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Stratton returns to Of Paradise for the label’s 20th release. Chalking up a hat-trick of EP’s on the imprint, with the impeccably effective ‘Never Bettered Always Battered’. Arguably his most accomplished and significant release to date, this 4-tracker effortlessly showcases the London-based producers expertly distilled and patented style of evocative and headstrong UK hardcore.

The A-side launches with the anthemic ‘Badboy’, a true floor melter, loaded with tunnelling drums, an electric bassline and a criminally infectious chopped vocal. Following that is ‘Double Happiness (Bludclot Mix)’, a lethal dose of no nonsense proto-rave goods, emanating from the streets of North London. The product of a truly skilled operator who fully understands the inner workings of the kick, hoover and piano.

‘Bless’ kicks off the flip side with effortless momentum. The impetus clearly focused on rupturing bassbins and rewiring brains, with its weapons grade drums, growling bassline, lethal Amen break, euphoric melody and rabid hoover.

Closing out the release is ‘Vapour Trail Hurricane’ another system-rushing slice of hardcore mastery that pulls no punches in its pursuit of dance floor dominance. Fuelled by a hammering kick, sharp sirens and swirling acid lines, these are the final moments before imminent self destruction.

This is true peak-time pressure from one of the UK’s most exciting and inimitable talents.

Completely unknown album by Salah Ragab's Cairo Jazz Band vocalist Maha, recorded in Cairo in 1979. Features productions by Hany Shenoda of Al Massrieen. Maha’s “Orkos,” originally released on cassette, is one of these standout musical diamonds that combines Jazz and Egyptian vocal traditions with Funk, Latin and Soul. Out via Habibi Funk October 10th.

Maha’s “Orkos” immediately catches your ear as a unique album. A strong and energetic voice, equally grounded in jazz as well as Egyptian vocal traditions, Maha sings over instrumentals that offer a wide palette of influences, sonically emblematic of the cultural changes that were occurring in the country. The album features rich compositions and productions by renown Egyptian musician Hany Shenoda, who’s group, Al Massrieen, Habibi Funk worked with in 2017 (the release led to sync placements in Hulu’s “Ramy” TV Series).

At the time of its release, however, the “Orkos” cassette quickly faded away among the growing number of releases populating the Egyptian musical soundscape. For more than 40 years, it sat in near obscurity before being given new life in the form of a properly licensed vinyl release. Habibi Funk and Disco Arabesquo are honored to play a part in sharing Maha’s story. Below is a bit more context around the release as well as the campaign schedule.

The arrival of the cassette brought a seismic shift in how music was produced and consumed around the world. Smaller bands and labels were able to release music without the logistical and financial barrier present in vinyl manufacturing. At the same time, in Egypt, a new crop of musicians and composers made their way into the scene, seeking to bring something fresh to what was perceived as the widely monophonic musical traditions of Egypt. Hany Shenoda, Mohamed Mounir, Magdy El Hossainy, Omar Korshid, Salah Ragab and Hamid El Shaeri are some names that come to mind. Many built their sounds combining their own musical upbringing with influences coming from the outside. The success of these projects varied widely, but for each there were numerous lesser-known bands and singers. Many of these often-short-lived projects would release their music on cassettes on tiny labels only to fade into the musical ether.

Maha’s “Orkos” album fits this category. Put out in a small run of cassettes, it’s fair to say that the singer’s sole recording outing was not a financial success when it was originally released by Egyptian label Sout El Hob in 1979. While it may not have found an engaged and open-eared audience upon its release, the first few bars of the album indicate this is a special, timeless album that transcends the musical boundaries that many artists were seeking to break through at the time.

From the funk sounds of “Law Laffeina El Ard” (Single 1, out September 1 with Pre-Order announcement); the moody, mellow sounds of “Kabl Ma Nessallem We Nemshy” (Single 2, out September 23) or “We Mesheet;” to excursions into Latin sounds in the title track “Orkos,” and disco with “Ana Gaya” (Album Focus Track, out October 10) the album is an amalgamation of genres that stands out from the immense creativity present in Egypt at the time.

We connected Maha in late 2021 and she was clearly surprised to have someone call about music she recorded more than 40 years ago. She also seemed interested in the idea in bringing her music back to people’s attention. A few weeks later we were speaking with our friend Moataz, who runs the Disco Arabesquo project and showed him this great new album we found and to our surprise he knew the album, having found a copy of it a year or two before, in Cairo. It was then obvious to team up for a collaboration for this project. You can find Moataz’s story about Maha and her music, as well as extensive interviews with Maha herself, in the booklet accompanying the release.

As always, both vinyl and CD come with an extensive booklet featuring interviews with Maha as well as unseen photos.

Clear Vinyl

Laila Sakini and Lucy Van’s sought after 2017 EP Figures resurfaces on a newly expanded and remastered edition, deploying taut poetry and creeping electro-pulses for an alchemical suite of slowly encroaching trip hop x dub-pop.

Long before releasing her slow-burn classic ‘Vivienne’ and last year’s compelling Princess Diana of Wales album, Laila Sakini was at work with acclaimed poet Lucy Van for an impromptu session for a local noise and spoken word night in Naarm, Australia. Those initial ideas marinated and eventually resulted in ‘Figures’ - an EP that was originally released on tape via Purely Physical Teeny Tapes, offseting Sakini’s minimal production against Van’s text, spoken in a carefully enunciated dialect lifted and wrapped around Sakini’s nocturnes. It’s the sort of thing that reminds us of Tin Man & Rashad Becker’s ‘Wasteland’ sessions, fused with the spirit of the contemporary Naarm/Melbourne scene.

For all those references, Sakini and Van’s songs are displaced from the contemporary wellspring too. The dusky blue waltz of opener ‘Those Who See’ comes off like a lighter Leslie Winer or melodic, early AFX, as Van dryly intones “...all my enemies in an orgy, of IQ to body ratio,” while ‘Deep End’ sees them nudge into more claustrophobic introspection, before shoring up a dank sort of trip hop sleaze with the title song, slithering with a similar energy to early 90’s Autechre as the narration echoes to a blur.

