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Sleap-e is reclaiming herself. The Italian singer-songwriter’s second album, 8106, captures the spirit of play; the child-like instinct to pursue what you love without compromise - and here it is, that particular magic that rarely survives adulthood, remarkably intact. Each of its eleven songs are vibrant shards which build a mosaic of Asia Martina Morabito’s world: the growing pains of your early twenties, remaining faithful to your dreams despite the hostility of adulthood, places of escape both real and imagined - and the pulse of Bologna, her home and north star. As a student of old-school iconoclasts like The Fall and inspired by the outsider streak of Jimmy Whispers and Daniel Johnston, it was not any particular musical quality of theirs which Asia wanted to channel in Sleap-e, but their confidence to “explode in a raw, free and authentic way.” Though her sound has shifted from the tender bedroom pop of her 2020 EP Mellow and her 2022 debut album Pouty Lips which was bedecked with jubilant brass and Mediterranean rhythms, it’s her self-belief which endures. 8106 is Sleap-e’s most raucous, unpolished and playful offering to date, steeped in the influence of “egg-punk”, an internet-grown genre which seeks to satirise the tropes of punk with its danceable irreverence. There is joy to be found, Asia feels, in refusing to conform, and it has brought her closer to herself than ever before. But to gain her sense of self, first, she had to lose sight of it. Summer of 2023, when the outlines of the record were made, was a difficult time for her. 8106 was the number of the hotel room she felt confined to, alone and adrift from comfort when she was working away from home. Writing this album was her getaway car. “It represents an important choice I made,” she explains. “I chose happiness. I chose myself.” The title represents a kind of mental post-it note reminding herself to stay focused on what she loves; it’s a talisman to protect her from hard times. She returned home, and there she began recording the album in residency at the Bronson Club, a hive of like-minded creatives and mentors who helped it take its final form. At home, her own music was played freely and instinctively. The artwork for 8106 is by Noemi Vola, a prolific Bolognian illustrator and author who specialises in designs for children, which reflects the “funky, fairytale mood” of the record itself.

Repress.

In dialogue with both past and future, Slapfunk protégé Julian Anthony touches down with a 4-track invocation of classic deep house templates.

Tripped out sensibility meets sci-fi tendency as ‘Full Moon Fever’ and ‘Open Minded’ deliver full-bodied exercises in total dance floor immersion. Fractal fuel for the vision quest, they’re sophisticated like the finest dream house while channelling the buoyant, jacking heft of timeless Chi-town material.

Wide eyed but tuff, ‘Stormy Tuesday’ rolls in with more of the groove-forward drive that typifies Anthony’s best work. It’s just the kind of immaculate gear we've come to expect from the Dutchman, and evoking golden era Dream 2 Science, ‘Virtual Reality’ ploughs the same furrow of propulsive, ‘90s-indebted house. Deep space projections radiating togetherness and warmth from the start.

The legendary Horsepower Productions return to Sneaker for a thematically charged trip into future zones, driven by dexterous breakbeat science and ruffneck soundboy wisdom.

The UK dubplate heavyweights are no stranger to a loaded sample, and they’ve got a message to impart on this double-edged record. They kick off with a rumination on the planet’s fragile ecosystem on ‘Tropic’, which looks to a possible future with an ominous fate for the foliage we hold dear. Production-wise, Horsepower set electric drum loops off against lurid daubs of synth without derailing the motion, but a huge amount of the track’s impact arrives in the sampling from a cult classic slice of sci-fi. The premise is that the last remaining trees and plants from earth are adrift in space in a bio-dome, and have been condemned for demolition - a depressingly feasible scenario with an aggravated soundtrack to boot.

On the flip, ‘Computer Rock’ rides a tough break slow and hard and injects dystopian electro synth licks into the mix for a darkside roller that celebrates the visionary talent of Jeff Brown, aka Kase 2. Brown pioneered graffiti in the 70s with futuristic styles that still hold sway today, leaning into his own sci-fi imaginings about computer worlds inhabited by extra-terrestrial beings, Brown passed away in 2011, and this track and the attendant B2 cut ‘Kase - Reprise’ pay tribute to a forefather of hip-hop culture by channeling the future shock styles of Bambaataa et al without ever sounding throwback.

