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I don’t want to blow, I want to grow! The first Dis-clone? We don't know about that, but these are some early rumblings of Dis-mania, direct from the Merseyside in 1986. For every man, woman or child there is no escape from the dark war horse of This Attack! Disattack. 6 raw bursts of sonic bloodbath that will leave your ears bleeding in a ditch. The fear of doom dawning when the whole world will be bathed in Blood! The 4 song demo is complemented by 2 additional rehearsal songs and a 28 page booklet of archival material, hand-outs and photos. For those who worship Discharge, Anti Cimex and Sacrilege!

Recorded back in 1999, 'Half a Dove in New York, Half a Dove in Buenos Aires' is the recorded debut of a NetCast improv between deep listening pioneer Pauline Oliveros and Argentinian free music trio Reynols >> a fascinating early example of the internet’s capacity to foster remote creativity in-the-moment that deploys the slowest electronics, accordion, voice, trombone and computer sounds on a next level ritual drone incantation recorded in another era, but made for our time.

As the story goes, Oliveros first met Reynols in the mid ‘90s at a Deep Listening workshop she held in their home city, Buenos Aires, where they impressed her with an improvised brass serenade. Years later, in 1999, they met again via NetCast - a series of very early online live improvisations - to explore the Internet’s potential for collaborations between artists thousands of miles apart. Finally mixed down in 2021 and mastered by Helge Sten (aka Deathprod) after marinating in the archive for 22 years, the album resonates with the late, great Oliveros’ legendary work in exploring alternate tunings, spatial dynamics and methods of intuitive performance - a remarkable slab of omnidirectional drone bearing traces of Miguel Tomasin's vox and Oliveros’ just-intoned accordion embedded in its cosmic roil.

Broadcasting from fabled record shop The Thing in NYC, with Oliveros (Accordion) joined by Jennifer McCoy (ICR), Kevin McCoy (Computer processing), and Monique Buzzarté (Trombone), and Reynols revolving Miguel Tomasin (Electronics, subliminal voice & Alclorse drums), Rob Conlazo electronics, leather gloves & e-gtr), and Anla Courtis (electronics, rubber foot & e-gtr) and dialling-in from Florida 943 in Buenos Aires, the results are an incredibly absorbing and consistently surprising testament to vanguard, experimental spirits prizing the internet’s nascent, unprecedented ability to connect minds and art across continents, language barriers, and modalities.

The album's first side, titled 'Micro Macro Wind Dance', puts Oliveros' accordion under a microscope, enhancing it with lower case rumble and noise from Reynolds' arsenal. Shifting glacially over 22-minutes, Oliveros plays subtly and slowly at first, letting the accordion breathe in-and-out like a sleeping mythical beast, before she transitions to fluttering bird-like phrases by the end of the side.

'Astral Netcast Pigeon' expands the dissonant drones to widescreen, submerging Oliveros' trills and drones beneath layers of dirt and grit. It's time-altering music that dissasembles yr head before you've completely worked out what's happening >> basically the perfect mid-point between Oliveros' deep listening practices and Reynols' wildly inspirational free-noise-drone freakouts.

Our next mixtape features a superb, tight blend of some of the very best tracks to fly out of the speakers at the Cherry Moon Club. At the helm we have DJ Ghost, spinning the grooves to take us on a journey through the ages, through the genres, from twisted acid concepts to hypnotic trance and gut busting hardcore. Ghost aka Bjorn Wendelen has been a stalwart for us at Bonzai since the very early days. He’s delivered several cuts for us over the years and has branched out with his own Ghoststyle brand with great success. The famous Cherry Moon was and remains one of the biggest names in Belgian club-life, with 30 years of embracing club culture. Since the start in 1991, they have brought the best techno, hard-trance and house to the scene. During the 90's and early 00's, Cherry Moon was the place to be for clubbers from all over Belgium, France, the Netherlands and even other European countries. Housed on classic K7 tape, this comp features a host of tracks from the likes of DJ Ghost, Insider, Body-Shock, DJ Looney Tune, Jones & Stephenson, Push, Blue Alphabet, Final Analysis, Joyrider, Dreamland and more. So, dust off your vintage cassette machine and prepare to be blown away by the sound of Cherry Moon.

The cosmic journey continues! Finally the fourth volume of the Cosmic Disco Machine series is out. As always pressed in limited number of copies , this volume is served in marbled white vinyl.The musical selection includes classic songs like "Time Actor" by Richard Wanhfried, as long as more underground and exclusive tracks such as "La Edad Del Broce" by Mecanica Popular, "Polaroid / Roman / Photo" By Ruth just to mention two from the rich traclkist.

The selection of these tunes is, as always, treated in any detail, artistic and musical, all tracks being gently mastered keeping the original and characteristic mood of each song. Just get it and you will discover the rest by listening to this new unmissable volume.Have a good listening and stay tuned for the next chapter of our cosmic journey.

Continuing the remastered, repressed series, we have two amazing remixes from Billy ‘Daniel’ Bunter & J.D.S. First there is Just Another Artist – Rhythm, already an amazing track but under the guidance of Billy Bunter & J.D.S. on remix duties they took this track to the next level! Then they turned their hands to what was already an absolute classic, Sunshine Productions – Take Me To The Top. They took parts of the original track and turned the dial right up to the max, threw them back into the pot and added their own flare and style to produce a remix that tore up raves both back in the day and still today on the old skool circuit.

The Magic Movement marks its twenty-fifth release this May with Coss & Luca Musto's 'Remind Me Tomorrow' EP, comprised of three originals from the Berlin-based pair and a remix from label boss Noema.

Coss has been a mainstay at Berlin's Kater Blau club for some time now and just recently delivered an EP on the club's in-house imprint Kiosk ID as well as an EP for his own metanoia.
Italian rooted but Germany-based Luca Musto returns to the Magic Movement here following his 2018 'Parabel' EP and has since gone on to release further material with Cologne's Feines Tier and Laut & Luise in recent years.

