Cerca:cooperation x

"Dark Flower" is the new imprint by Robert Babicz, launched in cooperation with Systematic Recordings as a home for his own music. Named after one of the defining tracks of his career, it feels less like the launch of another label and more like the opening of a private room: a place for sound, emotion and instinct, shaped entirely by Babicz himself. With „Electric Love EP" he begins this chapter in full colour. After more than 1.000 released tracks and music on labels such as Bedrock, Kompakt, Systematic and Sudbeat, FLOWER0001 is not about proving anything. It is about freedom.

“Electric Love” opens the EP with punchy breaks, luminous harmonies and choral textures that seem to rise above the beat. It is bold, open and slightly unexpected, electronic music with a pulse and a sky above it. "Cuerpo Con Color” brings things closer to the floor: warm chords, fluent grooves and a calm, driving pressure that slowly pulls the body into motion. Across two versions, “Tease Me” closes the EP with a burning bassline, oriental vocal fragments and a seductive tension running underneath. Strange, physical and unmistakably Babicz.

Following the release of Electric Rescue's new album, "Different Horizons", Laurent Garnier's COD3 QR returns to its signature various artists format for a new vinyl-only release featuring six new tracks, by WheelUP, Rapson & Kathy Brown, Mirko Loko, Costello, Jules Wells, Rod20 and James Warburton.

WheelUP is West London producer and DJ Danny Wheeler who's released music on CoOperation Records, Jamz Supernova’s Future Bounce and his long-time home Tru Thoughts. After appearing on COD3 QR in July with a track alongside Blu James, he now teams up with regular collaborator, music producer, DJ and keys player, Rapson, alongside acclaimed US vocalist Kathy Brown for the intensely soulful "Music".

Mirko Loko is a prominent Swiss talent, known for his work as resident DJ at Couleur 3 and Loft Electroclub, artistic director of Polaris festival and releases on Planet E, Border Community, Cocoon and Visionquest returns once again to COD3 QR with the Detroit-influenced "Silent Failure".

French electronic DJ and music producer, Costello returns for his sixth track on COD3 QR, having also released on Solomun's Diynamic, Chloé's Lumière Noire and most recently Maceo Plex's Ellum Audio. His bright Techno groover, "Cocotte" closes the A-side.

Another COD3 QR regular, Jules Wells opens the B-side. Influenced by the Motor City, Jules has released on labels like Electrofunk, Submerge, Twilight 76, KMS, Planet E, Brique Rouge and Logos. Here, he takes the EP into atmospheric territory with "The Rooster".

Benny Rodrigues has previously delivered tracks for COD3 QR as The Lost Souldancer. But now he reprises his Rod20 alias with "Stars Of Bethlehem". Rod20 is the dedicated hardware-only techno project he began in 2020, which prior to its standalone vinyl imprint, launched with a self-released compilation, followed by a dual-part album on Jeff Mills' legendary Axis Records.

To close the EP is the experimental ambient work of "You Are Carried On Waves Of Endless Love" by James Warburton. James is a composer and multi-instrumentalist whose work has appeared on TV and film including Netflix’s "Squid Games", HBO’s "Succession", the title music for Channel 4’s "Manhunt" and the original score for Endemolshine/Banijay’s hit TV series "Murdertown" and NBC Universal’s "Faceless" podcast.

*First-ever release on vinyl
*Produced in full cooperation with Hiroshi Yoshimura's estate
*Remastered from original sources by John Baldwin
*English translations of original 1996 release liner notes
*Reproductions of Yoshimura's handwritten recording notes
*Vinyl includes 5" x 7" postcard print

"My encounter with the Hoh Rain Forest, located inside Olympic National Park across the water from Seattle, felt like seeing a whole new world for the first time in my life. Long green fronds draped along the branches, like a scene in which fairies could be heard whispering to one another. But when you try to listen, no sound can be heard. Amidst the mysterious silence, in which no birds or insects make a sound, every living thing seemed to have stopped in its place, only to start dancing when some kind of spell is cast over them.
-Hiroshi Yoshimura

