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The return of the Memphis soul/funk/jazz trio The City Champs. Members, Al Gamble (St. Paul & The Broken Bones), George Sluppick (Chris Robinson Brotherhood) and Joe Restivo (Don Bryant) have been secretly concocting these tasty, solar expansing nuggets since their last output in 2010.

- The definitive overview of one of Canada's unsung musical heroes - Rare/previously unreleased recordings, photos, and interviews - Lyrics, discography, and filmography - Audio re-mastered by John Baldwin Mastering - Artwork by Christi Belcourt and Alanna Edwards - Liner notes by Kevin Howes (Voluntary In Nature) - Contributions from the Dunn family, Bob Robb, and Alanis Obomsawin (OC) // How did you first experience the poetry, music, and film of Willie Dunn? In a Montreal coffeehouse during the mid-1960s? On a CBC Indian Magazine broadcast with host Johnny Yesno? At a Toronto record store or Native Friendship Centre at the turn of the 1970s? Waiting outside of the Mohawk Nation Longhouse? Maybe in your parent's record collection on the Rez? A White Roots of Peace gathering? Pow wow? The Mariposa Folk Festival? Or was it that Save James Bay Benefit back in '73? On a good friend's stereo? Sitting around a crackling campfire? How about an old NFB film reel or VHS tape in high school? Or while attending Manitou College? A German concert hall in the 1980s? Maybe a direct action protest on the colonial streets of Canada? Busking in Ottawa during the 1990s? College radio? At Willie's celebration of life service in 2013 alongside Alanis Obomsawin and Willy Mitchell? LITA's Grammy-nominated Native North America (Vol. 1) compilation or the very anthology you hold in your hands? There should be no judgment for coming to things when you do. All that's important is remaining open to life-changing messages such as these_ Willie Dunn shared truth through song and celluloid. His original composition, "I Pity the Country," is an unparalleled statement on the greed and hate created by humankind, recorded in 1971 and still unfortunately needed today. "It's like the reason you're supposed to make music," said Kurt Vile about the song to MOJO Magazine in 2015. With "Charlie," Willie was the first to deliver the devastating story of Chanie Wenjack and the Canadian residential school system to the music community, nearly 50 years before the much-celebrated Secret Path, yet ignored outside of Indian Country and the folk festival circuit. Dunn's film technique, featured in 1968's The Ballad of Crowfoot (NFB), predates the "Ken Burns effect" to great effect. Are you catching the drift? Willie Dunn was not only a trailblazing leader in his time, but well ahead of the curve, simply without the PR push and big money backing of major label players. "He was our Leonard Cohen," said singer-songwriter Eric Landry about his musical hero. The only difference is that Willie refused to play the Hollywood showbiz game. In talent, he is Cohen, Dylan, and Cash rolled into one and along with Buffy Sainte-Marie, Floyd Red Crow Westerman, and A. Paul Ortega, brought a new set of perspectives and realities to the folk music tradition. Willie spoke directly to his people and Mother Earth through his creations, not only from experience but by examining his roots and connecting with the world in which he lived. We are humbled to help honor Willie Dunn. May he never be forgotten_ PEACE

In the cinema, the composer must go to meet the filmmakers, enter their world, but without giving up his own. This is the difficulty or the paradox of music for the image. By collaborating with directors from a wide variety of backgrounds, I think I have indirectly discovered a lot about myself. It helped me to progress, to explore territories that were not naturally mine. Cinema is a laboratory where I have sought to construct original orchestral formulas combining Corsican polyphonies, musicians from jazz, variety, classical, or even rappers. Like the world today, a fragmented world where all cultures mingle. So said Bruno Coulais, one of the most innovative composers of contemporary cinema, during the tribute paid to him in 2011 at the Cinémathèque de Paris

In 1978, Bruno Coulais, a young composer of concert works, discovered in film music a new means of expression, a way of bringing the demands of his writing to the masses. François Reichenbach, then Josée Dayan, Jacques Davila, Souleymane Cissé or Laurent Heynemann, first on television and then in the cinema, lead him of his own accord in the discovery of this new world.

In 1995, he composed the music for Microcosmos. This centimeter-scale initiatory journey offers him the opportunity to reveal the full dimension of his writing. He injects into his score a strange lyricism, between wonder and fantasy, confirming the lesson learned from François Reichenbach: "to any documentary image, music brings a part of fiction".

The success of Microcosmos established the musician and made him the indispensable composer of other natural tales, notably alongside Jacques Perrin (Le Peuple migrateur, Oceans, Les Saisons, etc.). Other long-term relationships will be forged, in particular with Benoît Jacquot, with whom he has worked for more than a decade, not to mention Frédéric Schoendoerffer, James Huth or Jean-Paul Salomé.

In addition to great popular successes such as Les Choristes, Brice de Nice or Sur La Piste Du Marsipulami, it is hardly surprising that this insatiable curiosity has found in the animated cinema the most inspiring playgrounds, in particular through his collaboration with two exceptional designers, Henry Selick and Tomm Moore.

The first, American director of The Nightmare Before Christmas produced by Tim Burton, invites Bruno Coulais to sign in 2009 the magnificent score of Coraline (film nominated for the Oscars). 10 years later, he is about to find him for a new and beautiful Wendell & Wild adventure. For Irishman Tomm Moore, Bruno Coulais has already composed the music for two Oscar-nominated films, The Secret of Kells (2009) and Song Of the Sea (2014), and in 2020 he will sign the score for Wolfwalkers.

Whether it is about author's films or more mainstream films, Bruno Coulais maintains the same standards, always considering his art as a window open to the world. Much less wise than it seems, he reveals in it a gift of a modern alchemist and a very personal way of mixing the most diverse cultures in universal harmony at work.

Hyperspace will be Beck’s 14th album, following 2017’s Colors, which won Best Alternative Music Album and Best Engineered Album, Non-Classical at the 61st GRAMMY Awards earlier this year. Hyperspace’s new dimensions in sound are the result of Beck’s most collaborative efforts to date. Seven of the album's 11 tracks—including single “Uneventful Days” and “Saw Lightning” (as featured in the Beats by Dr. Dre Powerbeats Pro campaign and also included with pre-orders)—feature co-writing and co-production from Pharrell Williams. Elsewhere in Hyperspace, “See Through” is co-written/co-produced by frequent Beck collaborator Greg Kurstin, “Star” is co-written/co-produced by Paul Epworth, “Stratosphere” features back-up from Chris Martin, the album’s title track features guest vocals from Terrell Hines, and “Die Waiting” is co-written/co-produced by Cole M.G.N. with backing vocals from Sky Ferreira. Longtime Beck bandmates Jason Falkner, Smokey Hormel and Roger Manning Jr. feature on much of the album as well.