The three previously unreleased songs flesh out the release into the full album it always should have been, cut of equally rare, hand-spun fabric. With its post-Sleng Teng B-line and noctilucent chords, ‘What You Need’ feels like an Eski rhythmic bump accompanied by sub-aquatic synth bass, and the opalescent, gumtree-shaking shimmer ‘Rough Desires’ secretes its intimations with an absorbingly hypnagogic slow-burn that pools into the perfect curtain closer; ‘Trees Make Me High’.

Rot-marmoriertes Doppelvinyl (140g) in Gatefold Sleeve inklusive Downloadcode. Photography by Nicole Ngai. Design by Jade Ping.

TSHA kehrt mit ihrem lang erwarteten Debütalbum, „Capricorn Sun“, zu Ninja Tune zurück. Das Album wurde in den letzten zwei Jahren aufgenommen und löst das Versprechen ihrer vorherigen EPs und Singles mit zwölf Tracks ein, die perfekt die gefühlvolle Mischung aus Underground-Elektronik und intelligenter Pop-Sensibilität verkörpern und die sie zu einer der meistdiskutierten neuen Künstler*innen der letzten Jahre gemacht hat. TSHA zierte die Titelseiten von renommierten Magazinen, war auf zahlreichen Plakatwänden zu sehen, wurde in die wichtigsten Playlists und Programmen mehrerer Streaming-Dienste aufgenommen und stand auf zahllosen Jahresend- und Talent-Listen, neben dem Lob der Musikpresse und des Radios - und 2022 wird ihr Jahr.

Das Album folgt auf ihre jüngste Compilation für die renommierte „fabric presents“-Reihe und einem immensen Tourneeplan, auf dem sie über 100 Shows in den Jahren 2021/22 spielt, unter anderem als Support-Act bei Disclosure bei deren zwei Shows im Alexandra Palace, oder für Bob Moses, wo sie vor 40.000 Fans an der amerikanischen Westküste gespielt hat. Sie spielte auch eine Reihe nordamerikanischer Shows mit Flume - einschließlich eines Gigs im imposanten Red Rocks Amphitheatre in Colorado -, absolvierte eine Festivaltournee mit einem Auftritt beim diesjährigen Glastonbury und hat eine laufende Residency im DC-10 auf Ibiza für Circoloco, um nur einige zu nennen.

„Capricorn Sun“ ist sowohl ein Statement, wo sie als Künstlerin und Produzentin gerade steht, als auch eine Reflexion über die Zeit, die sie mit dem Schreiben und Aufnehmen des Albums verbracht hat, und die Auswirkungen globaler Ereignisse, familiärer Umwälzungen und persönlicher Kämpfe während dieser Zeit. Dieser Wechsel zwischen den Stimmungen und Emotionen wird deutlich, wenn man sich durch die zwölf Tracks des Albums bewegt.

With more than 30 years in the game, D.I.T.C. affiliate Andre the Giant of Showbiz & A.G. fame continues to prove that his pen game is better than ever with the release of his latest full length effort, Giant In The Mental.

The album title is more than just a reference to one of his earliest tracks; it’s a statement that he remains head and shoulders above the competition like the rap giant that he is. And he’s proudly doing it all on his own with this record, without any guest appearances.

“I am really not moved by guest appearances,” A.G. explains. “Music for me is mostly therapy, and I don’t need anyone else to help me vent and express my thoughts.” He’s absolutely right, because across the 10 tracks on Giant In The Mental, he skillfully unpacks and tackles a number of different topics with his trademark wit and wisdom.

The Bronx rap legend straight-up kills it on every level, too, from clever wordplay to engaging storytelling raps. If you want his bully bars, just listen to the hard-hitting opening track, “Andre The Giant,” with speaker-thumping production from DJ Manipulator. And for storytelling, you can dig into the beautifully written and smooth “Summer School” or the cinematic and stirring “The Sphinx.”

It all amounts to a truly impressive and cohesive piece of work from A.G., who is eager to continue creating art until he can’t meet his own standards. “If I can’t perform at a high level then it’s time to stop!” he says before adding that pushing himself creatively is what this is all about for him. His integrity and passion for the artform is palpable, and it’s those qualities that have helped him remain such a necessary voice—and force— in music.

UK producer Dennis Huddleston goes by the artist name of 36. He is a much-loved producer with a fine back catalogue which is investigated here with The Box, a new collection of his earliest and perhaps most admired works. They were all written between 2005 and 2012 and are drawn from albums such as 2009's Hypersona, 2010's Hollow and 2012's Lithea. The bumper six vinyl collection also features a bonus album, Orphans, of all new and previously unreleased tracks. There is a real depth of range and emotion to these tracks so it is no wonder the artist says they are some of the most personally cherished works he has written.

Kids Return is first and foremost a great story of friendship since childhood between Adrien Rozé and Clément Savoye . It is between their small Parisian studio and a house suspended between the mountains of the Pyrenees that their pieces are born, then orchestrated by a string quartet in the countryside. From this trip was born a dreamlike and sensory music, a call to dream. Music that takes root out of time.

Forever Melodies is Kids Return's first album, it follows their first four singles, released between 2021 and today (Melody, Our Love, Orange Mountains, Forever). This album is ten skilfully refined pop tracks (“Some bands tell you 'We made 35 songs to keep 8', we made 10 songs to keep 10”) imbued with nostalgia, with an astonishing sincerity (breakups, stories of friendships, love, physical anguish, the transition to adulthood), a boundless love for dressing melodies. This album was orchestrated as a wonderful intimate journey, in space and time: the film of their lives.