Originally issued on compact disc in 1996, Quiet Forest was Hiroshi Yoshimura’s last album-length work to be released before his passing in 2003. Largely inspired by his trip to the vast forests of the North American Pacific Northwest, the album is an aural reflection of the fantastical, surreal beauty he experienced as he walked through the otherworldly wilderness for the first time. The basic tracks were recorded in the fall of 1993. After numerous revisions to the song titles and a scrapped idea to overlay the tracks with nature field recordings, Hiroshi ultimately produced a latter-day masterwork that feels like the spiritual follow-up to Green, one of his defining works from a decade earlier."

CASSETTE VERSION

*Produced in full cooperation with Hiroshi Yoshimura's estate
*Remastered from original sources by John Baldwin
*English translations of original 1996 release liner notes
*Reproductions of Yoshimura's handwritten recording notes

"My encounter with the Hoh Rain Forest, located inside Olympic National Park across the water from Seattle, felt like seeing a whole new world for the first time in my life. Long green fronds draped along the branches, like a scene in which fairies could be heard whispering to one another. But when you try to listen, no sound can be heard. Amidst the mysterious silence, in which no birds or insects make a sound, every living thing seemed to have stopped in its place, only to start dancing when some kind of spell is cast over them.
-Hiroshi Yoshimura

Originally issued on compact disc in 1996, Quiet Forest was Hiroshi Yoshimura’s last album-length work to be released before his passing in 2003. Largely inspired by his trip to the vast forests of the North American Pacific Northwest, the album is an aural reflection of the fantastical, surreal beauty he experienced as he walked through the otherworldly wilderness for the first time. The basic tracks were recorded in the fall of 1993. After numerous revisions to the song titles and a scrapped idea to overlay the tracks with nature field recordings, Hiroshi ultimately produced a latter-day masterwork that feels like the spiritual follow-up to Green, one of his defining works from a decade earlier."

BOY Records was founded by Michael Zosel back in 1987 but it was after a few releases that he started to work with producer Arno Müller. “Brian” by Absurd was the first techno release on the label and a great success in the German techno scene. The cooperation continued with singles by Hypnopedia and New Scene that worked very well and put the name of BOY Records in the charts and clubs all around Germany and abroad. In 1990 another massive success came with the single “Kennedy” by Deep Thought and since there the label did not stop to release hit after hit by lot of names like Time Modem, “O”, Cybex Factor, Sonic System, Moskwa TV, MCL and lot more.

“Timeless Technology 1988-1991” compiles some of the best singles released on label’s most fruitful years. A selection of 24 classic tekkno traxx. Four records with printed inner sleeves packed on a silk-screened transparent Pet-Gag box. Limited edition of 500 copies.

Cooperation, democracy, dignity, diversity, equality, freedom, harmony, inclusion, innovation, integrity, justice, liberty, peace, pluralism, prosperity, respect, responsibility, security, solidarity, stability, sustainability, tolerance, transparency, trust, unity.

The first SOULMEEX label compilation arrives shaped by the core values that unite us all in Europe, featuring music from the very talented Alberto Melloni, Llewellyn, Prom Night, and Storken. DCSIS delivers the artwork, Lopazz adds his magic in the mastering, and the vinyl pressing comes from Mad Vinyl Music. A group of music enthusiasts Made in Europe. Fabricado en Europa.

East London producer and DJ IZCO announces his debut solo studio album ‘POWERSCROFT’, set for release on 1st May via Brownswood Recordings. The album’s first single, ‘Strike a Pose’ featuring the vocals of Camille Munn offers an early glimpse into the project. To celebrate the release, he will go on a run of UK dates from March to May, culminating at London’s Jazz Cafe.
Named after the road where he grew up, ‘POWERSCROFT’ marks a defining new chapter for an artist who has spent the past decade shaping the sound of UK dance music. Drawing from jungle, broken beat, grime, garage, soul and dub, the album channels the energy of the dancefloor while remaining deeply rooted in memory, instinct and identity. It captures what it feels like to be inside IZCO’s world, where thoughts, memories and influences collide.