‘Instant Opaque Evening’ is an epic offering from The Underflow, the new trio of Mats Gustafsson, David Grubbs and Rob Mazurek. It makes vast strides on the heels of their self-titled 2019 debut (Corbett vs. Dempsey/Underflow Records) with nearly 90 minutes of intensely focused live performances from January 2020 shows in France, Belgium, Italy and Poland. That tour was a revelation for all three members, experienced as they are, with this still-new group’s freedom to walk onstage each night determined to surprise one another, moving from long instrumental improvisations into and out of songs and covering a terrific amount of ground at each of these concerts.
‘Instant Opaque Evening’ conveys this broad sweep, from the full-tilt electronics of ‘Self-Portrait As Interference Pattern’ and the climax of the seventeen-minute ‘Instant Opaque Evening’ to the inspired, alternate universe chamber music of ‘Planks’ and ‘A Thin Eternity’ and the group’s spontaneous arrangements of three previously recorded songs by Grubbs, ‘Gethsemani Night’, ‘An Optimist Declines’ and ‘Cooler Side Of The Pillow’.
The short version of the long tale of intersecting paths bringing together these three musicians begins in Chicago in the 1990s, with all three active participants in numerous convergences among jazz, free improvisation, experimental rock and more. Both Gustafsson and Mazurek appear as guests on Gastr del Sol albums (‘Upgrade & Afterlife’ and ‘Camoufleur’ respectively; that’s Rob’s cornet taking ‘The Seasons Reverse’ to new heights) and shortly thereafter Grubbs and Gustafsson recorded two duo albums, including the deep minimalism of ‘Apertura’, a talismanic favourite of both musicians.
David Grubbs has played in Gastr del Sol, the Red Krayola and Squirrel Bait and performed with Tony Conrad, Susan Howe, Pauline Oliveros, Will Oldham and many others. He’s the author of the books The Voice in the Headphones, Now that the audience is assembled and Records Ruin the Landscape.
Saxophone player, improviser and composer Mats Gustafsson is known as a solo artist and for international tours and projects with, among many others, Sonic Youth, Merzbow, Jim O’Rourke, Barry Guy, Otomo Yoshihide, Yoshimi, Peter Brötzmann, Neneh Cherry, Christian Marclay, Albert Oehlen, Ken Vandermark and the working groups FIRE!, THE END, LUFT, ANGUISH and Gush, as well as collaborations with contemporary dance, theatre, art, poetry and projects with noise.
Rob Mazurek is a multidisciplinary artist with a focus on electro-acoustic composition, improvisation, performance, painting, sculpture, video, film and installation, who spent much of his creative life in Chicago and then Brazil. He currently lives and works in Marfa, Texas. He leads/co-leads many ensembles of various sizes and shapes including his flagship large ensemble Exploding Star Orchestra, Chicago Underground and São Paulo Underground. He has
collaborated with Bill Dixon, Pharoah Sanders, Roscoe Mitchell, Jeff Parker, Nicole Mitchell, Chad Taylor, Jim O’Rourke, Naná Vasconcelos and many others.

Blues singer and harmonica player Brian Knight (1939-2001) is counted as one of the initial members of The Rolling Stones. Co-founder of Brian Jones first band together with Ian Stewart and Dick Taylor (later Pretty Things) among others. Musical disagreement with Jones, who fancied Bo Diddley and Chuck Berry while Knight was a Muddy Waters follower, led to his departure from the group - later to be replaced by Jagger and Richards. He formed his own "Blues By Six" band, frequently with Charlie Watts on drums, and spent the following years touring and playing London clubs. In the seventies he continued with Bradford-Knight Blues Band. Always a high profile act on the English blues circuit Knight has performed with many known artists through the decades, as Rick Wakeman, Peter Green, Paul Jones, Zoot Money, Ronnie Lane, Charie Watts, Chris Farlowe...and many more. After two successful decades of touring and performing he finally got to record his debut in 1981on the independent label PVK Records. The album is a mix of standard blues and rock numbers as traditional "white blues", sometimes reminding of early British R&B from Cyril Davies or Alexis Korner. It features Dick Heckstall-Smith (Colosseum) on sax, Peter Green on guitar and Stones own Charlie Watts on drums

'Kind of Strange' is taken from Edinburgh super group, Out of the Ordinary's debut album, 'Stranger Things Have Happened'. The original version is an eerily, atmospheric track with a classic film noir vibe, underscored with beats provided by Joseph Malik on the ones and twos, in collaboration with Check Masses members Vic Galloway, Saleem Andrew McGroarty and Philly Collins. Vocal powerhouses, Rosanne Erskine and Philly Collins will have you looking over your shoulder with their edgy, unsettling vocal delivery – was that a ghostly outline or just a curtain blowing in the breeze?

Combine all of these elements with the mighty Steven Christie's keyboard, Paulo ‘Brother’ Riddle’s anchoring percussion and Saleem Andrew McGroarty at the production controls, something rather special comes out of the speakers.

To prepare for their ‘North Street’ remixes, Jo Wallace and Darren Morris immersed themselves in continuous re-runs of iconic TV series, ‘Randall + Hopkirk Deceased’ and ‘Tales of the Unexpected’ enabling them to channel their inner John Barry. Throughout the track, Darren provides swirling, cinematic vamps and lush string arrangements echoing the Warsaw Concerto whilst Chris Greive’s haunting trombone and Vic Galloway, on his electric guitar, beautifully underpin the melody, transporting the listener back to a world of Black and White mystery and suspense.

The Fall is a deconstruction of November by Dennis Johnson.

Written for solo piano in 1959, November is the first example of minimalist music composition and was the inspiration for La Monte Young's The Well-Tuned Piano (1964). The 66 minute piece is a collaboration between legendary artist Lustmord and renowned classical pianist Nicolas Horvath, in which they reduces Johnson's original November to its core element and place it in a landscape of complimentary sound. The Fall echo's November but with further resonance.

Recorded in May-June 2019 in Los Angeles, and Misy-sur-Yonne, France.

Lustmord
Active since 1980, born of the original 'industrial' scene of the period. With its own distinctive approach, blurring the line between music and sound design Lustmord's work has featured in 45 motion pictures including The Crow and Underworld and also in video games, television and commercials. Recently Lustmord scored the music for Paul Schrader's movie First Reformed. While Lustmord is often credited for creating the 'dark ambient' genre there is much more nuance to its work than what that label implies. The music is not dark, but is a light that shines into and upon the darkness. Notable collaborations amongst many include Tool, Melvins, Jarboe, John Balance of Coil, Clock DVA, Chris & Cosey, Paul Haslinger, Karin Park and Robert Rich.

Nicolas Horvath
An unusual artist with an unconventional résumé, pianist and electroacoustic composer Nicolas Horvath is known for his boundariesless musical explorations. Horvath is both an enthusiastic promoter of contemporary music - he has commissioned numerous works (including no fewer than 120 as part of his Homages to Philip Glass project in 2014) and collaborated with leading contemporary composers from around the world, including Alvin Lucier, Mamoru Fujieda, Jaan Rääts, Alvin Curran and Valentyn Silvestrov - and a rediscoverer of forgotten or neglected composers such as Moondog, Nobuo Uematsu, Germaine Tailleferre, François-Adrien Boieldieu, Hélène de Montgeroult, Jean Catoire, Karl August Hermann.

John Winston Ono Lennon would have been 80 on October 9th 2020. In celebration of his life and the incredible pleasure his music has brought to millions in his lifetime, a new Best Of will be released. A multi-format collection, entitled GIMME SOME TRUTH., this set has been personally curated by the Lennon estate and mixes the biggest hits like the classic and timeless “Imagine” with campaigning songs such as “Give Peace A Chance” and the evergreen classics like “Happy Christmas (War Is Over)” and is culled from all of his solo albums including the posthumous “Milk And Honey”.