Here joining forces with the 'Remind Me Tomorrow' EP the two artists deliver more of their distinctive tripped-out, dropped tempo club sound.
'Broken Promises' leads the way via dreamy dubbed out textures, gnarly bass tones, twinkling chimes and airy arpeggios atop a bumpy drum groove.
Title cut 'Remind Me Tomorrow' follows and brings modulating resonant synth lines into the forefront alongside elongated subs, cinematic pads, and circling sequences while Luca also stirs in his own rap/spoken word hip house style vocals.

The third original 'Concept Zero' follows next and lays down psychedelic guitars, choppy stabs, murky bass swells and dynamic delays before Noema rounds out the release with his take on 'Remind Me Tomorrow', flipping the switch to raw, crunchy drums and spoken word vocal chants amongst the original's chuggy arps and dreamy melodic elements.

Polarity, the first album from percussionist and multi-instrumentalist James Larter is a cross-genre Psychedelic journey with driving rhythms at its core.

Larter has always been obsessed with rhythm; whether it be the roaring sound of Brazilian Samba or the intricate and hypnotic drums from the African diaspora, music that makes people move is a passion. He is an in demand musician that has played with a staggering variety of groups and artists

from Sampha to the London Philharmonic Orchestra.

Hailing from the UK and studying in London and New York, his soundscape crosses genres and styles all with a psychedelic twist. Marimba and vibraphone feature heavily with echoes of electronic music played out by an all-star accompanying 10 piece band.

"Sun Salt & Air," is Mellow Drunk band leader Leigh Gregory's latest fulllength solo record released on limited edition LP.Recorded in Leigh's
home studio during the pandemic all of the main tracks (guitar and
vocals) were first laid down at home, then backing vocals, violin, cello,
and drums were added by additional friends and musicians remotely due
to the lockdown
San Francisco engineer/ producer Damien Rasmussen pulled all the tracks
together and mixed the record and Nikos Lavdas mastered the record for Tip Top
Recordings. Based in San Francisco Leigh Gregory has opened for the likes of
Supergrass, Luna, trashcan sinatras, The Church, The Clientele, The Morning After
Girls, LILYSand Gorky's Zygotic Mynci as part of Mellow Drunk."Sun Salt & Air" had
its beginnings back in January 2020 when I was working on a handful of new
demos. Suddenly COVID hit and the rest of the year became free to write and
polish up the tunes and finish a fully realized record. It was quite inspiring to have
plenty of free time to develop parts for the songs, plus being at home I could run
into the home studio and spend as much time as I wanted trying out guitar
sounds, vocal melodies, and lyrics as they came to mind. I wanted "Sun Salt & Air"
to be a classic vinyl record with five individual songs per side that fit together
seamlessly and flow from one song to the next. I really like the sequencing on the
record in that it has longer songs with improvised endings, short songs, an
instrumental, and an acoustic song without drums. What I've always loved about
a ten song vinyl record is that it takes you on a little musical journey from side to
side which by the end you're ready to flip over and listen again and again."

Dena Miller grew up on a diet of folk before spending 6 years writing and exploring projects through Philly's punk scene, Oberlin's conservatory experimentalist and NY's DIY history before arriving at her debut album 'Woodpecker' . Think Waxahatchee, Told Slant & Moldy Peaches...
Black vinyl with inner sleeve lyrics & download.

Deer Scout’s debut full length Woodpecker is a record about memory and the subconscious. And like an unforgettable dream that keeps you puzzling over its riddles for days, it’s as packed with direct symbols as it is with ruminative haze. “I approach songwriting as a process of boxing things up, or putting away a time capsule,” explains front person Dena Miller, who wrote the album over a period of six years. It’s a culminating collection of the project’s many sounds and influences to date, from Philly’s punk cooperatives to Oberlin’s conservatory experimentalism to New York’s DIY history. At the center is Miller’s assured guitar fingerpicking and boldly clear voice, firmly grounded even as it gently probes uncertain emotional and musical terrain.

Raised by two folk musicians in Yonkers, Miller began recording songs as Deer Scout her freshman year of college in Philadelphia. There, she wrote Woodpecker’s earliest song “Synesthesia” about a train ride home from a basement show: “Night in the city / Big house on the corner / Her voice has the timbre of summers ago,” recalls Miller resonantly. After Miller’s transfer to Oberlin College, Deer Scout began touring DIY venues around the country and sharing stages with favorite artists including Waxahatchee and Told Slant. The twinned intimacy and intricacy of those two influences is reflected in the carefully adventurous arrangements on Woodpecker, which features, among other contributors, bass from close collaborator Ko Takasugi-Czernowin, cello from Zuzia Weyman, drums from Madel Rafter, and guitar from Miller’s father Mark—who also wrote the song “Peace with the Damage” and originally released it with his band Spuyten Duyvil in 2011.

Many of the songs on Woodpecker were written during periods of grief or change. “I used to sing myself to sleep as a baby and I think music still plays the same role in my life—it’s a way of self-soothing or seeking comfort,” explains Miller. “But there’s also part of it that comes from wanting to connect with people." Recorded and mixed primarily by Heather Jones at So Big Auditory in Philly with overdubs by Miller at home, Woodpecker is an exercise in portraying the incommunicable. “Cup”—about a relational psychology test called “a walk in the woods” that turns encounters with symbols into meaning—uses watery arpeggios, wintry strings, and roving bass to create a liminal sonic space, optimistic but tense. “Cowboy,” with airy layers of acoustic guitar riffs and Miller’s charmingly double tracked voice, takes its little fish, big pond inspiration from the character Joe Buck in Midnight Cowboy. And “Afterthought,” with its unexpectedly bright resolutions, is about God, love, and the complexity of empathy; “Heaven isn’t watching us,” sings Miller candidly over pedal steel.

Though Woodpecker is a record about uncertainty and the unknown, it’s also about compassion and connection—as Miller was able to find over the course of writing and recording this next chapter for Deer Scout and first release for Carpark, which she’s excited to at last share with the world.

Ed Banger Records proudly presents “Remedy” , Breakbot’s new EP. Creators of classic songs such as “Baby I’m yours”, Breakbot & Irfane are back with 4 new songs. Following “Remedy”, next single will be “The Light”.
Limited Solid White Vinyl Edition.