Hailing from East London, IZCO is a producer and DJ spearheading a new generation that is bringing soul back to the dancefloor. Shaped by the rich musical heritage of his hometown, he has developed a sound that feels familiar yet forward-looking, diverse yet distinctly his own. That sound has taken him across the globe, from New York to Tokyo, alongside standout sets at We Out Here, Outlook and Glastonbury.

IZCO began his journey making grime beats for local rappers including Capo Lee, Novelist and Reek0, before becoming a key figure in the UK’s evolving garage and dance music landscape. In 2018, he launched his long-running Rinse FM show and released his debut EP Tek 5, earning early underground acclaim. His production credits include PinkPantheress’ breakout track ‘Passion’, created alongside Jkarri, as well as collaborations and remixes for artists such as Katy B and Greentea Peng.
Beyond his solo work, IZCO is a label head, promoter and co-founder of the Brighter Days Family, a collective built on community, craft and cooperation. With ‘POWERSCROFT’, he steps fully into the spotlight, presenting his most personal and fully realised body of work to date. “This album is about channeling my true musical personality and character,” he says. “I’m marking a new chapter by paying tribute to my foundations.”

Subtil welcomes back French producer VENDi for its 29th release, Zndya EP - a three-track collaboration featuring BH2M and T.N.O.
Built on tight grooves, layered textures and spacious atmospheres, the EP blends minimal foundations with genre-fluid ideas and detailed sound design.

The title track Zndya, produced with T.N.O., opens with a fusion of stripped-back minimal and cosmic synth work, drawing influence from Nordic space disco. Arpeggiated leads and a steady, motorik groove stretch the track into wide, cinematic territory — functional and trippy in equal measure.
Session Height, co-produced with BH2M, shifts into peak-time mode with a rolling groove of syncopated basslines, cascading synth delays and chopped vocal fragments.

On the flip, Session Four, also in cooperation with BH2M, closes the EP on a jazzier note. Its full-spectrum sound design — from tight percussion to scattered melodic elements — plays out like organized chaos, balancing deep grooves with intricate detail.

With Zndya EP, VENDi delivers a focused and versatile record that fits naturally into the Subtil catalog — refined, functional and full of character, equally suited for peak-time tension or late-night introspection.

Released during the late 1970's Disco era, Milton Wright's sophomore long player has always stood out as a singular, innovative example of the deepest, rarest grooves known to underground Soul lovers all over the globe. This often overlooked body of work has found a whole new audience who revisited the man's work retrospectively, pushing the LP into the domain of "holy grail" status amongst Black music lovers and Funk fanatics. "Spaced" has been at the top of the wants lists of serious music lovers for decades, often unattainable and commanding stellar collectors prices on-line, sometimes fetching amounts of upwards of £400. This unique LP could be perceived as being Wright's most personal work, tragically overshadowed by the burgeoning successes of his then label mates on Miami's Alston Records imprint. The sheer craftsmanship and songwriting prowess on show is undeniable, as is the top level musicianship and production, sounding ridiculously fresh almost some 40 years later. Above Board distribution has collaborated with Alston / TK Records to ensure the quality of this fully legitimate repress of this long lost Soul / Funk classic has been maintained. Remastered, reissued and represented with the full cooperation of the license holders for 2016. Do not pass up the chance to own a true gem, a pivotal, lost LP like "Spaced", now made available again to be enjoyed by all. "Magic Music".

»White Noise« is a cooperation project between raster-media and the Max Planck Institute for Empirical Aesthetics. Artistic sound projects generated in the context of the scientific research institute will appear at irregular intervals. The themes and questions of empirical aesthetics research are taken up, questioned or challenged in very different ways. »White Noise« is conceived as an audio archive of the MPIEA artists in residence which records the artistic works on vinyl and documents the respective concepts and working methods in text form.