John Lennon is simply one of the most recognised and respected musicians of the modern era. As one half of perhaps the most successful songwriting partnerships of all time he deserves his place in history. That this partnership was with Paul McCartney in The Beatles means that he is also one of the most successful recording artists in history. With every succeeding generation falling for their genius, their legend continues to grow and they dominate the pop landscape.

Their split in 1970 allowed each of the band members, by now literally some of the most famous people on the planet, to find their own voice as solo artists and to grow beyond the confines of the band. For John Lennon, this meant throwing himself headlong into life with his new wife, Yoko Ono and eventually a new life in New York City.

Being a solo artist meant that he could delve deep within himself and realise music that was both deeply personal and challenging and which sometimes required a commitment from the audience too. His songs during his solo career mixed accessible pop melodies with sometimes stark and heart-rending simplicity and all points inbetween. His lyrics ranged from deep introspection and self-analysis to subjects that were more concerned with politics (of self, of relationships, of the campaign for peace, of the place of mankind as well as global politics). After a first rush of creativity, he took a step back from the limelight to care for his son, Sean, at home in New York, but when he was ready he returned to recording with one of his most successful and impactful albums. Double Fantasy, preceded by the single (Just Like) Starting Over had been released the month before his life was tragically cut short on 8th December 1980. But this album joins the rest of his solo canon as testament to one of the truly great and truly iconoclastic musicians and personalities of the era.

Brooklyn-based cellist Clarice Jensen’s gorgeous
sophomore album and first for FatCat’s pioneering
130701 imprint, ‘The experience of repetition as death’
was recorded and mixed by Francesco Donadello at
Vox-Ton studios in Berlin in late 2018 and mastered by
Rafael Anton Irisarri.
 Following up her hugely impressive 2018 debut, ‘For
This From That Will Be Filled’, which included
collaborations with Jóhann Jóhannsson and Michael
Harrison, all of the material on this new album was
written and performed by Clarice alone and all of the
sounds on it were created with a cello through a
variety of effects and effects pedals.
 Clarice has recorded and performed for a host of
stellar artists including Jóhann Jóhannsson, Max
Richter, Björk, Arcade Fire, Nick Cave, Jónsi, Stars of
the Lid, Dustin O’Halloran, Joanna Newsom, Nico
Muhly, Dirty Projectors, Frightened Rabbit and Beirut.
 Receiving glowing critical acclaim, both her previous
releases made it into Pitchfork’s End Of Year charts.
 For fans of Jóhann Jóhannsson, Hildur Gudnadottir,
Stars of the Lid, Max Richter, Pauline Oliveros, Harold
Budd, A Winged Victory For The Sullen, Sarah
Davachi, Resina, Maria W Horn, Ellen Arkbro, Kali
Malone, Christina Vantzou, Abul Mogard, Galya
Bisengalieva, Richard Skelton, GAS, Steve Reich.

At the turn of the 80's, a new generation of musicians appeared who saw synthesisers not as dehumanizing machines but as musical instruments that could be coaxed into creating modern, beautiful and decidedly emotional music. It was almost as if the musicians were intentionally creating this music to prove the doubters wrong. 

Compiled by Saint Etienne’s Bob Stanley and Pete Wiggs, “The Tears Of Technology” celebrates this brief period when scruffy synth duos from the provinces broke through and took over British pop. Like mellotrons before them, synths could project a strange and deep emotion; listen to OMD’s ‘Sealand’, or the Human League’s ‘WXJL Tonight’, and it was clear that something in the wiring had an inherent melancholy.

In the 60's and 70's, the synthesiser had mostly been regarded as either a novelty or a threat. Tomorrow’s World warned us that the cold, heartless synth would soon make orchestras redundant. But by 1980, Korgs, Moogs and Rolands were becoming affordable for all, and post-punk had created a safe place for new groups to experiment with these new toys.

The influence of Kraftwerk – who had made a landmark appearance on Tomorrow’s World in 1975 – is all over this collection. Big names rub shoulders with obscurities by Turquoise Days, Electronic Circus and Illustration, all highly prized recordings among ‘cold wave’ and ‘minimal synth’ afficionados. There are pioneers like John Foxx and Thomas Leer, alongside unexpected synth sadness from Simple Minds and the Teardrop Explodes.

“The Tears Of Technology” celebrates an era of electronic melancholia, synthesized intimacies and insights – even Tomorrow’s World didn’t see that coming.

Pacific Express emerged from Cape Town, South Africa in the 1970s. The band were from the so called "Coloured" community and were ground breakers in both musical and political arenas. The founder members Paul Abrahams (Bass), Jack Momple (Drums) and Issy Ariefdien (Guitar) were joined by Chris Schilder (Piano), Vic Higgins (Pecussion), Barney Rachabane (Alto Sax), Stompie Manana (Trumpet) and Zayn Adams & Kitty Tshikana on vocals for their second album "On Time" in 1978.

On several occasions the group fell foul of Apartheid laws and discrimination by the state broadcaster, SABC. On one occasion they were asked to leave the stage of an international tour by Australian act John Paul Young, because the law forbade racially mixed performers on the same stage. The promoter, management and band members all resisted and once he incident made the Australian newspapers the authorities had little choice and turned a blind eye.

And so to the music. The most important thing. The LP opens up with the slick jazz-boogie funk of "We Got A Good Thing Going On", a perfect vehicle for the vocals of Zayn and the statement-of-intent, on-point musicianship of the band.

"I Hear Music" is the first of three smooth sweet string-laden ballads to feature on the LP. The majority of the songs on the LP were written by keyboard player Chris Schilder. As well as high-craft songwriting Chris also contributes layers of effortless musicality with his Rhodes and piano. "Good Old Days" (the only cover on the LP) is next and its smooth-rock grooves swing effortlessly to the fore. The A-Side of the vinyl closes with the instrumental jazz funk of "Saturday Night".

The flip side of the album opens with the bands biggest commercial success. A sweet soul ballad penned "Give a Little Love". Stepping outside their usual sound. This hit however was not without controversy as the video was removed from the TV airways after the South Africa Broadcasting Corp realised that the group were of mixed race, which was against rules for so called local artists in public performance at the time.

"Dream" follows on with the driving jazz rock and travelling keyboard solos. "Reaching Out For Love" is a power-pop boogie groover powered by guest vocalists Erica Lundy and Kitty.

"Say The Last Goodbye" is the last of the trio of ballads. A smooth style moment sounding all the bit like a 70's US TV drama closing theme. The LP features with a funky workout where the band show off their chops and slick level of musicianship.

Besides the success in southern Africa this album became a regional hit as a pirated music cassette in Nigeria. It was also released in France and Japan.

The band would go on to record one further LP in 1979 and a single in 1981. They carried on performing however well pass that. Throughout their years together the band acted as central hub for Jazz musicians within the Cape Town area. Players as Tony Cedras, Jonathan Butler and Alvin Dyers gaining experience alongside established names such as trumpeter Stompie Manana and alto saxman Barney Rachabane.

Here at World Seven we are ever so pleased to be re-releasing what we consider the bands finest album moment.