Star Feminine Band: a 2020 debut, first journey and a 2022 return! Though not exactly a world music label, Born Bad took up the challenge and released Star Féminine Band's debut album in late 2020. Heaps of acclaims and praise and the whole shebang, then boom: the tour that was to materialize, live, all of the band and its entourage's hopes got cancelled due to Covid. After a long delay, the band finally managed to get to Europe, performing on the Transmusicales Festival, as well as for TV stations like Arte, TV5 and BBC to much acclaim. "Once they played, Born Bad and the band clearly had a "mission accomplished" feeling - that all the energy put into this was worth it, starting with the critics who abounded at the Transmusicales to weigh the phenomenon. They left convinced, just like the audience, enthralled by the direct, live formula. The sequel to the adventures of these new ambassadors for Unicef? They persist and sign with a feverish and energetic soundtrack in which nabo, peulh and waama are enlivened with drum lines and spiced up with more "modern" sounds, spreading words of tolerance and kindness. Simple and direct, they speak of their reality, of the ills of young women who don't always have a choice. Often out of school and destined to selling peanuts, bananas or gari on the roadside, most of the girls around there don't have a future. Forced marriage, precocious pregnancies_ "These kids are heroines!", continues Born Bads JB who, by welcoming them in a record studio, allowed for the formula to be sharpened into a sort of garage band with an afro twist. Thanks to the English lessons that their manager Jérémie Verdier has been providing every Sunday night for two years over videoconference, the girls even experimented with English lyrics in "We Are Star Feminine Band" and "Woman Stand Up". In Paris is the happy outcome of that challenge. Vinyl LP in printed under sleeve with French + UK linernotes + Download code * Digipak CD includes 12 pages booklet with French + UK linernotes.

“If you can imagine a late 1960s folk-rock approach allied to a doomy atmosphere with added touches of lo-fi psychedelia, then you’re getting close to the timbre of Finland’s Hexvessel. There are clearly nods towards King Crimson, Black Sabbath, the Beatles, HP Lovecraft and The Doors, but what the band have managed to do is create something that belongs specifically to them.” – Malcolm Dome, Prog Magazine Hexvessel’s fan-favorite album from 2012, No Holier Temple, gets a luxury 10-year anniversary reissue via Svart Records! No Holier Temple was Psychedelic Forest Folk band Hexvessel’s second full-length album, released to critical acclaim, cult status and some of their biggest sales figures to date. The Finnish “mushroom-devouring pixies” follow up to 2011’s critically acclaimed debut album, Dawnbearer, was described by Roadburn Festival as “a passionate, urgent and gorgeously strange musical spell.” Hexvessel’s break-through album No Holier Temple reached new heights for the band with two Emma Gala (Finnish Grammy Awards) nominations. No Holier Tample also won two Femma awards, which is the Alternative Finnish Grammy Awards. Hexvessel played the prestigious Roadburn Festival in The Netherlands for the first time that year in the church venue of Het Patronaat. The festival sold out in 7 minutes. No Holier Temple also landed in the Main Finnish Charts at #20 and in Alternative charts at #7. No Holier Temple fuses the acoustic 70s folk vibe of its predecessor into a more psychedelic, electric, doom-folk sound with Manzarek-like keys, screeching rhythmic Velvet Underground violins, Miles Davis trumpets and hypnotic freakouts. Weaving the uncanny songs together are the narrative vocals of Mat McNerney, who on this album has matured into the bastard child of Burke Shelley, young Jon Anderson and Paul Simon. Inspired by the progressive, spaced-out haze of bands like Amon Düül II, Van Der Graaf Generator and Ultimate Spinach, whose song “Your Head Is Reeling” they cover with religious abandon. Their sound now expands outward from their eerie, signature, ritual-esque intros into a genre-twisting cauldron of otherworldly rock and the late-night, dreamy spoken-word of artists such as Jim Morrison (An American Prayer) and Ken Nordine.

Bay Area Thrash Metal legend Blind Illusion returns after 34 years with a follow-up to “The Sane Asylum”, featuring Doug Piercy (ex-Heathen) and Andy Gallon (ex-Death Angel)! Thrash as a primitive, earthy genre has given us many greats: Metallica, Slayer, Exodus, Death Angel, Heathen and the like. But the more calculated, technical, and ultimately colorful inventors of progressive Thrash, a genre that blossomed handsomely after Watchtower’s debut in 1985, are what truly push the limits of Thrash and test its creative bandwidth. Blind Illusion on their new album “Wrath of the Gods”, achieve this to a degree that has seldom been approached, let alone passed, in the rest of Thrash history, just as they did 34 years ago on “The Sane Asylum”. What is most impressive and revealing about this album, however, is not the technical ability of the musicians involved (although there is nothing wrong with their ability). It’s the pure brilliance that shapes every song, and the demonstration of how focusing on the art of songwriting will work wonders for a band. “Straight as the Crowbar Flies” introduces us first to the astral energy this album exudes, with catchy riffing and Marc Biedermann’s raspy, growling vocals. The screeching guitar solos and the abrupt rhythm changes keep the song fresh, but the band’s incorporation of technical Thrash elements crossed with extremely catchy riffing and drum arrangements proves to be the strong attributes of this album. There are numerous instances where the band finds its virtue in slowing down, letting a power chord ring out, and then letting the drums restart and propel the song once again. When the band decides to let their guard down and get cagey or manic with the rhythm, it’s done so with precision and doesn’t come at the expense of the song structure. When they get technical, the notes still vibrate with emotion, and the song doesn’t just become a vacuum for skills to be shown off. This message is most evident in every song, which all feature catchy guitar licks and great guitar riffs. What Blind Illusion does best on this new masterpiece is deliver cleverly-written and fun songs with catchy riffs. At the heart of Thrash, that’s really all you can ask for. The effects of how masterfully composed this album is has lend the production a unique ethos that makes it feel human. This is a group of guys who know what die-hard Thrash fans want to hear, and they know how to put it on their 2022 album “Wrath of the Gods”.

LANGUISH is a band that has relied on speed to deliver their message in the most caustic and devastating way possible, but conversely they’ve taken their time to reach the point they’re now at; they stand on the precipice of releasing their third studio album, Feeding The Flames of Annihilation. World events forced a creative go-slow which granted them time to ‘hyperfocus’ on crafting a sonically pernicious 11-track ode to human beings accelerating their own demise. Despite the album being swathed in nihilism, the occasional glimmer of optimism pushes through in the form of class solidarity and hopeful resistance. But for the majority of the 25 minute runtime, malevolence and misanthropy reigns - articulated more clearly than ever before by vocalist, Sean Mears. Although grindcore continues to make up a good deal of the LANGUISH calling card, a considered leaning towards death metal allows room to enunciate their distaste with more clarity - both literally and metaphorically. The world-weariness felt by its authors is coloured with rage, disappointment and a cycle of hitting rock bottom over and over. Inspired by the socialist anthems of Woody Guthrie, LANGUISH takes swipes at landlords, megacorps, and billionaires - with few escaping their scathing sulfur.