We are happy to announce that after several months of delay, we have prepared our next vinyl release. It is a very special release, since we work a long time to provide the highest quality, from our hearts. We present the latest from DONOR "Apollo".

Techno with deep textures and dynamics for the original tracks. We also add the remixes of Alien Rain, acid, rave and powerful as its trademark: Pfirter gives us a more robust and forceful vision, Squaric brings the remix to 5AM, Zadig prepared a special Break for the album & Shao delivers several deep versions, with enveloping textures. An unprecedented detail for our catalog is to present a BONUS TRACK.

And for this we have prepared something very special, to have the track on vinyl: YUUKI SAKAI - DI AMO. The album "Yuuki Sakai - Hide By Launch" was presented in 2016 and now we remastered it to add it to this limited edition. Without a doubt, these voices will sound again throughout the planet. The message is here.

Black Vinyl, DL card. CD Capacity wallet. A reawakening for the Swedish visionaries, Sincere solidifies their impressive trajectory in a fuzzed out haze of dark and arresting shoegaze pop. An expansive trip through noisier, bittersweet pop realms that recalls My Bloody Valentine, Slowdive and Deerhunter. Underpinning everything there’s a continuing sense of drama throughout; richly textured crescendos, chiming guitars and delicate melodies are guided by Caroline Landahl’s tender yet sharpened vocals. Sincere is joyously effervescent, but with a dark underbelly where fury manifests in a swirl of entrancing and propulsive percussion. A gorgeous and dazzling piece of aching romanticism, destined to feature on a thousand mixtapes. Recorded last year in Malmö, Hater welcomed two new band members and those early day sparks saw them quickly turning demos into fully-formed new songs that appear on the record. Sincere was produced by long-time collaborator Joakim Lindberg and was mixed and mastered by John Cornfield, whose credits include Ride, The Stone Roses and Robert Plant. // “One of the best bands in the world” Gorilla vs Bear // “Your next Scandinavian indie pop obsession.” Flood // “Stunning” Stereogum

Active from the late 1980s through to the present day Contrastate have released several critically acclaimed albums. Their early experiments in music were heavily influenced by the industrial and experimental music and art scene of the 70’s and 80’s. Contrastate’s idiosyncratic take on challenging, industrial tinged music has certainly changed and evolved through the years. Their current sound insinuates itself inside the dark ritual ambience of the electronic avant-garde shot through with a vein of experimental noise and stentorian vocals that are strewn amongst touches of industrial surrealism and sonic soundtracks. “Contrastate achieve an amazing equilibrium between organic sound and brooding electronics.” – Heathen Harvest “Contrastate covers a bit of everything in their sound, and that black humor component…makes for a project that I can never predict what they will sound like next, but I know it will be fascinating no matter what” – Brainwashed

The story of 'Get Tragic' can be traced way back to the relentless gigging off the back of their 2014 self-produced and self-titled record, when the heels finally fell off of Blood Red Shoes at the end of that same year. A near-decade of incessant road time and a non-stop pace of life finally took its toll, with the band stopping only to quickly hammer out 'another ten songs' to release as their next record, before ploughing straight back into touring. The pair exhausted themselves to the point of collapse. 'We didn't, at any point, have a breather,' says Steven Ansel (drums and vocals), 'We probably didn't see each other for about 10 days a year, tops, for six or seven years.' Understandably, such incessant close proximity led to implosion. 'We got the to the end of the fourth record and were like, 'F**k you, I never want to see you again','Steven adds, half-laughing, half-sighing.

2022 Repress

The next installment in Calibre's archival series: Shelflife Six - brings together eight of his most sought after Drum and Bass productions. Spanning 20 years and all of them have only ever seen the light in his own DJ sets.

New limited pressing on Zombie Green Vinyl. Suck My Shirt is the fourth studio album by the Atlanta-based all-female punk rock band The Coathangers. It was released in 2014. Mark Deming of AllMusic writes, 'their approach to songcraft has matured and tightened up quite a bit, and the departure of keyboard player Candice Jones has turned this group into a leaner and meaner three piece. "It's a balance between overthinking and just going for it," guitarist Crook Kid (Julia Kugel) says of their songwriting strategy. It's a duality immediately apparent with the album opener "Follow Me." It's a classic Coathangers tune with Stephanie Luke's raspy vocals belted out over their signature ragged garage-rock. . But the chorus opens into one of the most accessible hooks in the band's canon, just before segueing into the next verse with a squall of violent dissonant guitar.

Heist welcomes, late 80’s DMC World DJ Championship contender, Techno veteran, and house royalty Orlando Voorn to the label
with his ‘Heist Mastercuts’ EP.

Orlando Voorn is a man who needs little introduction. He’s played a pivotal role in the development of the electronic music scene in the Netherlands, as well as in the USA where he now lives. With countless aliases, he has released everything from old school hiphop to sample heavy breaks, to banging Detroit techno to soulful house music. His recent outings as ‘Frequency’ on Clone, as well as his latest EP on our sublabel Transient Nature, are proof that even after 30+ years, the man is still very much on top of his game.

The Heist Mastercuts EP sees Orlando dig deep in his archive for some of his undercover hits from the nineties that have been remastered for
this EP. On top of that, he delivers a new track in the form of soulful house bomb “Be with you.”

“Be with you” starts off with a hazy groove and distant pads. The steady beat and funky electronic chops set a steady foundation for a rush-inducing string sample that works together with looping diva vocals for maximum dancefloor excitement. No heavy drumrolls, FX or other tools necessary here: It’s clever sampling and Orlando’s soulful touch that make this track tick.

Next up is the vinyl only track “Love Feelings” – originally released in ’96 on Urban Sounds of Amsterdam-. Think 130+ BPM vintage house grooves with hazy pads and you’ll get an idea of what’s coming. Love Feelings is an up-tempo dreamhouse track that, even though it’s almost 25 years old, still ticks all the boxes of a contemporary festival groover.

