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Repress !

The long-awaited reissue of the best ever album of rare Eastern and psychedelic Jazz music by this famous Hungarian guitarist
Gabor Szabo, originally released in 1968. For the first time as extended edition with 2 bonus tracks: radio versions of Fire Dance
/ Ferris Wheel from the 1969 7” single 7”. Deluxe 8-sided Digipak CD and Gatefold Vinyl come with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne. Remastered by Martin Bowes at Cage Studios (UK).
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep
love of jazz and crafting a distinctive, largely self-taught sound. Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy
Rogers cowboy movie to begin playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still
living in his hometown. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way
to America, settling with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged
by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during
melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the
energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams.
Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and
"Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the
brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late '60s. The emergence of
rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more
commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style.
From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop,
Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times during the '70s, finding opportunities to perform
brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday.

Hot Jams Straight out the 330XX !!

In collaboration with his Ritmo Astral label, Belters is pleased to introduce Orion Agassi from the Asturias region of Spain! Remastered for vinyl, this one has been a while in the making and seems to be reaching the right ears so far. It's very exciting to now share with yours too.

Who knew that classic house and boogie had been missing some reggaeton vocals?? Each track has been very effective on dancefloors around the world and counts support from people you've heard of. 'Dos Blokes' even got a notable mention in the New Yorker.

“a fluorescent EP that fuses reggaeton house and electro into unexpected but undeniably effective club tracks” - Resident Advisor

Terra Magica Rec. is back with its fifth release “Club TERRAM”! This time it will be another V.A. compilation of never heard and unreleased original gems of electronic body music.

Think: A double 12” vinyl which is fully charged for dismantled club use as those mighty TERRAM clubbers say. Compiled and arranged by Tom Sprenger & Mirko Hecktor all tracks are dance floor oriented rhythms which will activate your maximum energy output as well as total chill out crash. Let the new bots work your life balance. Multiverse to introverse to metaverse. With its discoish genre splicing between 90s-IDM 2 Big Beat and Breakbeats 2 NuCosmic 2 Acid-Madchester 2 rolling trancey driven Goa beats the record reflects the electronic underground culture of dance clubs and discotheques of the past 50 years. These stand for emancipation, gay liberation, cicil rights, working class and democracy. Find your inner peace on the chill out floor side. Or go bonkers to the hedonistic main room floor fillers. Find your unique personal safe space in TERRAMs different floors and hidden rooms. A CLUB FOR A L L. As Richard Dyer wrote in 1979 “In Defence of Disco”: ‘Capitalism constructs the disco experience, but it does not necessarily know what it is doing, apart from making money’.

The underground is where we go moving.

At last! The Wedding Present single series comes to an end. Sad for fans of the Weddoes but a good day for those of us who have to find all these damn things in the stock room. They round the year off with 'The Loneliest Time Of The Year' which might be a cover of the Mabel Christmas tune or just another song about the time Dave Gedge's girlfriend left him. The release of this monthly series, in 2022 The Wedding Present is releasing a new 7" single every month, the final this year's Christmas available for indie record stores only in December. This fascinating project - which goes under the name of 24 Songs - comes thirty years after the band's similar Hit Parade series of 7"s in 1992 and features two brandnew recordings of the current WP incarnation. Each of the records comes in a beautifully designed sleeve featuring brutalist photography by Jessica McMillan. Each single will be limited to 2,400 copies ww.

Yellow Vinyl

The 11th release on "CCR - Club Culture Rarities" SUEÑO LATINO Derrick May Remix originally released on Creative Label 1992
Built around Manuel Göttsching’s astral classic E2-E4, Sueño Latino is, with no doubts, one of the most iconic records of the late 80's electronic music. Several remixes have followed the 1989 original release, but above all stands up Derrick May’s “Illusion First Mix” that adds his typical tribal motifs to the euphoric carpet of stars, tropical birds and cowbells. This reissue of Detroit genius’ version of Sueño Latino gives wings to our imagination making us fly on the most joyful nights of Ibiza.

2023 REPRESS

Kahn hails from Bristol and is part of the Young echo collective alongside Vessel, Zhou, El Kid & J a b u. The Young Echo collective
have been collaborating, producing, putting on clubs nights and showcasing their unique and diverse sound of experimental bass
music and over the last couple of years they have gained much deserved recognition from the like of Mary Anne Hobbs and the BBC respectively. Check out their podcast series on iTunes. Kahn has recorded on Punch Drunk, Idel hands and Box Clever. He has also released 'Percy' alongside Neek on his own label, which
is currently tearing up the dance. Kahn's first release on DEEP MEDi is the long awaited 'DREAD' which has been a firm favourite in Mala's, Youngsta's and Vivek's sets over the last year.
Dread' is an 80's Dancehall/Reggae inspired bone-crushing slice of pure heavyweight dub pressure, vibes of the highest order! Back this with the equally hard and experimental dub of 'Late Night Blues' featuring vocals from Bristol's very own Rider Shafique and you
have some serious level's of bass weight to contend with.

repress!

3x12'' Re-issue of this Drexciyan masterpiece that was previously released on Supremat. Now including the tracks that were only available on the CD version when the album first came out in 2001.
If the late James Marcel Stinson left anything in his wake it's certainly the staggering amount of beauty he produced over the years. Tresor Records prepare to re issue a slice of that beauty on October 10th.
Thematically, 'The Opening Of The Cerebral Gate' saw Stinson shift away from the grand narrative of the Drexciyan saga, instead exploring a sub-plot of esoteric concepts revolving around internal, mental and psychedelic tropes. Musically, it presents the electro genius at the height of his game.

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.[1][2] Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one
of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.

AMBER ARCADES ist das Pseudonym von Annelotte de Graaf, der niederländischen Singer/Songwriterin, die zwei EPs und einige von der Kritik gefeierte Alben aufgenommen hat, von denen das zweite, "European Heartbreak", durch "hints of Lindi Ortega and early Saint Etienne, breezy, dreamy pop more personal than political" (The Guardian) glänzt. AMBER ARCADES verlor kürzlich für einen Moment den Glauben an die Musik, gewann ihn dann aber wieder zurück und liefert nun ihr bisher atemberaubendstes Album ab: "Barefoot On Diamond Road", das am 10. Februar 2023 erscheinen wird - ihre erste Veröffentlichung auf Fire Records. Die erste Single "Just Like Me" ist ein offenkundig tanzbarer und triumphaler Song, der durch seine Stop/Start-Struktur eine beunruhigende und unvorhersehbare Schärfe in das Geschehen bringt. "There's a clear distinction from my last record ,European Heartbreak', which had a complete narrative. This record is completely the opposite" erklärt die Niederländerin in einem Statement zum neuen Album. Eingetaucht in eine alles verzehrende Wall of Sound ist "Barefoot On Diamond Road" wie MY BLOODY VALENTINE in akustischer Form; es sollte eigentlich nicht funktionieren, aber tut es trotzdem. Es ist eine Gegenüberstellung von Texturen, von sprunghaften, unruhigen Dancefloor-Beats bis hin zu symphonischer Kosmik, ein barocker Pop-Teppich, der mit Celli und Harfen bestückt ist, mit einer klagenden Steelguitar, die in der Ferne widerhallt. Die Schlagzeug- und Perkussions-Arrangements von Matt Chamberlain (PEARL JAM, BOWIE, DYLAN, ADELE, LORDE, SPRINGSTEEN, COHEN...) verleihen dem Ganzen zusätzliche Textur. Es ist ein Album von einnehmender Reife, gefüllt mit Zeitlupen und epischen Steigerungen, die es mit all der Dramatik in schwindelerregende Höhen heben - man denke an THE GUN CLUB, die sich mit PORTISHEAD zurücklehnen, alles könnte passieren, es ist ein imaginärer Film... und PJ HARVEY lauert im Schatten. AMBER ARCADES neues Album "Barefoot On Diamond Road" markiert eindeutig eine neue Phase im Schaffen der hochangesehenen Musikerin. "Wistful, glowing dream pop" The Guardian

Solaire, Siegfried Kessler, that is the least we can say! Aged 4: learns piano. Aged 6: his first concert. After this: studies classical music like everyone else... until the jazz of Jack Diéval and Stan Kenton turned everything upside down. So it was goodbye to Bach...

...And hello to Dexter Gordon, Joe Henderson, Ted Curson and Archie Shepp (who he would accompany over a long period). In 1969, with Yochk’o Seffer, Didier Levallet and Jean-My Truong, he formed a group which would mark history and create a sensation: Perception. If French free jazz exists, its thanks to Kessler (and company).

The following year, the pianist recorded his first album: Live at the Gill’s Club. On this one-night concert date can also be heard Barre Phillips and Steve McCall. But it was in 1971 that Kessler would record his greatest album; still in a trio setting, but this time with bassist Gus Nemeth and percussionist Stu Martin: Solaire. Five tracks of extraordinary music, moving back and forth between modal jazz and contemporary music.

Let’s begin at the end, with the title track Solaire, on which Kessler plays a melody on flute and piano which resists all onslaughts. It sends out powerful waves, Kessler’s jazz, bubbling like hot oil (Persécution, Drum), shaking modal jazz to its roots (De l’Orient à Orion) or upsetting the memory of a cantata (Bach Hcab). The piano is an instrument which can provide a tendency towards, demonstrative technique; with Kessler, it is something else: a joyful persecution!

Renoir Of The Toys is a deep dive into the world of Youri Kun, the nom de plume of Japanese guitarist, singer and songwriter Hiroshi Nar. It follows a similar compilation, Unheld Ball, released in 2022 on Japanese label Inundow; like that album, Renoir Of The Toys draws from the rich catalogue of outsider psych-garage and rock recorded by Youri Kun over the past two decades. Deeply wired into the history of Japanese underground music, Nar was a founding member of legendary ‘70s outfit Datetenryu, and a member of both Brain Police (Zuno Keisatsu) and Les Ralllizes Dénudés (Hadaka No Rallizes), appearing on the latter’s ’77 Live.

After going to ground during the 1980s, Nar started making music with Niplets in the mid-90s, and releasing music at a prolific pace in 2000 – an excellent run of (sometimes archival) CD-Rs on the Hello Goodbye Studio label, both solo, and with his groups Molls, Niplets and Port Cuss; an album on P.S.F. by Jokers, where he was joined by fellow Rallizes member Yokai Takahashi, and drummer Toshiaki Ishizuka (Brain Police, Vajra, Cinorama, etc.); and sixteen albums (and counting) as Youri Kun, for labels Gyunne Cassette, Inundow, and Hören. He’s also fallen in with the Acid Mothers Temple crowd, guesting on a few of their albums, and recording a live set with Kawabata Makoto’s Nishinihon trio.

All Nar’s music shares a deceptive primitivism; it moves with the simplicity of the best 1960s garage punk, but its edges are blurred and stretched, allowing for all kinds of weird, elliptical, and psychedelic moves to happen in its margins. His guitar playing on songs like “Kakunin” (from 2011’s Yamaimo Boogie) shimmies and slurs magnificently; “Kurokami”, from 2012’s Su, has clanking six strings scrawling over loose, spaced-out synth; there are clunky psychobilly moves (“Oshiro no Ninjya”), spirited rave-ups for rattling organ and sputtering guitar (“Totsugeki”), and some lovely, drowsy, melancholy moments (“Sora”).

The constant throughout is Nar’s blues-blurred, drawling voice, as unique a tool as the non-idiomatic speak-sing styles of solo Syd Barrett, Jad Fair, or Dave E. McManus. There are also three Les Rallizes Dénudés covers here, where Nar locates the pop genius at the heart of songs like “Shiroi Yoru” and amplifies this with his simple garage-reverential take on things. Renoir Of The Toys is yet more evidence that Hiroshi Nar was, and is, one of Japan’s musical visionaries, a lonesome voice dedicated to a singular, streamlined vision, one that’s in eternal pursuit of the joy and kicks at the heart of rock’n’roll, and a reminder of what a great, unpretentious rock’n’roller truly should be.

The gang that make up Utlandet aren't strangers to exotic rhythms and untamed saxophones. They have been playing parties and filling clubs around Norway for years, and are now readying the concept album Grandfather of Yucca, due in 2023 on Jansen Records. Having a yucca plant on the windowsill can’t replace traveling to an exciting destination. But still, it allows you to dream, and to wonder how things might be out there in the unknown. That alone is reason enough for Utlandet to pay tribute to this modest, sun-loving and exotic plant that through the ages has learnt to live with us northerners. Utlandet – the Norwegian word for ‘abroad’ – is a result of a surplus of energy emerging from a collective depression, where learning to appreciate the smaller things became a necessity for self-preservation. As crossing borders became a distant dream, the band members met for weekly rehearsals to – at least musically and mentally – reach new destinations. Accompanied by some good brew, Utlandet tore away from everyday life by creating music from a world filled with voodoo, deserts and tropical heat. The instrumental ensemble discovered how rewarding it was to be working with melodic structures without having to put words to them and that they preferred an off-key sax to off-key vocals. Adding words to music can limit were the music takes you, as it often becomes more specific, but melody alone has no boundaries and can transport you to any galaxy. So just let go, close your eyes, and go where the groove and melody takes you.

Red Vinyl

Ghost In The Machine make their long awaited return to Perc Trax with their first full release for the label since their debut album 'Breaking The Seal' was unleashed at the start of 2020. Since then they've released multiple EPs on their own Genosha Basic label, remixed Marc Acardipane, Dahryl and Torque and given their remix of Paula Temple the vinyl release it always deserved. As DJs they have toured Europe and South America, tearing down dance floors with their powerful kick driven sound. From small intimate clubs to huge festival stages their depth of musical knowledge and razor sharp mixing have made them the highlight of any line-up.

For this first Perc Trax release of 2023 Ghost In The Machine take their sound and production to the next level. EP opener 'Come One' is a tour de force of giant kick drums, distorted breakbeats and the kind of drops most techno acts can only dream of. 'Ensnared' takes a more groove based approach with rolling snares over a classic Ghost In The Machine kick assault. Lastly 'Break' gives us a chance to breathe (at least in comparison to the first two tracks) with droning tones layered over an assortment of classic drum breaks brought up to date by Ghost In The Machine's untouchable production skills.

Originally Released in 1999, this much sought after package is back with new art and a suave ass gatefold jacket! The early paisley garage Dwarves are represented here tearing through their first LP (Horror Stories) and early singles and unreleased tracks that predate their rebirth as punk icons. Thrill to tambourines, Farfisa organs and background vocals with attitude! Hits include Living Sickness, Don't Love Me, Get Outta My Life. "Lick It is everything right on up to the Horror Stories LP. What it plays like is blacklight fractured genius. Part Nuggets adulation, a healthy dose of Cramps style un-repentant psychosis, all lathered with helpings of oozing sexual whatsis. This one's got thirty-four flavors so it's kinda tough picking particular stand-outs. ... I mean, there're plenty of glances towards the future here to clue anyone in as to what was coming." (lollipopmagazine)

Kelman Duran introduces LA’s Holodec to his Scorpio Red label with a debut album of flickering R&B torchsongs and ambient trap-soul that aches in a very special way. RIYL Dawuna, Burial, Junior Boys, MssingNo, claire rousay, Joy O, Triad God, Sampha…

The smouldering ’All Dogs Come From Wolves’ is a definitive statement by a quietly gifted artist who operates inside the long shadow of late ‘90s US R&B and the space where it intersects ambient, neo-classical, and the weightless bass interzones of contemporary UK club music. Bare boned and bathed in a dusky Californian half-light, the album’s 11 songs feel unnervingly stark yet full of tongue-tip sensuality, making a virtue of negative space and atmosphere with a lo-fi soundtrack-like quality that evokes the idea of nostalgic reflection as the route to the future; “a reminder to look to the past to remember where you’re from, to see where you’re going.”

Holodec's been assembling rugged dancefloor constructions for years now, teetering between 2-step, jungle, nu-rnb, and vaporous ambient forms, but rarely has he been as pointed or full-bodied as he is on ‘All Dogs Come From Wolves’. It's an album that can't possibly be cleaved from the place where it comes from, documenting LA's immigrant experience (Holodec is Asian-American), and finding thematic common ground with Space Afrika's "Honest Labour", absorbing prismatic reflections of footwork, rnb and hip-hop instead of trip-hop and dub techno.

Holodec croons soulfully over muted piano motifs on 'Tiles', evoking the spirit of Sampha or Dawuna, but with a gaseous glamor that's unmistakably Californian. The mood carries into 'The Wild', utilising wistful pads and saturated noise but refusing to let his music sink into the background. If you feel yourself drifting, there's inevitably a voice, a womp, or a stifled drum sound to drag you back into its presence. 'Bounce' is rhythmically heavy, but still somehow smudged around the edges; beats don't so much pump as fray, the closer you listen the more you hear it falling out of time and just out of space. It's more like a memory of neon-hued dance forms than a replication of the thing itself.

Even at the album’s rudest, the flinty jungle drums of ‘Black Market’ still remain desiccated, just out-of-reach, suggesting not telling, in a way that makes the album’s other highlights such as the vaporous R&B voice note of ‘And My Angel Dies Too’ or the shivering baroque figures of ‘Spirit’ so unusually seductive with their nuanced grasp of inference and a reserve of humility.

Alltime Classic !!! Must Have !! Repressed !

Paul Wise aka Placid is the driving force behind ‘We’re Going Deep’ – a thriving online community and record label that keeps you coming back for more. Born out of a lifelong affair with the many shades of electronic rhythm and an obsession for collecting records since 1988, Paul is known and respected by many in the realms of underground House and Techno. Renowned for making hips and feet move at parties, clubs and fields across the UK and beyond over the last few decades.
As a label owner, his mission couldn’t be clearer - releasing new music for heads of all persuasions. Fresh cuts aimed squarely at the dance floor, front room or even just your headphones. Rather than staying too hung up on the past, he continues to serve up the freshest in Acid, Electro, Techno, Deep House alongside sweet slices of Electronica.
Sticking to the format of 4 superlative cuts from equally talented producers, the quality remains unquestionably consistent on Volume 8 of his various artist series. Kicking off A1 in style with a family affair from Acid House aficionado Affie Yusef and his daughter Leila, ‘Dublovr’ is a Class A slice of pure late night chug that rides clockwork rhythms to a rolling bassline. As dubbed out synths ring out to lift you skywards – eerie sweeping undertones add another dimension. Tried and tested since the summer season, the added layer of a TB-303 brings everything nicely to a head. Not to be outdone, Bristol based Electro emissary Zobol delivers a pure slice of machinist joy on A2 ‘Sense The Consesus’, showing his ability to finesse and balance uplifting melodies with warm synthesis on this finest of jams.
Over on the flipside, Maltese producer Acidulant takes up the reins with the hushed tones of ‘The View of Her Shade’ on B1 – a thoughtful excursion into electro hinterland that’s a textbook lesson in making more with less. Last but not least, mysterious I Love Acid affiliate Type-303 turns out an exquisite IDM inflected serving of woozy broken Electronica on the mysterious ‘Knowhere’. Steeped in rippling melodies and aquatic

Those lockdown silver linings continue to reveal themselves when we least expect it... As proved, once again, by the inimitable Amsterdam techno HQ Deeptrax as they present this stunning analog exploration from scene stalwart Mark Peeters AKA Caim.? Inspired, created and sculpted during those strange times when none of us could rave, Caim simply describes the moment by saying the 'clubs were closed, but creativity kept on floating'... Now that floatation is bequeathed to us through these warm, rolling and wide-armed frequencies. Tapping into a spirit that goes right back to Detroit and Chicago, there's an understated groovemanship at play as Calm jams out on the same instruments house and techno forefathers used to sculpt this culture.? Music to get lost inside of, music to take away the stresses of the day, music that's a joy to mix, weave and tell stories with... Caim has created another timeless collection of grooves that could resonate with or relate to any period in the last 35 years of dance music culture.? From the warm, opening rumbles of 'Nepi' to closing rippling dubwise echoes of 'Kapura', very few stones are left unturned as Caim tells a tale of the ages that we can all float to. Here's to silver linings. ?