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Der ’CEO of good music’, Pusha T, veröffentlicht am 02.09. sein 4. Soloalbum ”It’s Almost Dry” auf Vinyl.

Der Song ”Diet Coke”, in dessen Video er mit Song-Produzenten Kanye West performt, hat bereits einen Vorgeschmack auf das Album des New Yorker Rappers geboten. Das Follow Up zu ”Daytona” umfasst 12 Songs und ist nach ”Diet Coke” und ”Hear Me Clearly” gemeinsam mit NIGO ein erneuter Beweis, weshalb Pusha T für sein lyrisches Können und seine knallharten Punchlines gefeiert wird.

Since a couple of years there has been a lot of data transfer between the thief and the rat. After the first bytes got exchanged, it was clear they speak the same code: Communication on the basis of rhythmic structure! After some interferences and transmission drop-outs, we can finally announce the transfer is complete and will materialize in form of a 12'' vinyl record. Data Theft is a six piece strong selection of Rhythm Beat Master ship. It will be difficult to find more bang for the bug anywhere else. You can now own this magnum opus that is Rat Life Records 20th release!

Following the release of their critically acclaimed self-titled debut EP in 2021, Antwerp's Lucid Lucia are set to release their debut album 'Ever-changing Light' on the 7th October via the groove-obsessed Belgian tastemaker label, Sdban Ultra.

Searching to unwrap the mystery that is a human life, across nine tracks of jazz and space funk-infused grooves, Lucid Lucia look to the sound of Herbie's 'Head Hunters' and Miles' acid funk of the mid-70s for inspiration.

'Ever-changing Light' is a mind-expanding celebration centered on freedom and rhythm. Free-spirited saxes, futuristic-sounding keys, monstrous bass lines and shifting drum beats unite, resulting in an uplifting and joyous celebration of jazz, funk and groove. From the loose, laidback stylings of 'Mumpsimus' and the jazz-funk odyssey that is 'Pigeons' to the sonic wonders of 'Reminiscence' and urgent flow of 'Quanked', Lucid Lucia is a marvelous journey of luminous sounds and vibrant rhythms. Elsewhere, the warped aesthetics of 'Oneironauts' and improv 'Pukti part 1' showcase a tight rhythm section, inventive horns, funky keys and guitar while the spiritual magnum opus 'Voor Pieter A.' is a magical example of the virtuosity of Lucid Lucia.

Born from the ashes of fusion outfit BRZZVLL, Lucid Lucia were founded by saxophonist Vincent Brijs, a household name in Antwerp and the Belgian jazz scene. Former winners of the Jong Jazztalent Gent, BRZZVLL released their debut album 'Days of Thunder, Days of Grace' in 2008 and would go on to release five more albums including teaming up with Trinidad-born poet, novelist and musician Anthony Joseph on the 2014 critically acclaimed album 'Engines' and with hip-hop MC, writer and producer Amir Sulaiman on the 2016 album 'First Let's Dance'. The 2017 album 'Waiho', the band's first instumental album and final album received glowing praise from numerous tastemakers including UNCUT magazine, The Line of Best Fit, XLR8R and Record Collector magazine.

To the present day and Lucid Lucia marks a brighter, clearer sound for the sextet. Consisting of Vincent Brijs: saxophones and EWI, Bart Borremans: saxophones, Stijn Cools: drums, Dries Laheye: bass, Dries Verhulst: guitar, Jan Willems: keys and James Williams: drums and percussion, they have honed their skills performing with numerous artists from home and around the world including Ursula Rucker, Joseph Bowie (Defunkt), Amir Sulaiman, Anthony Joseph, Zena Edwards, Ayanna Witter Johnson, Baloji, Mo & Grazz, Kain the Poet (The Last Poets), Marie Daulne, Dizzy Madjeku, Ida Nielsen and many others.

** SISTER FUNK, SOUL-JAZZ and BLUE-EYED-SOUL - OBSCURE RARE GROOVES ALL THE WAY THRU! **

- the double vinyl LP comes with a full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs
- ALL songs appear on LP & digital for the very first-time
- sales notes by Joel Ricci (aka Lucky Brown)

When Tramp Records was founded, there really were very few ways in which the music lover could discover new music besides the traditional methods of digging, good luck, and inheritance. First there were torrent sites such as Napster and Limewire where generous collectors might digitize and upload portions of their accessions, and sometimes you could find entire radio show broadcasts of live vinyl curation made by real Disc Jockeys out there, a lot of the Deep Funk I heard for the first time in around 1999 I found this way via Disc Jockeys on radio shows from the UK, tunes were faded and mixed together and of course veiled with that unmistakable Mp3 'whoosh'. And unless you have been living as an off-grid hermit for the past 20 years, you know the rest of the story.

But though our world has changed, and even though everyone from our grandparents to our 5-year old nieces are curating their own internet playlists, I submit that the role of DJ has become even more vital, not less. We as a culture have always relied on our Disc Jockeys to introduce us to sounds that speak to their souls, to control the vibe and most importantly put forth the narrative that speaks to society as a whole. DJs are our tribal storytellers, and the music they bring us are the stories. And when a DJ like Tobias Kirmayer is telling us that story clearly and with conviction, it speaks to our souls as well.

"Countdown to...SOUL" is a compilation series that, much like Tramp Records' other critically-acclaimed comps such as Movements, Feeling Nice, and the Praise Poems Series' examines a unique facet of the Golden Era of Soul, Funk, Jazz and R&B. Perhaps, in this case the dawning of the Soul era, "proto-soul", "primitive soul", or even "pre-soul" if you will. When they were recorded, many of these tunes were still firmly ensconced in the Black Radical Jazz tradition, but there was a change in the air, something happening in the coming years that would revolutionize popular music forever. In fact, Soul had already taken over the world by the time many of these tunes were released on 45, but for various reasons, the artists and their music occupied the fringes of the idiom and therefore remained obscure. Countdown to...SOUL chronicles that beginning, that buildup, those heady moments before the lid blew off and American Black music would explode across the planet, while scouring the outskirts and tide pools for specimens that were emanating in their own respective neighborhoods and communities, so often overlooked by the American pop music machine.