Recital publish the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "Avant-Garde" (Calgary is the rodeo capital of the world). From a young age, Sarah was a driven pianist (and figure-skater, although that's a story for a different time). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel.

Sarah is a considered person. I find few people that have the diligence and resolve to take their time with music... especially in a live context. I respect that about her. The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty.

Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On..., recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion.

Two pillars of this album are "Mordents", which to my ears drops hints of her love for Progressive rock music - and "Buhrstone," comparable to a sombre funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics.

Writing this description now, I find it hard to separate "At Hand" from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship - frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul.

This is a lovely album to fill an evening living room with. A blanket, a cup of wine, a dim bulb, a wide window.

Three beautiful photo-prints by Davachi are included with Let Night Come On Bells End The Day. Frames are not included.

- Sean McCann

Celebrating a Decade of Dark Entries with a compilation titled ‘Tens Across The Board’. We revisit our roster and chose 10 songs from 10 bands from 10 different countries spanning the years 1981-1993. The songs flow in chronological order and have never appeared on vinyl, with 7 of the songs previously unreleased.

The compilation begins in 1981 with Parade Ground from Belgium, the duo of brothers Pierre and Jean-Marc Pauly with help from Patrick Codenys and Jean-Luc of Front 242. “The Light’s Gone” was one of their earliest experiments and employs a stark minimalism with modular synthesizers, guitar reverb and tape delay. Next we venture to Granada, Spain in 1982 to meet the trio of Diseño Corbusier. Influenced by Cabaret Voltaire and Dadaism, “La Esperanza está en Antenas” was the band’s take on melancholic pop fueled by a robotic DR-55 bass-line. Sailing the Mediterranean Sea to Athens to meet Greek electronic goddess Lena Platonos who shares a demo from 1983. “Μια Γάτα Σασ Περιμένει Στη Γωνία” translates to “A Cat Is Waiting On The Corner” and is possibly the witchiest sounds we’ve shared yet, ending with a blood curdling scream. Frozen in 1983 we cross Ionian Sea to Messina, Italy and visit Victrola, the duo of Antonino “Eze” Cuscinà and Carlo Smeriglio. They’ve unearthed a melodic instrumental version of “Luca” fueled by a Korg Polysix and TB-303. Traveling across the Adriatic to Slovenia circa 1984, where Borghesia are working on their album ‘Ljubav Je Hladnija Od Smrti’. “Magla” translates to “Fog” fitting for the thick, somber electronics of Aldo Ivancic providing a dense atmosphere for the baritone vocals of Dario Seraval.

On Side B we go down under to Sydney and excavate a hidden Tom Ellard song recorded in 1984 under the alias Lord Metal, an anagram of his name for copyright reasons. “Ga Duum Blitzfonika” is a slow-motion, unadulterated dance groove originally released on the cassette compilation "Independent World”. Skipping ahead to 1986 in Tours, France we salute X-Ray Pop the minimum new wave duo of Didier "Doc" Pilot and Zouka Dzaza. They contribute the hypnotically fragile “Corto Maltese” that originally appeared on the cassette compilation ‘Plop’. Crossing the German boarder we arrive in Dortmund at the apartment of Andreas Sippel of Second Decay who recorded the instrumental demo “Lübeckerstrasse” in 1988 with partner Christian Purwien. Utilizing an TR-808, SH-101 and Arp Odyssey this cold slice of futurism was named after the street Andreas lived on. Traveling westward to England, specifically Basildon, Essex to the teenage bedroom of From Nursery To Misery, the trio of identical twin sister vocalists Gina and Tina Fear and keyboard player Lee Stevens. “Contentment” is an introspective, ethereal pop song with child-like vocals that originally appeared on the Belgian tape compilation ‘Heartbeat Vol.4’ in 1989. Finally, we return home to San Francisco and close out the compilation with Cyrnai the moniker of multi-instrumentalist Carolyn Fok. “Digital Grit Box (Demo)” was an outtake from the ‘Transfiguration’ album sessions recorded in 1993, utilizing dark dance drum beats made with MIDI sequencer programs Studio Vision and Sample Cell.

All songs have been remastered by George Horn at Fantasy Studios. The vinyl is housed in a custom designed jacket by Eloise Leigh featuring our label’s colors black-white-red with connect-the-dots pattern linking the 10 songs via maps/timeline/location, all relating to the reissue process, plus source images from San Francisco, our hometown. For this landmark release we've also printed a 2-sided fold-out wall poster that includes every artist we've released in our first 10 years 2009-2019 in black, red and silver metallic ink, plus an 8x11 insert with lyrics, notes and photos.

One of the greatest enigmas of the music scene in mid to late 1970s Harare was The New Tutenkhamen, a band which played an eclectic brand of Zimbabwean township music combining
traditional rhythms and western influences. The band included some luminaries of Zimbabwean township music. Elisha Josamu was an alumnus of the fabulously-named Hallelujah Chicken Run Band (alongside Thomas Mapfumo), and Green Jangano’s long-running Harare Mambos, and would later form Two Plus Two with bassist Christopher “Chex” Tavengwa. Jethro Shasha played the drums, and would arguably become the New Tutenkhamen’s most famous export, making continental waves working with likes of Salif Keita. Paul Sekerani played the rhythm guitar, with Amos Chatyoka on the organ, while the enigmatic Maggie Mbuli provided vocals and F. Manda played the sax. The New Tutenkhamen recorded I Wish You Were Mine at Teal Records, produced by Crispen Matema, a talented jazz drummer in his own right who had played drums on the all-time classic Skokiaan, and had backed Louis Armstrong on his 1960 Rhodesia visit. Combining the
heavyweight producing talents of Matema and the writing chops of Josamu, The New Tutenkhamen band created an album howcasing various musical styles popular at the time. From the afro-jazz jam session aesthetics of “Tutenkhamen Theme”, “Big Brother alcom” and “Forever Together”, to the almost Van Morrison-sounding “Sunday Morning”; from the upbeat rock ballad “True Love”, to the funk-infused dance song “Togetherness”; from the bouncy jazz
exhortations to work hard in “Ane Nungo”, to the brassy, raunchy foot-stomper “Me & Dolly”. The title track “I Wish You Were Mine” is a ska-infused ballad that wouldn’t be out of place in post-war
Birmingham, while the star of the show is “Joburg Bound”, itself a fast-paced rock piece with Motown undertones and funky guitar lines. As a collective effort, I Wish You Were Mine provides a fascinating insight into a fraught time in Zimbabwe’s history, and the bands plying their trade through the turmoil, making music for young people, by young people.

Die Martinez-Brüder Chris & Steven aus der New Yorker Bronx sind seit über 10 Jahren in der House-Szene aktiv. Seit 2011 haben sie eine feste DJ-Residenz auf Ibiza, legen auf renommierten Festivals wie Ultra, Time Warp oder Tomorrowland auf und kollaborieren für ihre eigenen Tracks mit Grössen wie Chic(!), Miss Kittin und Tiga. Sie betreiben mit Cuttin' Headz ein Label und gleichnamige Partynächte und legten 2014 dem Mixmag UK-Magazin einen exklusiven CD-Sampler bei. Grund genug für Fabric, sich das berüchtigte DJ-Duo zu packen und ihr erstes offizielles Mixalbum zu veröffentlichen. Dieses bestreiten die Brüder mit 23 erstklassigen Tracks, die von Chicago-Innovator Paul Johnson bis Detroit-Multiinstrumentalist Amp Fiddler reichen. Dazwischen steuern The Martinez Brothers mit "Jam Joint", "Mistakes" und ihrer Top-Kollabo mit NY-House-Legende Louis Vega ("Let It Go (TMB Alternate Version)") drei exklusive eigene Produktionen bei. Die DJ-freundliche Doppel-LP enthält 12 ausgesuchte Perlen, darunter von Mahony & Flogg, Roots Orchestra und zwei Exclusives der Martinez-Brüder.

As a singer-songwriter artist, JE (Jon Edward) Sunde composes abundant records that are as much folk as white soul, influenced by Nina Simone and Leonard Cohen. Without always being aware that he has gold in his voice, and Paul Simon's melodies in his fingers. A long-time friend of Bon Iver, JE Sunde shared the music scene with him at Eau Claire, their hometown, before leaving to Minneapolis. With his group Dardevil Christopher Right or solo, JE Sunde has played everything that the country has of small indie venues. After two albums released in the United States, JE Sunde releases his songs for the first time in Europe as a best-of album available on June 7.

repressed !

SNTS presents the last part of his double trilogy, this time called SCENE III. SNTS wanted to obtain a different view of one of the tracks of this release, and, in order to achieve that, he introduced a big star of the techno scene to this story, that artist is SHIFTED. Anonymity remains the centerpiece of SNTS. To convey feelings and sensations without a face reference or a name is the key point of this mysterious artist. This time the titles of the tracks refer to dates. You may never discover what events those dates belong to, but perhaps we can decipher something through sounds and their path. 20.01.1944 It reminds us of a battle in an eerie and desolate terrain in which each sound makes you move, observing what is happening around you. 20.01.1944 The version from SHIFTED is the story told from the outside of the bipolar world where is SNTS. 07.09.1981 It is a step in the course of a life that accompanies an atmosphere that breathes, but is not noticeable by other senses. 15.04.1946 Destruction, desolation and despair is reflected in this track. It definitely meets all the conditions to describe SNTS' sound.

Played & Supported by:
Planetary Assault Systems, Paula Temple, Svreca, Takaaki Itoh, James Ruskin, Tommy Four Seven, Ryuj Takeuchi, Giorgio Gligli, Speedy J, Ancient Methods, Terence Fixmer, Cio D'or , Eomac, Milton Bradley, Samuli Kemppi, Dj Emerson, Chris Liebing, Par Grindvik, Ø Phase, Kr!z Token, Zadig, Marcel Dettmann, Answer Code Request, Slam, Norman Nodge, Dave Miller, Deepbass, Nihad Tule, Truncate, Dj Hyperactive, Angel Molina, Ben Gibson, Juho Kusti, Claudio PRC, Bas Mooy, J. Tijn, Manni Dee, Donor, Rebekah, Go Hiyama, Francois X, Adriana Lopez, Electric Indigo, Bleak, Inigo Kennedy, Pfirter, Alex.Do, Eric Cloutier.

‘Just rain! Tell that to the dolphins!’
The brand new first-time vinyl edition of The Hitchhiker’s Guide to
the Galaxy: Quandary Phase comes on heavyweight blue vinyl,
packaged in the lavish style of the preceding Primary Phase,
Secondary Phase and Tertiary Phase LP releases.
Here, for the first time ever on vinyl, are Episodes 19 to 22 of the
BBC radio series. First broadcast in 2005, the Quandary Phase is
based upon the Douglas Adams’s fourth novel So Long, and
Thanks for all the Fish. This is the first ever publication of the
original radio edits of the Quandary Phase, as heard on their
original Radio 4 broadcast.
Hitching a lift back to Earth after it miraculously reappeared, Arthur
Dent returns to his cottage and tries to resume normal life. But an
encounter with a striking woman named Fenchurch leads to a
series of unanswered questions. Why has the planet’s entire
population of dolphins vanished, leaving behind them some very
charming crystal bowls? Who is Wonko the Sane, and what is
God’s Last Message to His Creation? Meanwhile Ford Prefect is
Having revelations of his own, and as for Marvin the Paranoid
Android…well, just don’t ask. Suffice to say, things may never be
the same again.
Starring William Franklyn as The Book, with Simon Jones as
Arthur Dent, Geoffrey McGivern as Ford Prefect, Bill Paterson as
Rob McKenna, Jane Horrocks as Fenchurch, Sandra Dickinson as
Tricia McMillan and Stephen Moore as Marvin the Paranoid
Android, with a guest cast including Arthur Smith, June Whitfield,
Stephen Fry, Jackie Mason, Rula Lenska, Patrick Moore and
Christian Slater, with music by Philip Pope and Paul ‘Wix’
Wickens. Adapted, Directed and Co-Produced by Dirk Maggs
Two 180g heavyweight coloured vinyl discs are presented in
illustrated wallets inside a rigid, bound 20 page book, including a
moving tribute to Douglas Adams written by Stephen Fry and
sleeve notes by Jem Roberts, Adams’s official biographer.
‘Whoooo…I’m flying…’

Varme continues its musical exploration, with the purpose of releasing and promoting under the radar artists, carefully selected by its founder Paul Popa.Second release is by Crump, a rising producer from UK, who provided 3 tracks with a minimalistic touch + a breaksy remix by long-time friend Christian Jay.

This score is pound-for-pound the funkiest with its heavy bass and drum groove throughout each movement of the score. Most of the pieces from this soundtrack also include killer samples and breaks, my favourites being 'The Diamond Fortress' with Ronnie Scott on solo sax and Chris Karan on Drums and 'Thief On The Prowl' featuring Tubby Hayes and Daryl Runswick on Bass. This release also has an exclusive edit. The Main Theme (vocal by The Three Degrees) and instrumental scores have been combined to deliver an unforgettable version of this great title theme. Now for the first time, Dynamite Cuts brings you yet another exclusive 2x7' 45 collection featuring some of Roy Budd's finest work.

DIAMONDS Musicians

Roy Budd Key boards - Harpsichord, Clavinet, Electric Piano

Paul Fishman - ARP 2600, Electronic programmed

Daryl Runswick - Bass & Double bass

Brain Daly & Judd Proctor - Guitar

Ronnie Verrell - Drums,

Tristian Fry - Percussion

Frank Riccotti - Vibraphone

Ronnie Scott - Alto Sax

Tubby Hayes - Baritone & Flute

The Three Degrees - vocals on 'Diamonds theme'

String orchestral parts led by violinist Sidney Sax: 1974 The National philharmonic

Recorded at CTS Wembley

Roy Budd - Arranger

Nyami Nyami Records present a lost piece of Zimbabwean musical history: the only album from local legends the New Tutenkhamen, combining Jazz, Soul, Folk and Township rhythms. There are only 2 known copies of the original LP - this reissues make the music available again for the first time in over 40 years.