Victioria Keddie’s »Pshal P’shaw« (white noise #002) is a multimedia exploration delving into phonetic expression’s auditory and rhythmic nuances of phonetic expressions through an amalgamation of text, sound, video, data, and customized learning software. Drawing inspiration from the painter and architectural theorist Hermann Finsterlin who made speculative architectural renderings, the project originated during a residency at the Max Planck Institute of Empirical Aesthetics in Frankfurt in 2023.

The project’s engagement with the sonic landscape of the eight diphthongs in US English, documented through recorded sessions at EEG labs with participants of diverse international backgrounds, is not just a technical analyses. The applied script for the recording session, infused with a contemporary Western US dialect, ventures beyond, exploring the primal essence of phonetic expression and its impact on the oral landscape of mouth, throat, and tongue.

This work focuses on the spoken aspect of language: the art of oration, conversation, and mimicry. It reflects the beauty of our perpetual change, speaking directly to our humanity and the raw, tender moments of existence. It embraces the awkward, beautiful and vulnerable essence of our shared human experience.

Victoria Keddie is a multidisciplinary artist delving into sound, video, installation, and performance. Her work uncovers hidden narratives within ordinary artifacts and spaces, emphasizing their role in shaping our collective story. The examination of acoustic phenomena and language is a recurring theme in her artistic work. Keddie’s current projects navigate the acoustic complexity of language and dialects.

For over a decade, Keddie was co-director of E.S.P. TV, exploring the televisual medium for performance and sound. Keddie has performed and exhibited internationally. Recent fellowships include the NYSCA/NYFA for Music/Sound (2022), the Max Planck Institute for Empirical Aesthetics (2023), and the Bemis Center for Contemporary Art, Sound Art and Experimental Music Fellowship (2024).

»White Noise«, 40 p. magazine English/German, vinyl LP, cardboard box

Amber Run is a British indie rock band from Nottingham. The band have released three albums and four EPs.

They played Reading and Leeds festivals, enjoyed national radio support and had a strong press reaction: “Their vast sound has Coldplay stadium ambitions” (Independent); “Epic tunes that sound destined for arenas” (Daily Star); and “Incredibly effective” (The Sun).

Amber Run recorded their debut album throughout January and February 2014 with Sam Winfield and Brit Award-winning record producer Mike Crossey, who previously produced albums for Arctic Monkeys, The 1975, Twenty One Pilots, Walk the Moon, Foals, Keane, Jake Bugg and Yungblud.

With Noah’s Mumford & Sons-like vocal melodies and the wisps of Bastille’s fist-pumping pop on single “Just My Soul Responding”, Amber Run maintains a legitimising rockstar edge.

There are comparisons with Coldplay on the single “I Found”, while the title track has London Grammar’s mellow trip-hop vibes.

To celebrate the 10th anniversary of 5 AM, Music On Vinyl in cooperation with Amber Run and Sony Music present a limited, individually numbered 10th anniversary edition on yellow & black marbled vinyl. The package includes an insert with lyrics

Special collaborative project ARUM lands on the ESHU imprint. Something that every ESHU release has in common is that each project originates from friendship or a cooperation between like minded souls. This release is no different from that. "Guus" refers to the owner of a little cabin studio where a group of friends came together to create some beats. ARUM consists of Kaap (De Lichting), Jasper Wolff (Indigo aera), Luna Ludmila and ESHU head honcho Ivano Tetelepta himself. After an extended weekend of studio sessions this was the last jam created on a hazy Sunday afternoon when the crew headed into deep dub territories. The result is a five minute long smooth dub techno ride honoring Guus and the perfect Sunday ethos. If you talk dub techno, you talk about Deadbeat. Nothing would suit this release more than a remix by this true icon in dub techno and a close friend to the ESHU family. Happy Sundayzzz.

Somewhere between Solid State Survivor, Force Majeure and Danzindan-Pojidon you’ll find Shinichi Omata’s Boku ・ Neko ・ Platanus. Or rather you won’t – throughout his captivating debut from 1984, reissued by chOOn!! in 2022, you’ll hear connections to other music but its unique unbridled will keeps pushing those references out of mind.