The concept on this record gets taken out further with the additional digi-only tracks, which take in the low-slung, skunked up funk of ‘Blaque Gras’ and the amped up rave damage of ‘Kase 2-Part 2’. Throughout, on-point samples and a clear-eyed focus bring out the best in the Horsepower approach, offering up next level dance wreckers with something to say.

Die offizielle Wiederveröffentlichung des Dub-Klassikers "Scientist Encounters Pac-Man" ist als 2LP-Edition mit Poster (60x60 cm) erhältlich! Die Aufnahmen des Originalalbums von 1982 finden sich auf der ersten LP, sie wurden mit den Musikern der Roots Radics in Bestbesetzung im Channel One Studio eingespielt und im King Tubby Studio abgemischt. Am Mischpult saß Hopeton Overton Brown, besser bekannt als Scientist, und für die Produktion zeichnete Linval Thompson verantwortlich. Auf der zweiten LP finden sich die dazugehörigen Versionen der Sänger u.a. von Eek-A-Mouse, Linval Thompson, Dennis Brown und den Viceroys und den Meditations. Für dieses herausragende Re-Issue Projekt wurde die Top-Adresse, was Audio-Mastering in Europa angeht, die Firma Soundmasters in London, engagiert. Das dazugehörige Artwork von Tony McDermott hat bis heute nichts an seiner Faszination verloren.

Ponyland are a psychedelic punk, force of nature, a multi-limbed monster of scuzzed-out riffs and thunderous ritualistic grooves. Combining the grinding onslaught of Lightning Bolt, the ecstatic spectacle of Sun Ra and the irreverent spirit of System of a Down, this unhinged, masked menagerie have to be seen to be believed. Intoxicating rhythms meet hook driven waves of riffage, with ecstatic energy that will make your legs rattle uncontrollably.

Following on from their debut album Mora Mora, this new full length LP HARE BRAINS sees Ponyland embrace a new edge to their visionary sound world. Keeping the trademark, pulverising double drum kit engine and fuzz-drenched psychedelic soundscapes, the band have supercharged their songwriting with focused riff-based hooks and driving punk-edged vigour. Prominent female vocals channel Bikini Kill and Warpaint, whilst gritty, melted electronics flow around a classic thrashing guitar sound. Hare Brains is a celebration of dysfunction, a call to arms against human apathy, a psychotropic odyssey of eroded power structures, post-apocalyptic landscapes and mutant pigeons.

The anarchic pagan ecology of Ponyland’s vision grabs the listener and catapults them into a visceral NOW, full of defiant life, movement, and human connection.

Channeling a love affair with classic '90s hip-hop, an affinity for otherworldly themes and an ear for raw funk, Barclay Crenshaw uses his given birth name to bare his soul and deliver a slowed-down, emotive collection of collaborations and instrumentals. This self-titled debut album is a left-field departure from his better-known alias, Claude VonStroke, but the quality is undeniably the same. The themes of ancient alien abductions and exploration of time and space are discovered and brought to life over ten tracks that sound like a mixture of gold rope chains and new age enlightenment. Modern organic beats mixed with gorgeous melodic moments and underlying grittiness create an experience that is eclectic, expressive and expansive. Coded art furthers the sense of mystery and the unknown, harking back to the past while gazing into the future.

Over the last couple of decades, Charlie Parr has crisscrossed the world on tour more times than one can count. He also has released over a dozen albums of his songs, acclaimed for their poetic simplicity. Little Sun, his most ambitious album to date, was recorded with Tucker Martine (The Decemberists, Sufjan Stevens, My Morning Jacket) and features Parr augmenting his raw and affecting songs with stunning full-band arrangements. The remarkable backing band here includes Marisa Anderson, Victor Krummenacher, Andrew Borger, and Asher Fulero. Masterfully channeling the philosophical and transcendental qualities of the blues, Parr takes us on a journey through the winding streets of his imagination.