The New Tutenkhamen included many stars of Zimbabwean township music: Elisha Josamu was an alumnus of the fabulously-named Hallelujah Chicken Run Band (alongside Thomas Mapfumo), and Green Jangano's long-running Harare Mambos, and would later form Two Plus Two with bassist Christopher 'Chex' Tavengwa. Jethro Shasha played the drums, and would arguably become the New Tutenkhamen's most famous export, making continental waves working with likes of Salif Keita. Paul Sekerani played the rhythm guitar, with Amos Chatyoka on the organ, while the enigmatic Maggie Mbuli provided vocals and F. Manda played the sax.I WISH YOU WERE MINE was recorded at Teal Records and was produced by Crispen Matema, a talented jazz drummer in his own right who had played drums on the all-time classic 'Skokiaan', and had backed Louis Armstrong on his 1960 Rhodesia visit. Combining the heavyweight producing talents of Matema and the writing chops of Josamu, the New Tutenkhamen band created an album showcasing various musical styles popular at the time.

From the afro-jazz jam session aesthetics of 'Tutenkhamen Theme', 'Big Brother Malcom' and 'Forever Together', to the almost Van Morrison-sounding 'Sunday Morning'; from the upbeat rock ballad 'True Love', to the funk-infused dance song 'Togetherness'; from the bouncy jazz exhortations to work hard in 'Ane Nungo', to the brassy, raunchy foot-stomper 'Me & Dolly'. The title track 'I Wish You Were Mine' is a ska-infused ballad that wouldn't be out of place in post-war Birmingham, while the star of the show is 'Joburg Bound', itself a fast-paced rock piece with Motown undertones and funky guitar lines.

When Dunham Records/Daptone producer and musician Thomas Brenneck first heard the close family harmonies of the Sha La Das he had a revelation; he knew he had to get it on tape.



Direct from Staten Island, the four Schaldas, father Bill and sons Will aka Swivs, who also toured the world playing keyboard for Charles Bradley and his Extraordinaires, Paul of Paul and the Tall Trees and Charles Bradley and his Extraordinaires, and Carmine had come into the studio in Brooklyn to record background vocals on Charles Bradley's Victim of Love. It was a passion that drove Brenneck from the very beginning.



'Hearing them sing together in the studio was incredible', says Brenneck. He collaborated with Bill Schalda writing songs and applying harmonic sensibilities rooted in doo wop, blues and soul. It wasn't a stretch for Bill, after all he'd been second tenor when still a teen in Brooklyn vocal group, The Montereys in the 1960s (their 45, Face In The Crowd/Step Right Up on Blast records sells for $500 these days) who would play venues from neighborhood bars to the 1964 World's Fair in Queens.



'Bill is the genuine article, just like Charles Bradley and Sharon Jones, he came directly from the source,' says Brenneck. Indeed, Bill Schalda was right there amongst doo wop and r&b groups of the era, singing Moonglows and Flamingos tunes.

'You'd go out on the street and constantly hear a bunch of guys singing on the corner, they'd finish playing handball in the schoolyard during the day and then they'd start singing at night,' says Bill. 'We were all just guys in the neighborhood in Brooklyn, who gradually found each other.'



After their children were born, Bill and wife Linda moved the family across the Verrazano-Narrows bridge to Staten Island. Growing up, sons Will, Paul and Carmine remember summer nights singing group harmonies on the stoop of their home with their father Bill guiding them. 'He would bring us out on the stoop on Staten Island and he would teach us each parts of say, the sesame street song - we were his backing group very early on - that was fun,' says eldest son, Will.



On this, their debut, the talent is harnessed in 11 songs, each tender-voiced delight delivered with absolute conviction combined with musicians that have help define the Daptone/Dunham Records sound including Brenneck, Homer Steinweiss, Dave Guy, Leon Michels, Nick Movshon and Victor Axelrod. 'I wanted to take the Sha La Das outside of the doo wop genre,' says Brenneck. 'To take the whole vocabulary of doo wop harmony and reapply it to soul - so you get super soulful harmonies along the lines of The Manhattans & The Moments.'



From the opening atmospheric guitar strum of Open My Eyes via a walk along the Coney Island boardwalk catching the last glimpse of sunlight at dusk of Carnival to the sublime crescendo of harmonies of the winsome Love in the Wind, each song evokes a deeply personal yet universal yearning that none of us can escape. Quite simply every song yields magic.

There's something special when a family can meld voices in close harmony. The Everly Brothers had it, The Beach Boys had it, the Schalda's have it.

'Me Me Me is two... and in keeping with the name it seemed that I had no choice but to put out what is only my second ever release on my own label since launching with the debut release 'Tachyon' back in 2016.
(It's also the labels 13th release too. Spooooooky)

So here it is, a double A Side...
Side A is 'Valhalla' which attempts to be as majestic as the name suggests.
Side AA has 'Fidelity", which is me channelling big room house as much as I can, while trying to keep ahold of whatever heart strings I can tug on.
I'll let you judge if I've achieved what I'd set to do with either.

Past those brief descriptions, I still find talking about music to be mildly redundant when you can most likely listen while you're reading this, so instead I'd like to use this sales blurb to issue a massive heartfelt thanks to everybody who has supported the label in the last 2 years, as well as every artists who has trusted us with their music.

Big love to, Dj Tennis, Last Waltz, Red Axes, James Hadfield & Danny Linton, Axel Boman, Bird of Paradise, Pale Blue, Pional, Frank Butters / Cult of Glamour, Andrew Weatherall, Ess O Ess, Desert Sound Colony, Elliot Adamson, Rex The Dog, Forriner, Shit Robot, Raj Pannu, Cosmin TRG, Edmondson, Dauwd, ASOK, Vyvyvan, Paul Woolford, Christophe, Ian Blevins, Dharma, Jana, Pink Skull, Medlar, Ben Caldwell, Dos Attack, Force Majeure, Club Tularosa, Juan Maclean and AWOL!'

Man Power - Summer 2018

First released in 1995 on Jonah's own Aba Christos Tafari Records,Intergalactic Dub Rockis a trip. While the 90s rave continuum buried down the hole of cosmic sci-fi culture, dub's fascination turned elsewhere after 80s touch-stones like Shaka'sBrimstone & FireandCaptain Ganja and the Space Patrol(re-issued by Bokeh last year). But Jonah takes things way far on this, his most adventurous outing: let your needle cruise along these bleeps and strings of 50s space travelling dreams, and the flutes and melodicas of planet earth, hear them clang with the hardest dub FX units the UK could buy at the time. It's one of the most righteous and outward-looking steppas LPs, now liberated from the hands of Discogs-types with a previously CD-only bonus track, 'White Nile'.

Inyotef, Bongoman, Jahman Dan, Kheru - Jonah Dan goes by many names and many trades - akete nyabinghi master, vocalist, producer and filmmaker. For many years he was the go-to studio percussionist for the UK dub scene, collaborating with basically everyone: Paul Fox, Jah Warrior, Robert Tribulation, Jah Fingers, Tony Roots, Alpha and Omega. Along with Bush Chemists (stars of BKV 020...) and Disciples, he toured the continent, spreading the message of UK dub and laying the seeds for a lot of the EU scene today. At some point his Aba Christos Tafari Records morphed into Inner Sanctuary, one of the greatest 90s labels still in operation, go check.