Shinichi Omata is a fascinating figure – an unsung hero of early Japanese electronic music who between 1981–84 recorded three albums of incredible DIY techno-pop while studying as a student in Tokyo. At University, Omata worked and collaborated as a sitar player and keyboardist with artists such as Hiroko Yoshihara, Takami, DEA and various members of the LLE music circle, where he developed an expressive fusion of minimal synth and psychedelia.

This selection, lovingly extracted from Omata’s unreleased early recorded output, dating from 1981’s Neo Modernism through to 1983's With My Dog Ricky, demonstrates just how closely he clung to the original abstract ideal of moulding 8-bit bleeps and ungainly drum patterns into lo-fi triumphalism. On paper you wouldn’t give this aesthetic clash a pass were it not for the aural evidence of a unique sensibility, precociously openminded and visionary, charmingly transparent in respect of its influences yet possessed of a need for individuality.

Throughout this kaleidoscopic collection, all the ghost plastic in Omata’s head, Kosmische synthesis, synth-funk squiggles, arcade games and early Ambient is thrown together, reimagined and regarded affectionately – through a glass lightly, so to speak. Beneath the pulsing arpeggiated bleeps, Omata’s compositions show a remarkable economy and poise hinting at European classical influences - like a reimagining of Erik Satie’s piano miniatures that swaps 19th century Parisian boulevards for Tokyo’s 1980s technopolis. The music is sheer skin- puckering delight throughout, a delirious, mesmeric collage of dark disco bubblegum and eccentrically enchanting atmospheres that you cannot quite believe you’ve never heard before.

Available for the first time on vinyl, With My Dog Ricky: The Early Works of Shinichi Omata 1981-1983 is a vivid selection of synth miniatures lovingly extracted from Omata’s unreleased early recorded output.

Produced in cooperation with the artist for chOOn!!.

Mastered for vinyl/digital by Josh Bonati. Artwork by the acclaimed book designer Luke Bird

25 killer library music cuts by the German film music maestro on audiophile pressing in deluxe 2x10" set. Uberrare and never released before material from 1968-1976, sourced from Peter Thomas' personal reel-to-reel tape archive. Limited edition of 500 pieces.

From brassy big band funk, space jazz, krauty synth experiments to proto-hiphop, cosmic schlagers, heavy easy listening, soulful soundtrack moods and absurdly dreamy LSD ballads, this compilation encompasses the composer's most obscure and yet most transcendent work.

Peter Thomas is widely acknowledged as Germany's most inventive film music composer of the 1960s and 1970, best known for his iconic soundtrack work. He scored over 600 films and episodes, from the crime blockbusters of Jerry Cotton and Edgar Wallace to indie arthouse films like Playgirl, Bruce Lee's The Big Boss and the extraterrestrial Space Patrol and Chariot of the Gods.

His recordings for music libraries often provided an even more leftfield approach. Their visionary 'dope beats' appeal provoked a keen interest from vinyl aficionados, beatmakers and rare groove DJs alike. Unavailable for the public, the original "for professional usage only" albums are now sought-after collector's items that fetch astronomic prices on the 2ndhand market.

This double 10" album is the definite selection of Thomas' best library cues from the Golden Ring Records, KPM and DeWolfe catalogues, many of them available publicly for the first time - plus four recently unearthed "lost" tracks from Warner Chappell's CPM Archive series that have never been released on vinyl before. All music was carefully transferred from Peter Thomas' private master tapes and cut in full dynamics, housed in a beautiful fold-out cover with liner notes and private pictures. The compilation was realised in cooperation with Peter Thomas' son Philip who takes care of the Peter Thomas Sound Orchester catalogue after his father's death in 2020.