2024 RSD Release

The ascending soul sensation Fat Generous embarks on a heavenly collaboration Wai Wan. This record is an invitation to their soulful world of jazz influenced funk and R&B, Fat Generous have been making waves in their hometown playing alongside the likes of Fatboy Slim and Sister Sledge, and their raw onstage energy has gained the stamp of approval from the godfather funk himself, George Clinton. Recorded at the height of a record breaking heatwave, Fat Generous have captured the blissful respite of a 'NightTime Cool Breeze' in a silky laid back groover that formed their debut single back in September. Amassing over 30,000 streams in the first month, alongside radio play and feedback from the likes of Craig Charles & Giles Peterson. Channeling carefree vibes reminiscent of Roy Ayers’ 'Everybody Loves The Sunshine'. On the second side a Record Store Day exclusive track 'Shake Your Body Down' 'Shake Your Body Down' is an unparalleled journey through the funk filled cosmos, a collector's dream that pays homage to the pioneers of funk while paving the way for a new era of groove. This release is the precursor to a bigger release schedule for the band a good vibes only DIY recording project that has been produced by legendary nujazz producer, Wai Wan, whose fingerprints can be found all over releases on Chrysalis Records and Virgin Records. This record is a scene setter that introduces you to the groovy rhythms that Fat Generous deliver in excess at each of their live shows unique performances that lean on the group’s tight knit ability to improvise and reimagine their own music. Limited edition heavyweight 7 inch vinyl in a picture sleeve. Get the debut release and you're ahead of the curve.

To back such a legendary artist, TABOU1 asked Sly & Robbie and the Revolutionaries (Channel One studio band in the late 70's) to work the "old school" way: all musicians would play live, together and in one take, as opposed to recording their parts separately as is now done in modern music. The result is stunning, with luminaries Ansel Collins and Robbie Lyn on keyboards and organ, Sticky Thompson and Skully Sims on percussions, Dalton Browne and Dougie Bryan on guitar. Bob Marley's synth wizard Tyrone Downie added some musical pixie dust while Stepper did the horns.

Growing up on the outskirts of Manchester, Daniella Lubasu feels that the city's strong indie rock legacy has had an "inevitable" impact on her Equally significant was the music of her Congolese heritage - with its upbeat rhythms, driving bass and intricate electric guitar riffs a constant presence in her childhood. It's in this intersection between the genres where Daniella grounds her sonic identity as DellaXOZ - one which has already garnered extensive love from Clara Amfo at Radio 1, early nods from The Guardian, The Line Of Best Fit, Clash and many more, and support slots with the likes of Beabadoobee, Spill Tab, Wallice, Two Door Cinema Club and Connie Constance. At age 13, armed with a cheap mic and free software from the internet, Daniella wrote and produced her first song, using music as an emotional outlet throughout her teenage years. The potential for music to shape mood is a recurring trait of Daniella's idols too. The clever wordplay and bravado of Nicki Minaj have emboldened her to channel her own "irreverent villain energy", the untethered chaos of La Tigre and Bikini Kill directly influenced her single 'AHH!!', and she is in awe of pop stars like Lana Del Rey and Lorde's ability to seamlessly shift emotions en masse. DellaXOZ is Daniella's real-time chronicle of expression and introspection, manifested via her own brand of glitchy, alt-pop-fecked indie rock. With her formative teenage years navigated during a global pandemic, it's little wonder that Daniella sets classic coming-of-age concerns to the backdrop of wider social issues and commentary. Her current ethos as DellaXOZ is to capture "the fleeting emotions and multi-dimensionality of the teenage experience", and she rejects the narrative of apathy and distraction misassigned to her generation, explaining "I think it's necessary to know what's going on in the world to not become distanced or ignorant. Current world issues like hate crimes, bans on safe abortion and poor gun control are things that I feel personally provoked to shed light on, and have already written some rage- y unreleased songs about." Currently studying for her A-levels, her lessons too expand the narratives within her songwriting. Drama classes led her to include references to Greek mythology in her tracks, where sociology galvanised her to pen her own "riot girl feminist song". It's exactly this kind of boldness and conviction to play with sounds and ideas that mark DellaXOZ as a key young creator in the next chapter of Manchester's musical tradition.

Delphine Dora is a prolific composer, improviser and musician who has released on a plethora of labels including Recital, Morc, Sloow Tapes, Feeding Tube, Okraïna and more, and ‘Le Grand Passage’ is her Modern Love debut, a stunning set of songs for piano and voice, recorded in one take without overdubs or edits.

In an act of pure expression, Delphine Dora recorded the 8 songs of ‘The Great Passage’ in a single take, succumbing to a whirlwind of inspiration that transported her beyond the material world. Baroque paradigms bleed into fragile, introspective mantras, expressed through a made up language of existential yearning and channeled through piano and voice. It’s music that caresses the sublime, made without any premeditation.

Delphine was nearing the end of a three-day prepared piano residency when an technician stepped in to tune her grand piano for her final performance. He removed the objects from the strings and fixed the pitch, leaving Dora with a freshly tuned instrument. Mesmerised by its new sound, she proceeded to switch on her recorder and pour out her soul, channeling, in her own words, "something greater than myself".

The result is some of the most unusual but elevated material the prolific composer, improviser and multi-instrumentalist has ever recorded, rooted in a deep understanding of European musical history but willing to push at its boundaries, questioning the earthly logic of life and death, asceticism and impiety. Glistening imperfections lash 'The Great Passage' to the physical world, but Dora - seemingly possessed as she quivers in a fictional dialect - lets her fantasies intensify her spirit, lifting the music towards the heavens. It's not sacred music, per se, but it is unashamedly mystical.

On the luxurious, languid opening, Dora dissolves eerily familiar romantic piano motifs into an attentive ceremony, singing with charged emotion. Her words aren't really decipherable, but their resonance vibrates beyond language; it's striking to hear how confident she is in vulnerability. She lets the piano wrap into her voice, connecting us directly to a unique mode of emotional expression by urging us - the listener - to project our own meaning onto her abstracted words.

Dora refers to the act of improvisation itself as a way to indicate "the fragility of being”, and as her words blur in and out of focus, dipping from a hoarse croak to a choking wail, she places herself at the very edge of musical formality, questioning strictures put in place to suffocate self-expression. Her music has often been labeled "outsider", but here she sounds intimate and interconnected, more self-consciously candid than anything traditional might have allowed. She conjures affecting, plainspoken poetry, like a bedside diary written in a hypnagogic, delirious state: a stream-of-unconsciousness, channelling the beyond.

The album title connects to a book dedicated to French philosopher and activist Simone Weil, who famously pored over global religions to ascertain spiritual truths. To Weil, meditation was a passage to access mystical experience, or a bridge between humanity and divinity. In Dora's hands, this idea is a corridor between herself and the listener, a liminal place where she's able to address feelings without making anything explicit. The title, of course, also refers to life, its impermanence, finitude, and fragility, presenting the complex, multi-dimensionality of being through one of the most undiluted, unbridled set of songs imaginable.

Limited To 140 Copies Worldwide*

This is the first release by Essex warrior Diplomat, who would later go on to making some serious noise on the hardcore/gabba label Deathchant as well as running Electro Avenue Records. He is still at the top of his game when it comes to production, recently releasing two EP’s on the Vinyl Fanatiks sister label, Amen Brother.

This EP originally came out on Vinyl Fanatiks in 2020, just as the whole covid thing happened. Due to everyone being at home, the record sold out quickly and only a box was saved for distribution at the time. A proper slice of UK hardcore rave – intense, plenty of stabs and crazy samples with a good dishing out of hip hop vocals. This one really is for the 1993 heavy stompers, a classic slice of the nice. Originally released in 1993 on Diplomat’s Immunity Records.

Only 140 have been pressed on 180g pink marbled vinyl.

Produced By Donovan Germain, recorded at Channel One and Harry J's, backed by The Roots Radics & The Taxi Gang, originally released in 1982. A pre-digital taste of what was to come.

When we started playing music together in 1997, we could spend a lot of time on each individual track. It would mutate, go through many phases, until we’d get to the point when we’d decide to capture it and mix it on the fly.

Twenty-five years later, we changed gears. This album was produced across a two year period, during several sessions in our studio (the third member of the band), following this process: we plug the machines, we start a musical conversation, we press record when it gets interesting.

In the studio, that moment always comes, when a fragile and magical balance happens. That’s when we record, usually in one take, sometimes all in the same stereo channel, the computer sitting in a corner, its presence not interfering with our ears.

La Folie Studio is the fruit of this process.

Let’s get numerologistic with this new age reactionary-philosophic strategy manifesto:

Playing electronic music, whether alone or not, must be joyous, funky, and make you feelgood.

The studio is not a sanctuary but a place of life. Technology must not be intimidating.

Welcoming friends and new objects in the studio should be an infinite source of inspiration.

If nothing happens in the studio, turn off the light and play a percussion record.

Techno heads of all ages need something more spontaneous and freer than little thumbnails shared on a pocket computer. Château Flight offers a musical experience carved on grooves.

With 25 years of experience, Château Flight can cure all your musical ills, instantly and painlessly.

The key to success: midi sync + din syc + external trigs.

Matteo Mussoni and Nicola Zucchi were raised on the disco romance of the 1970s and early 80s. Channelling their shared love of music machines and mirrorballs, the duo founded Sparkling Attitude. Their debut EP draws on the magic of italo disco, the synthesizer soundtracks of the silverscreen and the open stretches of the Italian coastline.

“Dov’eri Sabato Sera” recounts the tale of unrequited love; youth, possibility and dashed hopes play out to a crisp rhythm and wistful melodies. Those heart-strained notes then take the limelight for the instrumental version, analogue strings soaring to impassioned heights. The flames keep burning on the flip with “Melodico Romantico”.

Disco infused, bold and brazen beats are made-up in dark rouges and effervescent greens as breathy vocals whisper. Mussoni and Zucchi dive deep into their machines for the curtain close. Inspired by Japanese culture, made in Italy, daring key stabs and astral echoes are draped in a late-night groove for this glittering finale. Joyous sounds from a Sparkling Attitude

Dedicated global following with fans of vintage downtempo soul music. Pratt & Moody are cherished in California’s lowrider ballad circles based on their underground soul hits “Lost Lost Lost” and “Wheels Turning”. Enter the captivating realm of Pratt & Moody as they unveil their new deep-as-the-oceans single, ‘Creepin’ Around’. This dynamic duo – consisting of Pratt and Moody – have honed their craft channeling their collective prowess into a singular fusion of dark soul and haunting melodies. Their previous sleeper hits “Lost Lost Lost” and “Wheels Turning” still resonate in spaces where contemporary soul ballads are treated as a valuable commodity. With ‘Creepin’ Around’, Pratt & Moody dive deep into the shadows, crafting a sonic narrative about infidelity that transcends boundaries. The velvety vocals of Pratt wrap themselves around Moody’s evocative guitar, creating a timeless soundscape that resonates with raw emotion. As the instrumental version gracefully embraces the absence of words, the music is left to speak volumes. Accompanied by the rock-solid artistry of Cold Diamond & Mink, ‘Creepin’ Around’ transports you to the hazy realm of late-night introspection, where each note carries the weight of longing and desire. The track immerses you in a David Lynch like world where melancholy, darkness and passion coexist.

Dedicated global following with fans of vintage downtempo soul music. Pratt & Moody are cherished in California’s lowrider ballad circles based on their underground soul hits “Lost Lost Lost” and “Wheels Turning”. Enter the captivating realm of Pratt & Moody as they unveil their new deep-as-the-oceans single, ‘Creepin’ Around’. This dynamic duo – consisting of Pratt and Moody – have honed their craft channeling their collective prowess into a singular fusion of dark soul and haunting melodies. Their previous sleeper hits “Lost Lost Lost” and “Wheels Turning” still resonate in spaces where contemporary soul ballads are treated as a valuable commodity. With ‘Creepin’ Around’, Pratt & Moody dive deep into the shadows, crafting a sonic narrative about infidelity that transcends boundaries. The velvety vocals of Pratt wrap themselves around Moody’s evocative guitar, creating a timeless soundscape that resonates with raw emotion. As the instrumental version gracefully embraces the absence of words, the music is left to speak volumes. Accompanied by the rock-solid artistry of Cold Diamond & Mink, ‘Creepin’ Around’ transports you to the hazy realm of late-night introspection, where each note carries the weight of longing and desire. The track immerses you in a David Lynch like world where melancholy, darkness and passion coexist.

Revision of new beats on the horizon
Every 20 years or so, certain musical movements come full circle. Young musicians are inspired by genres dating back two decades, channelling them through their modern sensibility. The legendary J Dilla’s Donuts album was released in 2006 and instantly marked a starting point for the work of musicians worldwide, laying the foundations especially for the beat scene in Los Angeles. A whole young generation of musicians brought up on the new, instrumental and abstract hip-hop has carried jazz into a new era. The four London-based musicians who make up Uniri have gone one step further by abandoning the idea of a jazz band and "bedroom production" in favour of collective composing, creating a new look at the new-beat aesthetics, framing it as a road novel set in an unspecified time and space.

Uniri translates as ‘one unified dream’ and is the key driving motto of the project conceived by Chiminyo (Cykada, Maisha), the band's founder and head honcho. The project materialised in his private studio, where he invited fellow jazz musicians Amane Tsuganami (Jorja Smith, Maisha), Al Macsween (Nubya Garcia, Gary Bartz, Kefaya) and Luke Wynter (Nubyan Twist, Golden Mean) to spontaneously compose together. Hence, despite this being the band's first album, it wouldn't be right to call them rookies. The result of Uniri's collaborative work is the psychedelic, rhythmic album Infinite Reflections, packed with cosmic and warm synths, which neatly balances hip-hop beat and jazz composition. It's safe to say this music is even more appealing when played live, although it's equally suited to the club dancefloor.

UK Jazz has become a permanent fixture in the London landscape, but also across Europe and the US. Today, the musicians who shape the new wave of jazz are drawing on more and more genres, reducing solo improvisation for the benefit of composition and increasingly drawing on influences from the beat scene. Among such formations are the British NOK Cultural Ensemble, the Polish Błoto, the Belgian ECHT!, and the Dutch Comité Hypnotisé. Uniri is part of this emerging yet already international trend, creating an entirely fresh aesthetic that echoes artists such as Flying Lotus, Samiyam, Dorian Concept, Ras G and Nosaj Things oriented around the Californian 'new beats generation' scene.

The title Infinite Reflections alludes to a phenomenon observable on the open sea or during intercontinental flights. Gazing at the horizon blurs the boundary between the ocean and the sky, forming an infinite palette of blue shades. This inspiration sparked an elusive musical narrative, navigating between a sea voyage and an astral journey, destination unknown.

Big Love guru Seamus Haji commits four of the label’s freshest funk, disco and groove-laden releases to wax for the fifth edition of ‘A Touch Of Love’. Who else to open up the compilation but the label boss himself with ‘Dance With Me’, his funky, feel-good collaboration with prolific dance vocalist and friend Kathy Brown.

Glaswegian production duo Illyus & Barrientos bring their genre-crossing disco and house vibes with ‘Wait’, featuring soulful Big Love returnee Phebe Edwards. Up next, a collaboration between two house masters, the multi-faceted Richard Earnshaw and Sole Channel founder Mr. V unite for funky release ‘This House Is Yours’. Closing out this tight and groovy vinyl collection is Rio De Janeiro’s premiere producer DJ Meme with ‘Century’, utilising a classical piece of music from Strauss synonymous with the sound of the future.

"The Piano Guys have become a YouTube sensation with their clever and inspiring takes on popular music and creative videos that accompany them. From Beethoven to Adele, their eclectic mix of classical, film score, rock and pop favorites resonate with audiences across generations and from all walks of life. The band consists of American musicians Jon Schmidt, Steven Sharp Nelson, Paul Anderson, and Al van der Beek. Their 2012 debut album The Piano Guys reached #1 on the Billboard New Age Albums and Classical Albums charts. With over 7 million subscribers on their YouTube channel, at least 20 million views on each of their videos and even some surpassing the 100 million views, The Piano Guys are quite the hit. In June 2011, they won the Most Up-and-Coming Channel award in the YouTube on the Rise-contest with ""Michael Meets Mozart"", featuring Jon Schmidt and Steven Sharp Nelson. The Piano Guys is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl and includes a 4-page booklet. "

The Piano Guys by Piano Guys, released 4 April 2024, includes the following tracks: "Code Name Vivaldi", "Over the Rainbow / Simple Gifts", "Arwen's Vigil", "A Thousand Years" and more.

This version of The Piano Guys comes as a 1xLP. This release comes with (a) Booklet.