On the B-side you’ll find 2 versions of “Tenderness”: The original mix and the Late nite dub, both originally released on Clubstitute records back in ’95. The original has a 90’s garage groove with male vocal chops, old school house keys and strings. The late night dub is exactly that: a dreamy ethereal deephouse groove with warm synth hits, introverted percussion some very on point sax loops.

The Heist Mastercuts EP is the first EP of Orlando Voorn on Heist Recordings but considering the connection we’ve built with him over the last year and having heard the music he’s shared with us, we’re sure you’ll see much more of him on Heist in the future.


Yours sincerely,

Maarten & Lars

LNDFK (aka Linda Feki) presents her ground-breaking debut album, "Kuni" on Brooklyn-based Bastard Jazz Recordings. Undeniably on the rise after her 2019 breakout performance at Primavera Sound, LNDFK has already caught the attention of Pitchfork, Rolling Stone, Clash Magazine, Noisey, and Brooklyn Vegan (among many others) while being championed by the likes of Gilles Peterson, Tom Ravenscroft, and Jamz Supernova & landing spots on tastemaker playlists like Spotify's "Pollen" and "Fresh Finds."

"Kuni" is a spellbinding exploration of dichotomies: Love & Death (Eros & Thanatos), Flower & Fire, Delicacy & Violence, Poetry & Realism, Purification & Destruction. These opposites are reified in the 10-track LPs multifarious and multifaceted sounds, elegantly meandering through a variety of styles and genres, spearheaded by Linda and features the production wizardry of Darrio Bassolino who co-wrote the album.

"Kuni" opens with "Hana-bi," an ambient instrumental piece that sets the tone for the album. Inspired by the Takeshi Kitano 1997 film of the same name – particularly Joe Hisaishi's stunning soundtrack, as well as Kitano's paintings which appear in the film. "Hana-bi" expresses the dialoguing opposites of flowers and fire, the first of many dichotomous representations throughout the album. "Takeshi" acts as an extension and to "Hana-bi," albeit one of opposing sound, with its driving, highly syncopated drums (which reappear throughout "Kuni") – à la Karriem Riggins, Questlove, or Yussef Dayes – frenetic bass line, and jazz chords. Linda's sultry voice is interspersed, initially jumping around in scat fashion, being triggered as if a sample, before her lyrics come in; her vocals are used like an additional instrument, adding to the song's rich texture. "Kuni" truly hits its stride with the next song, "Smoke – a moon or a button" (its title lifted from the 1959 book by Ruth Krauss and Remy Charlip), which is structured like a jazz standard yet flows into neo-soul territory sonically with those prodigious drums a highlight once again.

LNDFK touches on experimental hip hop in two songs on the record (both of which were released as singles in 2021): "Don't Know I'm Dead or Not (feat. Chester Watson)" – track #4 – and "How Do We Know We're Alive (feat. Pink Siifu)" – track #9. Although they embrace a more hip hop-leaning sound, these songs by no means shy away from the exploratory theme, and feature two of the alt-rap scenes rising stars with Chester Watson and Pink Siifu who offer provocatively impressing verses, combining dense word play with unconventional flows. While these tracks may first appear to be outliers on the album, they are undeniably in tune with "Kuni's" message and sonic palette, acting as testaments to LNDFK's willingness to explore and experiment.

Meanwhile, "Ku" – the third and last single before the album release – furthers the pre-established future soul sound while meandering through nu jazz and left-field electronic. Inspired by the graphic novel and film, "Sin City," and its female assassin protagonist Miho, "Ku" is a musical interpretation of Miho's story, incorporating both her beauty – the first half of the song – and murderous tendencies – the second half – to create a stunning juxtaposition, culminating in an ambient finale that suggests the character's vulnerability and inner peace. The song gracefully bridges the gap between Hiatus Kaiyote-esque songwriting, Dilla's rhythmic syncopation, and Thundercat's instrumental prowess (LNDFK has shared a stage Brainfeeder labelmate Kamasi Washington).

Mixed in throughout "Kuni" are a series of instrumental pieces that function as something akin to an interlude. The aforementioned intro, "Hana-bi," and the album closer "se mi stacco da te, mi strappo tutto:" act as bookends, while "Om" indicates the half-way mark, and "Ktm" sees Jason Lindner add his sound the album. These tracks are the ambient foundation of "Kuni," representing the thematic duality of the work. Clocking in at only 24 minutes, "Kuni" packs an astonishingly diverse array of sounds, styles, and themes, all while showcasing virtuosic musicianship and instrumental prowess.

Appearing on "Hana-bi" and "Ktm," renowned international artists Asa-Chang and Jason Lindner add an additional perspective to "Kuni": Asa-Chang on "Hana-bi," and Jason Lindner on "Ktm." Asa-Chang - famously of the Japanese avant-garde group Asa-Chang & Junray - provides vocals and percussion to an alternate version of the instrumental opener, while the acclaimed keyboardist Jason Lindner offers his synth expertise on "Ktm." These features highlight the spirit of collaboration found in LNDFK's music, always willing to try out new ways of working.

LNDFK is a singer and songwriter, born of two cultures – an Italian mother and Arab father. She grew up in Naples, away from her father, the Sahara, her homeland and traditions, which has helped nourish the desire to rediscover – through art – an engagement to her roots. Her music melts with jazz, neo-soul and hip-hop influences, filtered through her experiences and sensibility.

Her first EP, "Lust Blue," was composed with the artistic production of Dario Bass and released by Feelin' Music; after that she released several singles that saw international radio support (BBC, NTS, Wordwide FM) and gained a massive audience on digital platforms. Together with her band, she toured around Europe, performing alongside such notable artists as Kamasi Washington and Mndsgn, among others. Most recently she toured Italy, and performed at Primavera Sound Festival 2019 in Barcelona.

"Kuni," is due out on NYC label Bastard Jazz Recordings in February, 2022, while the vinyl LP will follow shortly after.

Having embraced the wide wired world of modular synthesis, Prince of Queens aka Felipe Quiroz has already proved fit and formidable in dialing in the necessary sonic component of his current stargazing outfit Combo Chimbita. His first two solo records on NYCT have only added to an already wide-ranging electronic fluency, yet have also brought a flare and understanding of dance music foundation that in combination is rarely matched.