Despite recent speculation and curious confirmations of an association with the pivotal Production House from those close to the source, the identity of those behind this mysteriously initialled 1991 breakbeat hardcore banger has remained a closely guarded secret for over thirty years. Despite not having a follow-up and not benefitting from the hype of big name credentials to justify inflated asking prices it has remained in high demand for over three decades as a constant in informed record bags and on discerning wantlists. It will come as little surprise to many then to find out that it is in fact the work of none other than House Crew stalwarts Floyd Dyce and MC Juice. The missing jewel in Dyce’s Production House crown, this sole FZ outing was released on one of a handful of short-lived Production House sub-labels that served as platforms for Dyce’s prodigious output, and can now take its rightful place alongside his other production and writing credits with the likes of Acen, The House Crew, Brothers Grimm, DMS and Baby D. Available once again on 12” black vinyl and licensed with the full-cooperation of Dyce himself it has been faithfully remastered from the original studio source material with the lacquer cut by Beau Thomas.

The "ongakudō / droga muzyki" project is ("The way of music" in English). Initiated by Groh - head of the JuNouMi label (est. 2002 Polish hip-hop label), the project is the result of cooperation between Polish and Japanese artists.

First, Twardowski created music based on samples from Japanese albums. Then MCs KANETSUGU (JP) and Prykson Fisk (PL) were invited. The next element were DJs - 1an from Tokyo and DJ Eprom from Warsaw (former IDA world champion).

An important element of the project is the graphic design, for which Małgorzata "Mauko" Korczak is responsible - exploring the art of Japanese Shodō calligraphy. As many as three versions of covers were created. One limited edition (hand-numbered 100 pieces), a version with a black wax and a version exclusively for the Japanese market.

This 7" is the first part of the Polish-Japanese series. It is the beginning of our journey.

Martinesque started his nighttime adventures with tasteful house records towards the tail end of the nineties. Inspired by the deep explorations of Chicago and New York stalwarts, he’s found pleasure in playing out low-slung grooves and stripped-back entries from all corners of electronic music. Since, the Basel native has honed his craft in clubs around the country and beyond. Methodically stitching together records from his vaults, Martinesque escalates from meditative rhythm workouts to subdued dancefloor drama in a controlled fashion.

He’s developed his artistic vision through residencies in some of Switzerland’s most cherished spaces, but nowadays found his spot as Elysia’s head of bookings, where he’s since showcased a full-spectrum analysis of contemporary dance music.

His most recent endeavour is Adam’s Bite, a cross-disciplinary cooperation zoning in on oblique music and visual arts, further cementing his position as a driving figure in a thriving scene.

Shine Grooves: "This story began in 2008, at that time I dreamed of launching my own music label and was searching for something unique. I was looking for music in different sources and came across the Frunk29's tracks, this is how I met Marat Shainsky, his release was the first on the Biotronic Records (the label I owned in the mid-00s). Later Marat introduced me to his friend - Sergey Lazarev, aka Lazzich and we immediately put together the next release for the label. It was wonderful and hypnotizing music I had never heard before. After some time we prepared the material for the first Biotronic Vinyl, which was authored by Lazzich, but the release did not happen, due to certain circumstances. And now, 15 years later, the idea comes true, we release the Lazzich mini-album on the Hanagasumi 04. Although Sergey is no longer with us, but his music will live forever. Thanks to everyone who took a part in the search for materials, archives, projects, sketches. Special thanks to Shipulina Yana for providing information and cooperation, Marat Shainsky for the advice and tracks searching, Matvey Andreenko for giving me the large media archive of Lazzich's works, Denis Rooter for designing the cover, Semen Pupyshev for mixing the found Sergey's Reason-projects".

The - here & Now Ep' Is The Second Instalment Of A Three-ep-series Coming Up In 2018. Christophe Salin Is Taking Us On His Musical Journey And Paves The Way For Cooperation With Future Artists On His Very Own Imprint - salin Records' That He Runs With His Wife Daria Salin As A Platform For Electronic Music And Art.

No Intro Needed As - dreams Sometimes Come True' Instantly Takes Us On The Groove Line. - astra Perle' Keeps The Groove Alive With Some Heavy Jazz Samples. You Maybe Remember Sitting In Your First Car (christophe's First Car Was Named - purple Pearl' And Was An - opel Astra ) And Just Cruising Thru The City. Imagine To Be Suddenly Overwhelmed By A Creative Hole, - ohh No, Not You ... Turn Over To - can You Pay My Bills' The Journey Continues With More Jazzy Vibes To End Up With A Downtempo Lounge-dub-work Which Is Indeed - different But Sweet .

The Definitive live album from 1965, expanded to include the entire concert performance! Deluxe packaging with extensive notes & unpublished images, remastered by Grammy-winner Michael Graves, and produced with the full cooperation of the Ray Charles Foundation. Originally edited down to fit on a single LP, this edition includes every note performed at his now-legendary Shrine Auditorium concert, including spectacular performances of “Georgia On My Mind,” and “Busted,” that were left off of the iconic 1965 release. This expanded edition presents that legendary night at LA’s Shrine Auditorium exactly as the audience heard it, and includes liner notes and photos that tell the whole amazing story of how the show and the album came to be.

A classic album recorded in 1976, featuring a superb lineup including Sam Jones, Kazumi Watanabe, and Fumio Karashima, with expansive cello solos. Highlights include an exhilarating duo number with the seasoned bassist Sam Jones, as well as Kazumi Watanabe’s hip guitar solos throughout.



East Wind was a groundbreaking jazz label established in 1974 through the full cooperation of Ai Music, as it was then known, and Nippon Phonogram, as it was then known. Over a period of about five years, the label produced albums not only by Japanese musicians such as Masabumi Kikuchi, Sadao Watanabe, and Terumasa Hino, but also by musicians who were engaged in creative activity on the global jazz scene at the time. In addition to the quality of the performances, the artwork, created with leading designers and photographers, brought a fresh new image to jazz albums and had a major influence on later record production.

Kosuke Mine’s electric album, with a strong rock and funk flavor, is set for reissue as part of "Spin This Now!" Vol. 9. This classic album shines with the outstanding combination of Mine’s saxophone with a wah-wah pedal and Mikio Masuda’s psychedelic keyboards.

East Wind was a groundbreaking jazz label established in 1974 through the full cooperation of Ai Music, as it was then known, and Nippon Phonogram, as it was then known. Over a period of about five years, the label produced albums not only by Japanese musicians such as Masabumi Kikuchi, Sadao Watanabe, and Terumasa Hino, but also by musicians who were engaged in creative activity on the global jazz scene at the time. In addition to the quality of the performances, the artwork, created with leading designers and photographers, brought a fresh new image to jazz albums and had a major influence on later record production.

World-famous pianist Tsuyoshi Yamamoto’s second East Wind release, "Life," appears in the lineup for "Spin This Now!" Vol. 9. Backed by a golden rhythm section with Sam Jones on bass and Billy Higgins on drums, Yamamoto delivers a supremely swinging performance. His delicate ballad playing on "If You Could See Me Now" is also essential listening.

East Wind was a groundbreaking jazz label established in 1974 through the full cooperation of Ai Music, as it was then known, and Nippon Phonogram, as it was then known. Over a period of about five years, the label produced albums not only by Japanese musicians such as Masabumi Kikuchi, Sadao Watanabe, and Terumasa Hino, but also by musicians who were engaged in creative activity on the global jazz scene at the time. In addition to the quality of the performances, the artwork, created with leading designers and photographers, brought a fresh new image to jazz albums and had a major influence on later record production.

In 2021, Golden Earring announced their parting after more than 60-years as a group. This meant that their last live show, held at the Rotterdam Ahoy on 16th November 2019, was also their final performance as a band. With this knowledge, the excellent audio recordings of this tremendous concert were unshelved in close cooperation with the band and John Sonneveld – the band’s long-time technical assistant and producer. The result: You Know We Love You!

It's the ultimate goodbye of this legendary Dutch rock band and available as a limited edition of 500 individually numbered copies on transparent vinyl. This 3LP is packlaged in a deluxe trifold sleeve featuring a collage of photos that fans of Golden Earring submitted, plus a 4-page booklet including a replica of the original concert poster.

The second installment of The Tape Masters series by German film music maestro Peter Thomas. Audiophile pressing in deluxe 2x10" vinyl set, limited to 500 copies.
While volume one of the series compiled Thomas' dopest library music cuts, this album dives deep into the soulful side of the Peter Thomas Sound Orchester, featuring the mystique house band of Afro-American Munich GI club Tabarin Bar, Donna Summer's first solo recordings, stunning cinematic funk instrumentals and a healthy amount of breaks and beats.

Out of the 20 scorching tunes on this compilation, only three were released at the time of their recording and are nearly impossible to find on the 2ndhand market, ten have never been released anywhere before, others celebrate their first outing on vinyl or in stereo.

Peter Thomas is widely acknowledged as Germany's most inventive film music composer of the 1960s and 1970s, best known for his iconic soundtracks. Today, his work is cherished not least for its incredible groove factor. The story of this compilation traces the origins of the Peter Thomas Sound Orchester's rhythm section and its soul music background, shines a light on unsung heroes like singer Joe Quick and unearthes nuggets that have been lying dormant on tape for decades.

All music was carefully transferred from Peter Thomas' private master tapes and cut in full dynamics, housed in a beautiful fold-out cover with liner notes and private pictures. The compilation is released in cooperation with Peter Thomas' son Philip who represents the Peter Thomas Sound Orchester catalogue since his father's passing in 2020.

Błoto’s bold 2020 debut brought forth three albums in just twelve months. This prolific creative burst, followed by an ongoing tour and involvement in other projects, meant that fans had to wait over three years for the next release. During this time, new ideas took shape, and the vision for their fourth LP crystallized. The wait for Błoto's new album is nearly over. As always, autumn signals the arrival of Grzybnia (Mycelium).

The idea for the album had been simmering within the band since the release of Kwasy i zasady and finally took shape in late January 2023 at Warsaw's Studio Pasterka, under the careful guidance of Piotr Zabrodzki. It was by far the most fruitful session in the group's history, with ideas flowing in abundance. The chosen tracks not only resulted in two well-received singles, Szlam / Ścieki and Bakteria, but also provided enough material for an EP set to drop next year.

The seemingly chemical title of the album Kwasy i zasady (Acids and Bases) ultimately referred to interpersonal relationships, describing traits that prevent harmony. The album embodied the polarization of societies in the 21st century. The metaphor of Grzybnia (Mycelium) goes a step further. It emphasizes the importance of cooperation as a fundamental skill that can yield various results (fruits, fungi)—both good and bad. Above all, it underscores the power of collective action beyond divisions.

In a complex, unstable modern world that is breaking apart into pieces, the concept of mycelium offers a powerful model. Mycelium thrives in degraded, seemingly lifeless environments created by humans. A key aspect of the broader significance of mycelium is that cooperation benefits all involved parties, where each contributes something and receives something in return. Mycelium is a symbiont, meaning it forms a symbiotic relationship with certain tree species through mycorrhiza, where the roots of the trees and the mycelium exchange essential life-sustaining substances. This results in mutual benefits. The world of mycelium exemplifies cooperation.

A single mushroom, like a person, dies, but mycelium endures, much like humanity itself. Thus, similar to culture, it is immortal. Błoto operates in a manner akin to mycelium. It undoubtedly belongs to the underground realm, embodying the essence of the underground. It is also a destructor of music. In what sense? The Polish Nobel laureate Olga Tokarczuk noted in her book Primeval and Other Times that “... Mycelium thrives by drawing the last remnants of life from what dies, decomposes, and seeps into the earth. Mycelium is the life of death, the life of decay, the life of what has died.” In the same way, Latarnik, Cancer G, Wuja HZG, and OlafSaxx, through their collaboration, process cultural products to create entirely new and surprising combinations. The result of this work is both edible and poisonous mushrooms, manifested in the form of fat beats, house, spiritual jazz, improvised music, illbient, organic techno, and genre-defying electronics.

The peak mushroom season in Poland occurs in autumn, which is why Grzybnia will be released on October 11, 2024, via Astigmatic Records.

Siavash Amini is a composer from Tehran, Iran. He Has worked with labels like Room40, