conceptual body of work that flows through a culmination of raw organic concepts conceived by In The Moment, and his most elegant & articulated work yet.

LP with Digital Download Card

"Honestly, this album from Sam Redmore is having it" - Craig Charles

"Very clever. Very Nice." – Fatboy Slim

"Totally loving this. It's been on repeat since I heard it." – Nemone

"Amazing. Where can I get all your stuff?" - Jazzy Jeff

Having established himself first as a DJ and then as a remixer, Sam Redmore is now very much making himself known as an original producer of quality global grooves that can light up any dancefloor, carnival or party.

After garnering early support for his remixes from the likes of Gilles Peterson, Quantic, Nightmares On Wax, The Nextmen, Lauren Laverne, Danny Krivit and Craig Charles, Sam has built a name for crafting soul-drenched remixes of the classics, with his army of fans eagerly awaiting every new re-work.

Signing to Jalapeno Records for his debut album of original material, Sam has kept the eclectic tastes of all his fans satisfied with a series of very different singles showcasing the wide range of styles he is known for - all picking up rave reviews and a very wide spread of radio support including Radio 1 / 6 Music / Radio 2 / Jazz FM / Worldwide FM in the UK as well as hitting Number 1 most added on US college radio charts (world).

The single Nagu in particular has become a mainstay on daytime 6 Music but each successive release has been finding new fans. From his killer cumbia covers (Tears / Just Be Good To Me) through to the afro-house exuberance of One More Time and leading neatly up to Just Can't Wait, an extremely soulful disco house floorfiller, this is an album with broad appeal both in the UK and overseas.

In the meantime, Sam has been honing his live shows throughout 2022, with festival bookers keen for a piece of the action. Boomtown, Wilderness, Green Man, Kendal Calling and a whole host of others have seen what the punters at Mostly Jazz, Funk & Soul Festival saw last summer, when Sam debuted his live show on the main stage of a key festival on the Saturday afternoon. Anyone who was there and saw the audacious 12-piece live ensemble playing their first show knew they were seeing something special.

John Barera (Allergy Season, Dolly, Sorry Records) joins the roster of Will Buck’s Off Track Recordings this September with his four-track ‘Message In The Air’ EP. New York based producer, DJ and Cross Street Music label boss John Barera has long been a highly acclaimed artist in the world of underground House and Techno. In 2022, he scored his rst lm as well, Marc17 in the House. His material has graced many taste making labels, while his DJ sets have taken him
to hotspots like Panorama Bar, Fabric, Smart Bar, Razzmatazz, Floyd, Video Club, Tangent Gallery and many more. Here we see Barera, a prolic collaborator who drops solo albums as well, delivering his rst solo ep in six years via the edgling Off Track Recordings. On this record, Barera steps up with his trademark raw house, now infused with live instruments or even a vocal across four soul drenched house
cuts.

Italy’s rising star Mauro Venti will arrive on Hot Creations for the first time in July with the three-track Sirens EP. It continues a stellar 2022 for the burgeoning artist, having released on EMI and Snatch Records already this year.

The title track leads the charge, blending minimal-laced bass elements with a rolling lead groove. It’s a modern house cut through and through, building cleanly into the futuristic sounds of Prison. Signature synths create a bladerunner-esque feel, transporting us to far away realms, before Symphony ends proceedings on a techy, late-night note courtesy of four-four bass patterns and gritty, hard-hitting percussion.

Mauro Venti is fast-becoming one of contemporary house music’s leading forces. His releases speak for themselves, with appearances on Green Velvet’s Relief, Superfett and Gorgon City’s Realm Records already under his belt. At just twenty-five years old, such feats are made all the more impressive, proving there’s plenty still to come for the young Italian talent.