For his next release, Prince of Queens teams up with the voice of El Julius, his Colombian countryman and New York neighbor. As a seasoned member of Names You Can Trust alumni, Bulla En El Barrio, El Julius helps to bridge the classic with the contemporary. "Rompe Cadenas" is a traditional arrangement with poignant lyrics, but it's still funneled through the unpredictability of POQ's machinery. It's a modern day reinterpretation of sound system cumbia at its heart, and just a further example of the breadth of POQ's production possibilities. Much of that potential is realized on the second track of this double-sided release, "Acidosa." Like his earlier releases, POQ's quintessential future leanings are on display here with all of his remarkable synthesis. It's worth the trip alone. Just imagine a wild and hypnotic meeting of cumbia and pitched-down acid and off we go.

Repress !

(November Collective Title) Meditative but heaving with energy, Son Lux's third full-length weaves disparate elements into songs both strange and welcoming. On the heals of being named NPR's 'Best New Artist of the Year', Son Lux has created an album that sits as comfortably next to the compositions of Stravinsky, John Adams, David Lang and Ben Frost, as it does to those of Jamie Lidell, Björk, Flying Lotus, and Radiohead. Equal parts producer and composer, Son Lux (aka Ryan Lott) bridges an unusual gap between old-world music theory and next-level experimentation. Meditative but heaving with energy, 'Lanterns' finds a peculiar congruency between futuristic soul and ancient sentiment. Driving orchestral electronica (Lost It To Trying, No Crimes) is placed alongside creepy minimalism (Pyre), often starkly juxtaposing densely layered arrangements with Lott's fragile voice. In recent past Son Lux has gained notoriety both for his s/s/s project (with Sufjan Stevens and Serengeti), and from being named NPR's 'Best New Artist of the Year'. His third full-length album, and his first for Joyful Noise (Kishi Bashi, Sebadoh, etc.), positions Son Lux at the helm of an impressive ensemble of instrumentalists and singers, including Chris Thile (The Punch Brothers), Peter Silberman (The Antlers), DM Stith, Lily & Madeleine, Darren King (Mutemath), Ieva Berberian (Gem Club) and yMusic (Dirty Projectors, Bon Iver).

Stars Are the Light, the luminous seventh album by the American psych explorers Moon Duo, marks a progression into significantly new territory. From a preoccupation with the transcendental and occult that informed Ripley Johnson and Sanae Yamada’s guitar-driven psych rock, and reached its apotheosis in the acclaimed Occult Architecture diptych, Stars Are the Light sees the band synthesize the abstract and metaphysical with the embodied and terrestrial.

Branching out from Occult Architecture Vol. 2, the album has a sonic physicality that is at once propulsive and undulating; it puts dance at the heart of an expansive nexus that connects the body to the stars. These are songs about embodied human experience — love, change, misunderstanding, internal struggle, joy, misery, alienation, discord, harmony, celebration — rendered as a kind of dance of the self, both in relation to other selves and to the eternal dance of the cosmos.

No time to waste: nine months after Tim Vanhamel released 'Dubs Pour Oh La La', his debut album under the moniker Comité Hypnotisé, the Millionaire frontman presents already the second album 'Hiking The Trails Of Mount Muzak'.

Hardly leaving any traces of the dubbed out vibe which marked the first record, Tim expands his Comité Hypnotisé universe to a surprising next level on this second album: exploring a place where James Last, Wu-Tang Clan and Dj Shadow are cooking up a Thai meal in a Peruvian restaurant overlooking the breathtaking peaks of Mount Muzak.


Ney flutes tumbling backwards over the edge of easy listening in opener 'Rise Of The Equinoxians', lurking for feel good vibes in 'Red Wolf Riddim' and breezing in to new dimensions in 'Zing Zoing' on the A-side while the Comité enters the chambers of the 70's 'Disco Skank' and rides an untamed dragon towards the scorching sun in search of a flame-bringing beat in 'The Dragon Rider' on the flipside.

Best known for his work with CL Smooth, and his remixes for Public Enemy, House of Pain, Mary J Blige and Mick Jagger to mention a few. Hailing from the little town of Mt. Vernon, NY, right next to the Bronx, Pete Rock & CL Smooth pretty much got together in their local high school when Pete noticed CLs dope and unique voice. After high school, Pete hooked up a weekend hip-hop show on WBLS-FM and was considered one of NYs premier DJs during his four year stint on the show. All Souled Out was Pete & CLs debut EP, it was the phenomenal production by Pete Rock which really drew people to this EP. If the legendary DJ Mark The 45 King was the first producer to incorporate horns, Pete Rock was the first to really perfect this new style of production with his trademark echoing horns laced throughout his music. This was done very nicely on two of the cuts off the EP, Creator and Mecca & The Soul Brother, and people were taking notice in a big way.
After the solid Mecca/Creator 12 inch, the duo unleashed one of those all-time classic LPs every MC dreams of having, Mecca & The Soul Brother featuring the monumental: They Reminisce Over You, Straighten It Out, Ghettos Of The Mind, and Lots Of Lovin. Songs to make you cry - damn, they were playing TROY at funerals everywhere. One of the greatest hip hop records ever made ...it never leads my box man...- (Tim Westwood)

Pete Rock on hip hop: Hip hop to me today is still important but we are going through a phase right now. Hip Hop as been injected by a virus, and right now weve got to find a cure to this. Which brings along myself. (Frank 151)

The Press ...from downtempo, funkdified sounds to hypnotic hip-hop beats, this is a wonderfully crafted album - (BPM July 2001)
This hypnotic ... album represents hip hops incredible ability to morph and manipulate a hodgepodge of sounds to create something unique...although the sound is now industrial, electronic and everything but natural Pete's version of hip hop will remain a classy affair that merges the elements of an orchestra, the roots of black music and the cacophony of the streets. - (Mass Appeal July 2001)

Repressed on red vinyl!

Belgium, not the first place you'd think of when it comes to Latin or Afro funk. Yet one of the greatest records to blend both styles came from the small northern European country, masterminded by Nico Gomez and his Afro Percussion Inc.

Ritual was originally released in 1971 on the Dutch label Omega International (Gomez was born in Holland before moving to Belgium in the late 40s) and is being reissued by Mr Bongo in 2013, bringing its blazing funk grooves to both new ears and those already tuned in to this masterpiece's legacy.

Across its 11 tracks Ritual delivers the kind of production, arrangement and musicianship that rightfully belong in a dictionary next to the definition of professional. Gomez' band was tight and they knew it, showing it off on their covers of Perez Prado's 'Caballo Negro' and 'Lupita' by injecting the originals with a deep funk that blends both Afro and Latin influences. On 'Samba De Una Nota So' and 'El Condor Pasa', another pair of covers, they switch to soulful downtempo with mesmerising ease. The title cut remains one of the album's highlights, a devastating dancefloor groove with horns to match that has aged beautifully and was heavily sampled by Liquid People for 'The Dragon'. 'Pa! Pa! Pa! Pa!' adds touches of rock with fuzzy guitars for one of the album's headier experiences.

Coleman Leslie McCann, known as Les McCann, is arguably the most soulful jazz pianist of the sixties. All you have to do to be convinced of this is to go and listen to him, all business ceasing, with Eddie Harris, in concert in Montreux, on June 21, 1969. This recording is a monument in the history of soul jazz.

But before this concert, the trio of Les McCann with Herbie Lewis and Ron Jefferson, imposed a new style characterized by joy and pleasure, to play, to groove, to listen. Impossible in a Les McCann concert not to participate in his joy, in his desire to share, impossible not to beat time.

Deutsche Grammophon honour the supreme artistry of Daniel Barenboim throughout the coming year as he approaches his 80th birthday next November. The anniversary celebrations of the great pianist and conductor’s remarkable legacy began on 31 December 2021 with the release of Debussy’s Clair de lune, one of the highlights of Maestro Barenboim’s first DG album of 2022. For this new record, specially recorded in Barenboim’s Pierre Boulez Saal in Berlin, the great multi-faceted musician lavishes his artistry on such gems as Debussy’s “Clair de lune”, Schumann’s “Träumerei” and an array of other masterpieces by Chopin, Schubert, Liszt and Albéniz and many more.

THE DEBUT STUDIO ALBUM OF EERIE DEATH/DOOM METAL DEPRAVITY
FROM GREG WILKINSON & CHRIS REIFERT OF US GORELORDS,
AUTOPSY
Static Abyss is the new mouthpiece for a rotten age consisting of the duo of Greg
Wilkinson (Guitars/ bass) & Chris Reifert (drums/ vocals), both members of
legendary American masters of sickness Autopsy, with Greg (also of cult act
Deathgrave) recently welcomed as new bass player for the long-running US act's
next studio opus & beyond.
Static Abyss' debut studio album, 'Labyrinth of Veins', presents an unnerving,
multi-layered eerie concoction of dirty doom & death, including themes exploring
the echoes of insanity manifested through human existence. The result, a sinister
onslaught of at times slow & bludgeoning brutal metal whilst at others whipped
into a storm of chaotic vile hysterics. The spirit of Autopsy is at times present in
the truly titanic riffs swathed in chilling atmospheric guitar leads, whilst Chris'
seemingly bottomless pit of morbid inspiration from the dark & twisted corners of
life permeate the release with his highly distinguishable delivery to further the
descent into madness.
'Labyrinth of Veins' was recorded at Earhammer Studios in Oakland, CA, & Great
American Music Hall, with engineering, mixing & mastering overseen by Greg
himself. Cover art appears courtesy of All Things Rotten.

New York-based duo Bottler, Pat Butler and Phil Shore, are the vanguard of their own distinctly eclectic sound. Raw, emotive, bold and highly creative, the duo has successfully carved out their own path with a series of EPs that represent the broad scope of their production prowess. Over the last five years Bottler have been working on their debut album, ‘Journey Work’, a milestone achievement that marks a pivotal moment in their music career. The LP is a distillation of the duo’s multifaceted upbringing, blending a variety of styles together bound together by an overarching attitude and approach that embraces creative freedom and self-acceptance.



Pat and Phil are childhood friends whose bond is akin to that of blood relatives. Their parents are best friends and they grew up side by side, developing their deep love for music together; sharing discoveries and inspirations, learning to play and perform, and nurturing their creativity together. Now formally ordained as Bottler, they channel their eclectic tastes into a sound that encapsulates the love and trust that forms the foundation of the friendship. The duo blends a myriad of styles to create songs that emanate warmth, joy, sorrow, pain and the full spectrum of human emotion.



The album title, like their music, is open to interpretation. The duo reveals themes related to chronicling life’s many ups and downs, the deep preparation that must be taken ahead of a spiritual ceremony or psychedelic experience, and, simply, the journey taken during the conception and creation of an album. A quote from Walt Whitman also partly inspired the title; “every leaf of grass is no less than the journey work of the stars”. However, the intention behind the title is to allow for ambiguity, giving the listener an opportunity to write their own narrative.



Across 11 cuts Bottler illustrate their distinct take on electronic music, weaving in elements of indie, pop, rock, house and techno with confidence and panache. ‘Journey Work’ starts at ‘Home’, a song that is fizzing with positive energy, Pat’s vocals welcoming the listener to the start of this meandering audio adventure.

‘Chrysalis’ opens with delicate piano keys that guide us into a bombastic bassline and energising drum beats. As it progresses, scintillating layers of synth and strings are added, creating a highly affecting, uplifting atmosphere.



‘Melatonin’ follows up next, merging heartfelt vocal delivery with a sombre instrumental, and a stirring guitar riff. A glorious demonstration of Bottler’s songwriting capabilities, which are also evident on ‘Vinyl’, an uptempo dance number with an unbelievably catchy chorus. Here we see the duo channel their experience of playing in multi-member bands, as the breaks and arrangement feel perfectly suited to a festival-sized crowd.