Side A features barrier-breaking pioneer Frankie Staton and her message of "Love One Another" to the world that is as fresh and vital today as it was when it first came out in the late seventies. In that spirit, Tenison Stevens' appeal "Don't Rip Me Off" reminds us to treat each other as brothers and sisters.

Side B meets us at the altar of the formidable Hammond Organ with an Unknown and uncredited Organist found languishing on a one-of-a-kind unreleased acetate and moving on to explore the nexus of Soul, Bebop, and R&B with Don Patterson's "Paddy Wagon".

Side C satisfies our hunger for the blaring horn sections, big beat drums, wailing Hammonds, pleading vocals and gritty guitars of authentic Soul music (both brown and blue-eyed) with Marva Josie, Shirley Wahls and The Echomen, among others, but then takes a hard left turn into undoubtedly uncharted territory with the hybrid folk/country/soul story of Sherrif Black and poor Sally who, though she is tragically met with a terrible fate, thanks to the careful and conscientious mastering of our German engineers, the song itself remains alive and is a genuine addition to the canon.

For the remaining side, I'm gonna just let you discover this music on its own terms, as you won't find these tunes anywhere else, not on Napster, not even on Limewire, or anywhere else. I want to personally thank you for putting your trust in the DJ and for continuing to listen, study, appreciate, and share the work and mission of Tramp Records.

-Joel Ricci (May 2022)

This is the very first reissue of the cult doubled single by The Versatiles currently going at USD 1200 for a clean copy. This super rare single featured two outstanding tracks, both equally wicked.

Both tracks are featured on this reissue.

Super limited edition pressed on heavyweight 180g vinyl housed in a picture sleeve and clear plastic outer sleeve – never to be repressed. Only 175 units.

Tokyo-based DJ, producer and sound artist Yuu Udagawa inaugurates the freshly launched Cyphon Recordings with her debut EP, ‘Forever’.

Growing up on a cocktail of everything from rock, hip-hop and Latin jazz to techno and house, Yuu’s immersive musical output draws inspiration from this diverse pool of influences to create ‘uplifting and healing’ music for the mind and body. There’s an elegance and sophistication to her productions, which stems from her desire to make music guided by the Golden Mean philosophy of finding a middle ground between two extremes: excess and deficiency.

Active as a DJ since the millennium, which saw her playing at clubs, festivals and fashion shows across the country, she soon turned her attention to music production and has since self-released a handful of singles and contributed audio commissions for Sony Playstation3, museums, theatres and apparel brands. Yuu’s meditative pallet of sounds instantly grabbed Cyphon’s third ear which led to the tracks that make up ‘Forever’: a collection of analog slo-mo electronica and leftfield minimal house that strike a perfect balance between warmth and depth.

The release opens with the titular track: a deep, emotive electro cut punctuated by a twinkling synthline and blissful vocals. ‘Mojito’ continues the EP’s voyage into the deep, matching softly spoken word with jazz-tinged chords and meandering melodies, before ’Hug Close’ strips things back, guided by a crunchy minimal groove, warm, resolute keys and reflective synths.

The B-Side steers things on a soulful course. The dark, enveloping atmosphere of ‘Illuminated Night' is lifted by bright synth stabs and harmonic R&B-flavoured vocals. These influences continue on closer ‘Stay With Us’. Slowing down the pace, the track is a wash of shimmering funk-inspired chords and shuffling rhythms, laced once again with effortless, soaring vocal tones.

DJ Feedback:

Joyce Muniz - Nice one!

Andrew Wowk - "Mojito" is awesome - such a nice groove (followed up)

Geordie Elliot-kerr - Some really interesting stuff in here. Digging the whole thing.

Simon Caldwell - Cool and different.

Paul Beller - super star release.

Fred Peterkin - Dope...

Alex Barck - Sounds fresh to me

Ruben Mandolini – Nice

Gabriel Izarraraz - great music will play for sure

Kristijan Molnar - Very nice!

Chris Loxton - superb

Danton Eeprom - Really love the production and original vibe of this record. bring it on!

Raymundo Rodriguez - cool release

Hoshina Anniversary offers a new LP of fluid, alchemical dance music in the shape of Hisyochi, on Impatience. Moving well beyond the initial influence of jazz fusion, electronica and his Japanese heritage, Hoshina Anniversary continues to carve deeper into his own cosm, and Hisyochi arguably represents this prolific producer at his most singular, refined and potent yet.

With nowhere to go and little to do, Hoshina was making music at a seemingly unstoppable torrent throughout the pandemic, sometimes sketching close to 100 tracks in any given month. Opening up a session from a previous track, he would erase all but one element, using it as a starting point for a completely new experiment, lending the body of work a subtle yet tangible coherence. Hisyochi was pieced together from a swathe of productions that came out of a particularly fertile period in the first half of 2021, which also birthed his recent release on Patience, Hyakunin Isshu.

Roughly translating to “somewhere cool to relax during a hot summer” according to Hoshina, Hisyochi transcends seasons but undoubtedly runs hot. Drum patterns are crisp, varied and invariably body-moving, basslines ascend at vertigo-inducing velocity, and dimly-lit jazz-bar piano is often the only element anchoring the sound to terra firma.

Following the plaintive, palette cleansing introduction of Rakka, Irahu plots the course with a light arpeggiator over a chugging rhythm before a warbly piano line to creeps in the back door. Misebayana is a jolt of gyrating mutant dance, part video game suspense and part footwork for drums and koto, while Kokoro no Heisei (Peace Of Mind) sees Hoshina deliver a salvo to stillness over a meandering, dubby spacewalk. Roman is an invigorating cut of warped dancehall tango, while the closing title track perfectly encapsulates the essence of the record and Hoshina Anniversary in 2022 in one elegant, acidic rinse.