Les Disques du Crepuscule presents an expanded edition of classic festive album Ghosts of Christmas Past, featuring favourites from the original 1981 and 1982 editions now joined by newer tracks by Crepuscule artists.
Sometimes witty, sometimes melancholic, the original version of Ghosts of Christmas Past in November 1981 featured exclusive contributions from luminaries such as Tuxedomoon, The Durutti Column, Paul Haig, Michael Nyman, Aztec Camera, Thick Pigeon and The Names. Subsequent editions in 1982 and 1986 added songs by Antena, Mikado, The French Impressionists, Pale Fountains and Winston Tong.
For this new double CD version in 2015 Crepuscule have now added more chantons noel by Blaine L. Reininger, Section 25, The Wake, Marsheaux, Deux Filles, Stanton Miranda, Virna Lindt, B Music and Ultramarine.
'Crepuscule's Christmas cracker is here to rescue the festive season from the fogies and bores"(Melody Maker); "Aztec Camera's Hot Club of Christ is a busy, Django-esque run through a few well-known Christmas ditties, Michael Nyman's Cream or Christians is a silly but loveable fragmented organ collage in a typical English eccentric tradition, Tuxedomoon are in playful Residential mood' (NME)
Cover art by Jean-Francois Octave. The remastered 2xCD is sleeved in a deluxe 6 panel digipack.

Disc 1:
1. Section 25 Jesus Sweetly Sleeps
2. Miranda Dali Happy Xmas (War Is Over)
3. The Wake Jesus From the Block
4. Marsheaux We Met Bernard Sumner at a Christmas Party Last Night
5. Ultramarine Winter Circle
6. Isolation Ward Lamina Christus
7. Thick Pigeon Jingle Bell Rock
8. Aztec Camera Hot Club of Christ
9. Paul Haig Scottish Christmas
10. B Music Rocking Carol
11. Tuxedomoon Weihnachtsrap
12. Virna Lindt Festivo
13. Blaine L. Reininger Jingle Hell
14. Blaine L. Reininger Silent Blight
15. Blaine L. Reininger Xmas Blooz
16. The Durutti Column Snowflakes
17. Monks in the Snow A Theme for This Special Evening

Disc 2:
1. Hillcrest Club Breakfast at Christmas
2. Paul Haig Christiana
3. The Names Tokyo Twilight
4. The Durutti Column One Christmas For Your Thoughts
5. White Birds Possessed By the Stars
6. The Swinging Buildings Praying for a Cheaper Christmas
7. B Music Ode to Joy
8. Antena Noelle a Hawai
9. The Pale Fountains Benoît's Christmas
10. The French Impressionists Santa Baby
11. Simon Topping Peep Show International
12. Thick Pigeon Silhouettes
13. Deux Filles The Snow Falls and the Village Is Overflowing With Children
14. Mikado Message de Noël
15. Winston Tong The Twelve Days of Christmas
16. The Arcadians Write Your Letter
17. Michael Nyman Cream or Christians
18. Magazzini Criminali Honolulu 25 dicembre 1990
 
 

Shoc Corridor was the London post-punk quartet of Paul O'Carroll (Voice, Synth), Andy Garnham (Synth, Drum), Chris Davis (Guitar, Bass, E-Bow) and Nogi Prass (Synth) named after the Sam Fuller film from 1963. Chris met Nogi shortly after moving to London in 1979 - they started playing music together, fell madly in love, and decided to form a band. They recruited Andy, who had previously played in a band with Stephen Luscombe of Blancmange, and lyricist and vocalist Paul. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Brian Eno, PIL, and Joy Division.

The group recorded a 4-song demo during 1981 in a tiny flat Chris shared with Nogi in Notting Hill. As their collection of instruments grew they set up studio a few blocks away in Andy's flat at 20 All Saints Road. There they re-recorded Sargasso Sea' along with On Reflexion' on a TEAC reel-to-reel 4-track machine. In the summer of '82, the band was booked into Decibel Studios in Stoke Newington for two and a half days with Mark Easton of Shout Records, where they reworked the two songs. The group usually worked through studio experimentation rather than constructing their songs in a conventional way. Their equipment list included a Korg MS-20, Wasp, Pro-One, Roland TR-808, WEM Copicat, guitars, bass, e-bow and an assortment of effects pedals. On Reflexion' began as a Blancmange backing track, since Stephen Luscombe would sometimes use Andy's 4-track, Korg MS-20 and drum machine. Chris has memories of Paul disappearing from time to time to the neighboring graveyard for inspiration, where they had to procure him from to lay down vocals. Their debut 3-song 12' single, A Blind Sign', was released in October 1982 on Shout Records. For this re-issue we've included the original skeletal Sargasso Sea' 4-track demo from 1981. Evocative and dreamy, the music escorts you on a tour of icy landscapes, with Paul's rich vocals guiding the way.

All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each EP comes in an exact replica of the original jacket, designed by Chris Davis with artwork by Paul and Jerry Neal. Each copy includes an 8x11' 2-sided insert with liner notes, lyrics and photos designed by Eloise Leigh.

Over the years, Phil Mison has become the go-to selector for those looking for Ibiza-themed compilations. None of his previous collections, though, have been quite as personal as Out Of The Blue, a compilation inspired by his first spell behind the decks at the Café Del Mar in 1993 - and the remarkable chain of events leading up to it.

Mison made his first trip to Ibiza in the summer of 1991 and quickly fell in love with the magical music being played by Café Del Mar resident DJ, Jose Padilla. On his return to the UK, Mison began to cultivate his own take on the laidback, open-minded style, recording mix-tapes of Ibiza style chill out' tunes to give to friends.

In November 1992, Mison was hanging out in Tag Records, Soho, when Padilla walked in. He plucked up the courage to speak to the Spaniard because earlier that summer Mison had given one of his friends some tapes to take out to Jose in Ibiza so he wanted to see if he had got them. During the conversation Mison invited him down to his next DJ set at Nicky Holloway's club, the Milk Bar and less than three months later, and clearly impressed by what he'd heard on the tapes, Padilla invited Mison to fill in for him at the Café Del Mar, beginning in April '93.

It's that first trip to DJ in Ibiza - a crazy six-weeks spent dividing his time between spinning records at Café Del Mar, hanging out in Jose Padilla's house in the hills, and meeting some particularly eccentric White Isle residents - that proved the inspiration for Out Of The Blue.

The compilation contains a mixture of records that Mison played in his earliest Ibiza sets, those that remind him of that period, and recent discoveries that boast a similarly warm, loved-up vibe. Mison is at pains to point out that it's not a track-for-track representation of his first sets, but rather a collection inspired by this most momentous of experiences.

As you'd expect from a selector of Phil Mison's standing, Out Of The Blue is an outstanding collection. Some will no doubt hear the influence of his mentor - the man he credits with effectively turning his DJing career around - in the undulating rhythms and new age melodies of Kamasutra's Sugar Step', the meandering synthesizer solos and Spanish language vocals of Congarilla's sublime Sacred Tree', and the lilting flamenco guitars of Gambarra', an unreleased mix from Mison's popular Cantoma project.

Elsewhere, listeners can marvel at the starry ambient bliss of Belgian legend Frank De Wulf's The End', recline to the saucer-eyed fusion jazz of the Christoph Spendel Group, shuffle along to tactile, hard-to-find period deep house from Language, Moodswings and Don Carlos, and marvel at The Cactus Rose Project's ridiculously rare Jelly', a sparkling, disco-era jazz-rock outing partly inspired by the Doobie Brothers' Long Train Running'.

Out Of The Blue may well be a very personal selection of tracks celebrating a moment in time, but it's happily one that we can all enjoy.

Klyne first caught everybody's attention with their critically acclaimed debut Paralyzed EP for Aesop, as well as their maiden remix, a rework of Disclosure's Omen feat. Sam Smith. Water Flow is their follow up to the acclaimed Don't Stop, their Because Music debut released earlier this year; its stunning video was directed by acclaimed choreographer and film maker Holly Blakey (Florence and the Machine, Jungle, Coldplay, Young Fathers) and is nominated for a UK Music Video Award. The duo supported Years & Years and label mate Christine and the Queens on tour this year, and performed their first UK headline show for the sold out Dummy presents Because Music event at the Ace Hotel, London in the summer. More shows will be announced shortly. Vital Sales Points: "mellow electronic pop that's like a long-lost cousin of Jai Paul" - The FADER "infectious and effortless... groove-laden soulful masterstrokes" - VICE / Noisey "minimalist vibes, captivating vocals... impeccable melodies" - Pigeons & Planes "gorgeous electro-pop" - Spin "more fire from the young Dutch duo... the boys are off to a strong start" - i-D

Soul Jazz Records’ new album 90 Degrees of Shade features the music of the Caribbean – Mambo, Calypso, Mento, Merengue, Latin Jazz and much more. The music of Cuba, Jamaica, Haiti, Puerto Rico, Dominican Republic and more all feature in this lightning journey through the many island sounds.

This is the sound of independence, righteous and hot jump-up sounds from the 1950s and 60s, an exciting period of endless new musical styles that would travel across the world – Mento, the Jamaican precursor to reggae; mambos and descargas from Cuba, Dominican merengue, Haitian compas – and more.

This album coincides with the release of Soul Jazz Records’ massive new deluxe large format hardback book 90 Degrees of Shade: 100 Years of Photography In The Caribbean (with foreward by Paul Gilroy) featuring hundreds of fascinating and unique photographs spanning one hundred years of Caribbean history.

The new album comes as a deluxe two-CD pack complete with large outsize booklet, packed full of info and original artwork. There are also two limited edition separate heavyweight double LP vinyl editions, each one housed in gatefold sleeves complete w

Soul Jazz Records’ new album 90 Degrees of Shade features the music of the Caribbean – Mambo, Calypso, Mento, Merengue, Latin Jazz and much more. The music of Cuba, Jamaica, Haiti, Puerto Rico, Dominican Republic and more all feature in this lightning journey through the many island sounds.

This is the sound of independence, righteous and hot jump-up sounds from the 1950s and 60s, an exciting period of endless new musical styles that would travel across the world – Mento, the Jamaican precursor to reggae; mambos and descargas from Cuba, Dominican merengue, Haitian compas – and more.

This album coincides with the release of Soul Jazz Records’ massive new deluxe large format hardback book 90 Degrees of Shade: 100 Years of Photography In The Caribbean (with foreward by Paul Gilroy) featuring hundreds of fascinating and unique photographs spanning one hundred years of Caribbean history.

The new album comes as a deluxe two-CD pack complete with large outsize booklet, packed full of info and original artwork. There are also two limited edition separate heavyweight double LP vinyl editions, each one housed in gatefold sleeves complete with insert, full text and free download code. Also comes as a worldwide digital release.

Vanguard Sound! returns with it's first full EP by a Vanguard Crew Member other than Chris or Amir. G. Marcell's Model Music EP is a
special tribute to the Legendary Chicago Artist named Paul Johnson who has been both a friend and mentor to G. for quite some time.
4 tracks of Modern Chicago house music with that classic vibe, G flips beats, chops samples, and flexes synths to keep dance floors moving from opening to peak-time, as well as late late night/after hours closing sets.


Special Words from artist himself.....
"It was an honor to create a project for such a musically creative pioneer in the house industry. I thank him for his seal of approval to create this release and it's great that he enjoys this release". - G.Marcell

There used to be a time when ring tones were important. You were easily recognizable as one of the few people actually owning one of these new gadgets called ›mobile phone‹ (or ›handy‹ as the Germans say). Later you could make an important distinction by choosing a ›cool‹ ring tone...

In May 2014 the Festival »Doofe Musik« (»Stupid Music - Songs for Dreaming, Sedation and Forgetting«) took place at Haus der Kulturen der Welt (HKW) in Berlin. As part of the »Anthropocene Project« the festival focussed on escapism and the special function of music when retreating from reality. Detlef Diederichsen, curator at HKW, and Holger Schulze, Head of Sound-Studies-Lab Berlin, decided to not only focus on music which music lovers usually hate, e.g. ›Schlager‹, German folk music, Light Jazz, but also on ring tones.

The audio logo of Deutsche Telekom has been part of Germany's mobile phone culture from the very beginning so it acted as a starting point to question the usual concepts for ring tones. Using Christian Kellersmann's idea of the »Pocket Symphony« ten artists were invited to come up with adaptations of Telekom's audio logo. The results were performed for the first time during »Stupid Music« and once again in October of the same year when most of the recordings you can find on the album were made.

As you will hear: The short motif, as simple and unforgettable as it is, is ideal musical material.Everyone knows it, everyone has some sort of connection to it and these ten different versions, these ten different positions, open up the most varied possibilities for associations.

It is time that we take the ring tone seriously again. As the most reduced musical form that is the most-widely available in the whole world it contains enormous and unrealised potential!

Reminiscent of a time where we were releasing 4-tracks sampler every month (remember the Secret Gems From The Vault) It is naturally that we thought about a various artists sampler in order to introduce the new wild bunch,

Julian M, is french and is taking over right now, releasing here his first track on Briquerouge, But the man is no beginner, having released on Catwash, Homecoming, Denote, to name but a few and of course recently on our own RZ Muzik, His music is deep, acid, techy and ready to please any crowd, Ange Siddhar is working for Laboratory Records and works with legendary artists such as Ron Carroll, Paul Johnson or Chris Count and now teams up with Illan Nicciani on several House project, They have a strong vinyl lovers community following their releases and just joined the label with 'The Show'

Jepe was one half of John Waynes who already release on Brique Rouge and is now one of the most respected producer from Portugal, Actually living in Berlin, he has released on Get Physical, Blossom Kollektiv or MuleMuziq, Jepe's tracks have a very high level of quality, True House Music,

And last but not least, our good friend from Switzerland, mr Salvatore Freda, With the machine-driven futurism of Detroit in his step, and the bounce of Chicago in his shadow, Salvatore Freda is a pure vinyl DJ from Lausanne, Switzerland. With a production career that began in 1997, Freda has built up an impressive discography over the years. His music has touched some of techno and house's most respected labels including Trapez, Music Man Records, Liebe Detail, Freerange, Area Remote, Push Communications, Dessous, Nightvision, and Cadenza.

Early Support:

Dubfire / Nacho Marco / Matthias Vogt / Tyree Cooper / Ame / Clive Henry / Renato Cohen / llorca / Blacksoul & many more