On ‘Tacoma’, Pat and Phil channel their appreciation of house and techno into a haunting cut that utilises reverse strings and extended vocal refrains to chilling effect. A heady club track for the twilight hours. ‘Meds’ incorporates muted singing, mystical pad work and a mesmerising riff to produce a captivating slice of uncomplicated dance music.



This is followed by ‘Hot Water’, which feels like a trip to a Californian beach, circa 1965. The vocals drift over a bouncing bassline with a complementary guitar riff. ‘Mako’ features Samurai Velvet singing about fireflies and afterlife in a wonderfully heartrending manner, Bottler’s instrumental keeping things simple, yet highly effective.



We head back underground with ‘Weed’, a dense, gloomy cut with inspired use of chopped up vocal clips, stuttered throughout, alongside a mean bassline. ‘You’re Old’ is the soundtrack to an explosion of festival euphoria, dancing shoulder to shoulder with your best friends, forgetting all your troubles and living in the moment. An anthemic song that transposes Bottler’s idiosyncratic style onto the pop blueprint. Finally, ‘Cicada Rhythm’ closes the LP with a pensive, yet joyful feeling. A chunky bassline is juxtaposed with Pat’s angelic vocals cascading over the top. A hint of tribalism comes through, as we approach the end of the Journey Work…



Five years in the making, fuelled by the desire to express their deep love for music of all varieties, Journey Work is symbolic of the long road it takes to accept oneself and be comfortable expressing one’s truth. Diverse, dynamic and daring with a rawness and honesty that is rare to find, the album marks a triumphant debut for Bottler and one that crystalises their unique identity.

Martin Matiske's superb new six-track EP Circle Of Enlightenment on LDI Records is based around the concept of one-mindedness and togetherness. This German artist was fascinated with mixing records as early as his 10th birthday and had his first release on the legendary International Deejay Gigolo Records aged just 15. In the 20 years since he has released a selection of records on labels like Moustache Records and Bordello A Parigi. His timeless sound comes with a vintage touch and always fuses electro, italo and techno in fresh new ways. This new EP aims to describe the direct connection between human beings and the universe. Martin says: "Human beings are aliens always looking for answers to questions like why are we here and what life is about? We know the answer but won't accept it. We are made up of the elements of space and are directly connected to the universe. Each person contains the energy of the universe and is connected with everything that surrounds it. We are one! We are here because we are here! Our mission is to be!" The EP opens with 'Memory', and Martin explains that "Remembering is the ability to do things right but most of the time it causes pain." The track is a slick and icy electro workout with gorgeous retro-future pads bringing a cosmic sense of soul while the corrugated bass keeps busy below. 'Breakout' describes breaking out of normal thought and reaching a state of "no-mind." It is a playful and dynamic electro cut with characterful bass and synth stabs like shooting stars as shimmering arps ride up and down the scale. 'Lost In Space' deals with the idea that human beings on earth are just as lost in space as aliens. It's an interplanetary electro trip with glistening synths shining bright next to more twisted, tortured bass. 'Microbot' is about miniature robots that make our lives easier and ride on a punchy bassline, with neck-snapping snares and pads that circle around like spacecraft during battle. It is another lush electro workout that leads into 'Stars' and pays homage to the importance of these twinkling rays of light. It's a widescreen track with withering leads, cyborg vocals, and a real sense of hope as the snappy drums march into an unknown future. Last of all, 'Solaris' pays tribute to the life-giving force of the sun with another super crisp electro groove, slithering arps and conversational pads that make both a physical and emotional impact. Circle Of Enlightenment is a brilliantly adventurous and storytelling new EP from the ever-excellent Martin Matiske.

Building on his already impressive resume, DJ Kay Slay returns to set the streets ablaze with his latest offering, Accolades. Featuring the next installment in the highly-acclaimed posse cut series, Rolling Deep, DJ Kay Slay blesses listeners with the ultimate version, Rolling 110 Deep, containing over 40 minutes of pure bars from some of hip-hop royalty, including Sheek Louch, Styles P, Dave East, Crooked I, Black Thought, Raekwon, Ghostface Killah and many more. Other standouts include 72 Bar Assasin (feat. The Game), Extravagant Lifestyle (feat. Raekwon, Sheek Louch, Ghostface Killag & Tragedy Khadafi), & Harlem Block Money (feat. Dave East, Vado, Jim Jones, Shoota 93 & Talkit Trigga)

DOWN TO EARTH became an overnight sensation in certain Soul music circles when their previously unreleased album was unleashed six months ago. This long-lost suite of soulful gems was recorded back in 1996 and finally get’s it’s debut vinyl release via IZIPHO SOUL - proud to release this collection of ‘All killers, no fillers’.

Since the 1990s London-based Stevie Paul and Laurence ‘Lol’ Williams have been making songs, creating harmony and performing the world over. The pair’s songwriting styles stem from their love of Soul music.

The long player’s running order has been organised as THE MEAT SIDE AND THE SWEET SIDE for your listening pleasure!

Presented with OBI strip in a clear sleeve and available in two choices of vinyl colour: gold or black.

"This limited release is a collaboration between Monkey Timers DISKO KLUBB and a Japanese record label from Amsterdam trusted by fans & artists around the world, Sound Of Vast.

Monkey Timers are gaining support in Japan and abroad as a DJ / production unit that is pioneering the next phase of the Japanese new house and disco dub music scene. They will be releasing their long-awaited full-length album ‘KLUBB LONELY’ in collaboration with DISKO KLUBB and Sound Of Vast as a 2LP set limited to 500 copies worldwide.

The album will be packed with collaborations with vocalists / producers / musicians from Japan and abroad including a cover of Dusty Springfield's ‘That's The Kind Of Love I've Got for You’ featuring Lisa Tomlins, who is known for her vocals on Lord Echo and Recloose albums. Also featuring are Berlin-based Mr. Ties; Keith Sano, a promising talent from Okayama who is gaining international attention; MIRRROR, an up-and-coming Japanese-American hip-hop unit; DJ Sammo Hung Kam-Bo (Omoide Baka Yarou ATeam); Marimba player Mami Tsunodou, who is a supporting member of cero, KIRINJI, etc. and many more.

Mixed and mastered by Justin Van Der Volgen (MY RULES). The cover design was done by C.E designer Sk8Thing. "

A new album by legendary Estonian pianist Tõnu Naissoo, accompanied by his new group Tõnu Naissoo Electric Trio !

Accompanied by his synthesizers and two of the best Estonian jazz musicians, bassist Mihkel Mälgand and drummer Ahto Abner, Tõnu Naissoo began recording his album “Different Directions” in the autumn of 2019 at the legendary Linnahall studio that he had booked for that purpose several years in advance. The new tracks he composed for the album flow from jazz-rock to smooth jazz, lingering briefly on the frequency of free jazz.
The popular Estonian jazz pianist Tõnu Naissoo was born in Tallinn, Estonia in 1951. His father Uno Naissoo was a renowned composer and an organizer of jazz festivals, who encouraged Tõnu to take an interest in jazz and improvisation. By the age of 15 he had already begun participating in local jazz orchestra. He performed first time with his trio and presented his jazz music compositions at the international Tallinn Jazz Festival of 1967 in Tallinn. The next year he was given an opportunity to record his own album. Since then he has dedicated himself to jazz music and recorded around 30 albums that have been released in Estonia, Japan and Russia. Most of his earliest recordings have been reissued in recent years.
“Different Directions” feels like Tõnu Naissoo’s ’missing piece’ album from the 1980s. It will be a worthy addition to Tõnu Naissoo’s and Frotee’s discography.

Detroit born/Phoenix based Steve Crawford next up on Norm Talley's Upstairs Asylum featuring a killer Yoruba Soul remix.

Hello Young Lovers is the 20th studio album by Sparks and was originally released on 6th February 2005. The album was the most commercially popular Sparks album since the 1970s.

Hello Young Lovers has been newly remastered for this LP reissue, which will be released on heavyweight vinyl.

This album will be launched alongside a comprehensive Marketing campaign, including brand new assets, as well as archival material from the time of the original launch. We have access to the Sparks socials, which we will utilise for boosted posts, ads and organic posts. The release will also be launched alongside a PR campaign, which should secure coverage across digital and print media.

While Bobby Oroza puts the finishing touches on his next album, he treats us to this killer two-sider to end out 2021 and hold us over until the new record is finished. Bobby's debut album "This Love" made big waves around the world and amassed him a cult following from the US to Japan and everywhere in between. He found big love in the sweet soul scene early, but has since made fans in a myriad of circles and subcultures globally. It has by now become clear that his music is not just one thing, analog soul textured for sure, but also with an array of influences that span far beyond the soul ballad world. It is that inability to really nail down his sound that has become the biggest charm, an esoteric and profound passion permeate the lyrics and vibe of everything about Mr. Oroza. This new 7" shows off two sides of Bobby's song writing, an upbeat number on the "plug" side and a heavy duty ballad on the flip. The A side "The Otherside" is an optimistic tune that Bobby humbly shares his story about the troubles we can create for ourselves and the possibility of having a change of mind that frees us from them. The track is equally encouraging with its sunny energy that carries an important message from Bobby to anyone who is struggling and can't see a way out. The B side "Make Me Believe" is another instant classic for the slowie enthusiasts. A moody, soul bearing, cry for help that comes off with a sweet- ness.

Like many of his favorite songwriters (John Hartford, Lucinda Williams, Jeff Tweedy), Izaak Opatz is an ungulate in life’s winter pasture, chewing on and metabolizing disappointment, heartbreak, and the other tough stuff into enjoyable musical carbohydrates. A compulsive metaphorager (and inveterate wordplayboy), Opatz breaks it all down with enzymes of wry humor, thoughtful simile and close observation - a therapeutic process of narrativizing his own life that, almost as a byproduct, turns out savory nuggets of literate, confessional pop. Where 2018’s 'Mariachi Static' drew from Opatz’s fragmented love life as a seasonal Park Service employee and resonated especially with the sensitive dirtbag set, 'Extra Medium', his latest release, splits time between romantic Hindenburgs across his native Montana, up the East Coast, and in faraway Los Angeles. Montana and LA especially decorate the album, supplying wells of metaphor and scene-making, and as characters in their own right - LA’s alternately charming (“In the Light of a Love Affair”) and discomfiting (“East of Barstow”), and, in “Big Sandy”, Montana evolves from setting to subject as the girl’s feelings he traverses it to see prove less than his own feelings for the state. In LA, Opatz learned from and worked alongside Jonny Fritz at Dad Country Leather, and met bandmates and 'Extra Medium' collaborators Malachi DeLorenzo (drums, producer, engineer) and Dylan Rodrigue (multi-instrumentalist, producer). He now lives in Missoula, Montana, where he runs his own custom leather shop, is writing the next album, and getting ready to pursue a Journalism degree at the U of M.

Rhoda Dakar is back with her first solo album in seven years with Version Girl, a collection of reggae and ska covers by artists and songwriters she admires. Rhoda Dakar began her musical career as lead vocalist with all female 2Tone band, The Bodysnatchers. They only ever released two singles, 'Let's Do Rocksteady' and 'Easy Life'. After a year together they split and Rhoda went on to guest with The Specials in Europe and the USA, having featured on their second album, 'More Specials', for which she won the first of her seven gold records. After their demise, and before joining Jerry Dammers' new project, she recorded The Bodysnatchers' first original song, 'The Boiler', a harrowing tale of date rape, which was inevitably banned. The Special AKA spent the next two years recording 'In The Studio', spawning a top ten hit with 'Free Nelson Mandela'.

Don't let the postcard-generic cover art fool you, Summer Brings The Sunshine stands head and shoulders above nearly any major label country rock album crowding mid-'70s record bins. Next to the hundreds or even thousands of slick productions flowing out of Nashville and Los Angeles, Jimmy Carter scoured his rural Missouri surroundings for farmhands and semi-pros alike to lay down eight farm-isolated originals in 1977. Tasty female backing vocals, languid pedal steel, and feisty guitar licks abound on this exalted and near-peerless slice of Cosmic American Music.