Hoshina Anniversary is Yoshinobu Hoshina, from Hachioji, outside of Tokyo. He’s released records as Hoshina Anniversary on ESP Institute, Alien Jams and Youth, under his Suemori moniker for Osare! Editions and as Shifting Gears for Toucan Sounds, amongst others.

Hisyochi was written, produced and mixed by Hoshina Anniversary. It was mastered by Josh Bonati in NYC, and artwork is by Luca Schenardi.

All artists are well known for their outstanding sound design and mixing skills. Get carried away by pounding drums and razor sharp hi-hat patterns. Intense synth workouts, nebulous atmospheres and well-chosen floating percussion parts are desi- gned to melt the boundaries between modern sci-fi sounds and 90s techno vibes.

This release is an absolute weapon and meant to create a higher state of tension and high voltage energy on any techno dance floor. ‘Insolate – Cosmic Paranoia’. The track’s kick drum has a clear crisp knock to it while the sub-bass swells and cradles around it perfectly. The sharp acid stabs in conjunction with this make it a very stomping track while the arpeggiated synth in the background flows with the voice resonance.

‘Mode_1 – Broken Machines’ is the second track on the EP and has a bit more depth and groove to it. The massive low end grooves beautifully with the flowing synth as well as the bright variations of hi-hats.

Next up we have ‘Elias the Prophet – Masochist’ which has a very bright kick and a wobbling bass that’s sure to make your chest rumble. The tight and delicate hats loosen up creating a washing of bright noise that flows over the track while the synth continues to send you into another realm.

The fourth track ‘Joton – Ziggurat’ fits perfectly due to the distressful synth. The track’s sub swells between every fourth and first beat while giving it space to ride smoothly beneath the kick drum between these intervals. The hats remain tight while the cymbals flow over the track creating even more tension.

Grammy-nominated blues, soul and Americana singer is revered
worldwide for her defiant music and fire-breathing performances
' Done Come Too Far' continues Shemekia's riveting, clear-eyed testimony about
our troubled world while celebrating the blessings that keep hope alive. The new
album, available in Clear Vinyl and CD, is again produced by Will Kimbrough, and
an all-star supporting cast includes slide guitar whiz Sonny Landreth, Hill Country
blues great Cedric Burnside and Hi Rhythm Section organist Charles Hodges.
'Done Come Too Far' is another exhilarating Shemekia Copeland showcase, as
her rousing vocals bring the heat in an infectious array of muscular rockers,
stomping blues, swampy soul and heartbreaking ballads. Intense, topical new
originals make up most of the tracks and spirited versions of songs by Ray Wylie
Hubbard and her father, Johnny Copeland, fit right into the mix.
MOJO - September review
BLUES MATTERS - upcoming review
BLUES MATTERS - upcoming feature with interview
BLUES IN BRITAIN - upcoming review
BLUES IN THE SOUTH - upcoming review
BLUES' BLUES - upcoming review
BLUES BYTES - upcoming review

Before New Zealand's Salad Boys, there was T54, also fronted by Joe
Sampson, joined by Matt Scobie on drums and Sam Hood on bass - T54
featured a visceral, sonic guitar sound, perhaps out of step with most of
the Flying Nun bands at the time
Joe describes T54 as being stuck in the wrong era somewhat yet enduring well in
NZ for those who bought the music and saw us live at the time. Originally
released in 2011, Ally is proud to bring you an expanded and remastered limited
vinyl edition of their first ep that also includes several demos and live tracks. Be
prepared to be wowed by this noisy three piece from Christchurch influenced by
classic NZ bands who also have three members (The Clean) or numbers in their
name (The 3Ds) -- like The Clean, The 3Ds, and other NZ greats, T54 will not
disappoint!
Tracks: Birds / Julie K / CR Model / Vehicle / Singer in Mouth / Death Drive / CR
Model / Life Is Swell / O Nina / Fred Gavin / Kill Red / Julie K / Le Snack / Choose
Your Own Ending / Localism / Soon I'll Be Nicking Speed Boats / House Music /
Julie's Last Wish / Nurse Jen / Christian Dale

Chronophage’s third LP is a scarcely anticipated revelation full of poise and delicacy. Tough,tender, precise and unconstrained, it concentrates the tragic ingredients of the past two yearsinto ten songs. Each one is a decisive, well-cut crystal: sharp, clear, weighted. Can you envisiona midpoint between Big Star and the Homosexuals? Imagine Nick Lowe constructing defiantrejections of the civil structure? Chronophage’s unconstrained melodies and gleefullyimaginative structures enact such original, liberatory music.Chronophage began five years ago in Austin, Texas. Stout participants in the transgressive DIYpunk community patchworked throughout the world, the band have released two LPs and ahandful of cassettes, always demonstrating a kind of risk-taking that feels both gleeful and dire.It’s clear that they delight in making hard, unexpected decisions, but there’s a colder sense thattheir existence depends on this daring.Defying the band’s scratchy, 4-track history, ‘Chronophage’ blooms, distilling the warmest, mostcompelling, most vulnerable qualities of their music. It’s a product of their unhurried approach torecording this album, a six-week process of tinkering and clarifying. It’s also a product of thematerial conditions of their songwriting phase—”the pandemic making it where we just saw eachother all the time and were less influenced by scenes,” as explained by guitarist/singer ParkerAllen. Undoubtedly their most immediate record, but without sacrificing the mortalconsequences or thrills of their past. The danger and vigor remains, the spring is wound eventighter. It’s evidence of the band’s growing confidence, but speaks most clearly to the strength ofthe songs. Producer Craig Ross articulated this strength through his own experience of workingon ‘Chronophage’: "When I would run into a block, in terms of arrangement, the narrative of therecord told me exactly what to do. I realized I just had to stick to the record, it has all theanswers."‘Chronophage’ is released simultaneously by Post Present Medium (US) and Bruit Direct(Europe). TRACKLIST: A1 Love torn in a dream A2 after a storm A3 swimmer A4 summer to fall A5 cop in psyche B1 spirit armor B2 old city back again B3 black clouds B4 burst the shell B5 fear + agony Dooms horn

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Charlotte Leclerc talks loud and fast, she’s at full speed, at a heat of 10,000 degrees and gives off a very pleasant warmth - if you stay at the right distance. She’s like the sun: if you get too close, you’ll burn up straight away. Speaking of which, Charlotte has distanced herself, and not on purpose either. When coming home at night, instead of getting into the role of laboring musician, she chose instead to make music a bit like you’d smoke one last cigarette before bed. The story of this album began when I asked her if she made music by herself. I knew she played regularly with other people in bands, but nothing about any potential solo musical activity. She replied, “When I get home late at night, before going to bed, I like to switch on my old Vermona drum machine and my synths. I record stuff that isn’t songs, that I forget all about and don’t listen to again because it must be garbage.” It didn’t take more than that for me to really want to listen to it. After several months of enquiring, she accepted to send me all these “bits of music” as she calls them. I loved them straight away. Very loose and free tracks, a music made for no one in particular. No format, no structures, just creation sprinkled over daily life. Moments like these are often forgotten, lost in your head, which is overcrowded with day-to-day stuff. But in this case, she managed to save them, preserving them in time thanks to the record button. Style-wise, I’m not sure what Charlotte Leclerc’s “bits of music” are. Avant-exotica? Ambient-funk? Maybe. However, if you’re wondering if there’s any emotion in there, I’d answer as she would, “Yeah, loaaaads.”

Dans Dans is back (already), with their most unfiltered, most spantenous, most 'punk' album to date. Three musicians, three days in the studio, one burst of energy.

April 23th, 2021. Breaking a five year silence, purveyors in ambiguous jazz-rock hybrids Dans Dans drop a new, fifth album. Throughout the media, Zink is hailed as another triumph for the Antwerp based trio. 'A bold and thrilling noise trip', according to Humo. 'The best live band of the Western hemisphere is back', celebrated OOR, while De Morgen hailed the 'organic but cleverly constructed jams'. The following summer, the band made the best of a temporary easing of local Covid restrictions, and played some rapturous shows, such as during Jazz Middelheim in their hometown and an Unday Records label night during the Boomtown festival in Ghent. A string of dates in Eastern Europe followed, but, alas, the remainder of a national and international tour in autumn was cancelled. Third wave, fourth wave, who was still counting?

At the tail end of 2021, Bert Dockx, Frederic Lyenn Jacques, and Steven Cassiers, the unholy trinity that make up Dans Dans since 2012 - yep, that's a ten year anniversary! - decided to turn setbacks into sound blasts, grief into grooves. Rehearsals were planned. New music was made. And before you know, a studio was booked. This is how an instrumental corona-album happened. Not one of contemplation through isolation or new found domestic bliss, not your usual, subdued track record of socially distant, monotonous times. '6' might be a reaction to all of that, but it's definitely more than that.

Dans Dans is back (already), with their most unfiltered, most spantenous, most 'punk' album to date. Three musicians, three days in the studio, one burst of energy.

April 23th, 2021. Breaking a five year silence, purveyors in ambiguous jazz-rock hybrids Dans Dans drop a new, fifth album. Throughout the media, Zink is hailed as another triumph for the Antwerp based trio. 'A bold and thrilling noise trip', according to Humo. 'The best live band of the Western hemisphere is back', celebrated OOR, while De Morgen hailed the 'organic but cleverly constructed jams'. The following summer, the band made the best of a temporary easing of local Covid restrictions, and played some rapturous shows, such as during Jazz Middelheim in their hometown and an Unday Records label night during the Boomtown festival in Ghent. A string of dates in Eastern Europe followed, but, alas, the remainder of a national and international tour in autumn was cancelled. Third wave, fourth wave, who was still counting?

At the tail end of 2021, Bert Dockx, Frederic Lyenn Jacques, and Steven Cassiers, the unholy trinity that make up Dans Dans since 2012 - yep, that's a ten year anniversary! - decided to turn setbacks into sound blasts, grief into grooves. Rehearsals were planned. New music was made. And before you know, a studio was booked. This is how an instrumental corona-album happened. Not one of contemplation through isolation or new found domestic bliss, not your usual, subdued track record of socially distant, monotonous times. '6' might be a reaction to all of that, but it's definitely more than that.

From an offshoot of Salifornian funk/soul collective Banda Maje, here comes a new 7" single penned by the rapper, producer and band's co-founder Tonico 70. "Vic'l / Fantasie" is a tasty prelude to Tonico 70's forthcoming album "Antonico", due out this November on Four Flies Records.

Like the rest of the album, the two tracks on the single have been co-written and co-produced by Peppe Maiellano, Banda Maje's other founder, and offer a more intimate portrait of the artist. Tonico has put his 'tough-music-smuggler' persona aside to let his soulful side shine through.

"Vic'l", on side A, is a very autobiographical song. The flow of words you hear, almost a stream of consciousness, took place late one night in the privacy of home and was recorded on the spot. Tonico 70 evaluates his personal history, speaking about the people who are or were there for him. The sound is smooth and sweet, rife with contrapuntal notes and harmonies (those played on the Fender Rhodes and the flute especially stand out) and clearly reminiscent of 70s soul.

In the funky, uptempo "Fantasie", on the flip side, Tonico 70 lets his Salifornian flow roam free totalk about the strong bonds that bring us together and make us feel good.

Both tracks evoke images and stories while enveloping you in a warm embrace. Not unlike Banda Maje's music, they have a strong cinematic quality that Tonico 70's rap adds to nicely. We can't wait to listen to what's coming next!

Clear Vinyl

The second release in the three-part Greatest Hit series starts off with the cleverly named bangy banger 'Emergency Loop'. Ghost in the Machine probably put this track on there so that no one would notice that the rhythms in the second track 'Drunken Master' are so weird that probably not even the best DJs in the world can play it. Not quite triplet, not quite dotted. Your problem, not ours. Obviously. Hidden away on the entire b-side is Ghost in the Machine's beautiful remix of Torgue's 'A Night at the Opera', available on vinyl for the first time ever. Another very obvious money-grab which you absolutely can't live without.

"From Down Below – Live 80 Meters Deep by Portuguese dark metal masters MOONSPELL invites you on a memorable adventure worthy of a Guinness Book honorable mention! Recorded live at Grutas de Mira D'Aire - one of Portugal’s seven natural wonders, it showcases the band’s latest, much acclaimed album Hermitage (2021, Napalm Records) at its primal best, live from inside one of the most impressive caves in Europe. The recording boasts a one of kind sound and visual sensation, with its heavy dose of cinematic flavor, unreal atmosphere and the encircling, resounding nature in its raw form. Tracks such as 'Entitlement', 'Hermitage' and 'Apoptheghmata' perfectly settle in with the album‘s unique environment. From Down Below – Live 80 Meters Deep is not only an epic live momentum of Hermitage - one of the deepest, heaviest and most sincerely heart-breaking records the band has ever written - but a truly revolutionary experience, as MOONSPELL brought along a select number of fans and a production team (literally), underground. Brilliantly directed by Guilherme Henrique, From Down Below – Live 80 Meters Deep is something you have never, ever seen or heard before. " 1. SINGLE - EN Recorded live, 80 meters deep within a natural cave at one of Portugal’s seven world wonders, haunting single 'Entitlement' by Portuguese dark metal pioneers MOONSPELL shines in a new shape, made crystal clear, in an unreal atmosphere mixed with the sound of nature in its pure form.

Clear Vinyl + DL Code

Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that's only one side of Iliakis' creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents.

The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track "Mountainmouth" - an extremely energetic composition which won't leave you unaffected. As per most of Iliakis' songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release.

The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes "Infected Walkman". According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following "Sad Plants", are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, "Exodus Denied" is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of "Carbonated Soap" that jumps right to the more energetic parts after the first break.

Mountainmouth may not be an easy listen at start - but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.

After 40 steamrolling, liver wrecking, gut stretching years in the name of heavy metal, the Tankard beer train isn’t slowing down. Right in time for the festivities surrounding their 40th birthday, our most favourite Frankfurters let “Pawlow’s Dawgs” off the leash, their 18th overall record and debut for new label amigos Reaper Entertainment. Produced and recorded at Gernhard Studio Troisdorf again together with Martin Buchwalter. The taps are polished, the Freibier is flowing and Tankard are finally back to what they do best five long years after their last studio album: Thrashing madly, drinking thirstily and ever so cleverly intertwining metal, humour and sarcastic social commentary into one big raucous ball of entertainment. Just like they did all these years ago in a classroom where they drank beer out of emptied milk cartons. All hail Tankard. All hail the dawgs. The world is a better place with capital guys like them waiting at the bar.

After 40 steamrolling, liver wrecking, gut stretching years in the name of heavy metal, the Tankard beer train isn’t slowing down. Right in time for the festivities surrounding their 40th birthday, our most favourite Frankfurters let “Pawlow’s Dawgs” off the leash, their 18th overall record and debut for new label amigos Reaper Entertainment. Produced and recorded at Gernhard Studio Troisdorf again together with Martin Buchwalter. The taps are polished, the Freibier is flowing and Tankard are finally back to what they do best five long years after their last studio album: Thrashing madly, drinking thirstily and ever so cleverly intertwining metal, humour and sarcastic social commentary into one big raucous ball of entertainment. Just like they did all these years ago in a classroom where they drank beer out of emptied milk cartons. All hail Tankard. All hail the dawgs. The world is a better place with capital guys like them waiting at the bar.

2x LTD CLEAR VINYL
Limitiertes, durchsichtiges Doppelvinyl inklusive Downloadcode!

Grammygewinner RAC veröffentlicht sein lang erwartetes neues Album auf Counter Records!

Aufgenommen in Anjos' Heimstudio in Portland und bei Sessions in L.A., finden sich auf RAC's neuem Album Kollaborationen mit u.a. Rivers Cuomo von Weezer, Vampire Weekends Rostam, MNDR, ST. Lucia, KNA und Joywave. - EGO ist Anjos ambitioniertestes, geschlossenstes und persönlichstes Werk und zeigt deutlich seine organische Weiterentwicklung als Künstler auf. Geboren und aufgewachsen in Portugal, lernte Anjos in seiner Jugend Klavier und Gitarre und spielte in lokalen Bands. Später zog er in die USA, um Musikbusiness am Greenville College in Illinois zu studieren, bevor er sich in Portland, Oregon, niederließ. Anjos gründete RAC im Schlafzimmer seines Studentenwohnheims und gewann fortan ein stetig wachsendes Publikum für sich, wodurch offizielle Remix-Aufträge für u.a. Lana del Rey, Yeah Yeah Yeahs, Ellie Goulding, Foster The People, Phoenix, Imagine Dragons, Two Door Cinema Club und The Shins enstanden. Seine erste Grammy-Nominierung erhielt Anjos schon 2016 für seinen Remix von ODESZAs - Say My Name und bei den diesjährigen Verleihungen gewann er mit seinem Remix für Bob Moses' - Tearing Me Up .

Mit seinem ersten Song, - Hollywood , begann RAC 2012 eigenes Material zu veröffentlichen und unterstrich mit seinem Debütalbum - Strangers von 2014 seinen Qualitäten als Songwriter. Darauf enthalten waren die Singles - Let Go mit Kele von Bloc Party und MNDR sowie - Cheap Sunglasses mit Matthew Koma. Außerdem absolvierte er bereits gefeierte Auftritte auf den weltbekannten Festivals Coachella, Electric Zoo und Lollapalooza.

The Belgian band K’s Choice was founded in 1993 by Sam and Gert Bettens. The second album Paradise In Me became their big international breakthrough, with the featured track “I’m Not An Addict” on top of the charts. After ten successful years, the band decided to take a break and focus on solo projects. The album 10 (1993 > 2003 Ten Years Of) was originally released in 2003 and is a career- spanning collection of their singles and non-album tracks. This 18-track set includes “Everything For Free”, “Believe”, “Virgin State Of Mind” and the essential “I’m Not An Addict”.

10 (1993 > 2003 Ten Years Of) is available on vinyl for the very first time as a limited edition of 1000 individually numbered copies on crystal clear & blue marbled vinyl.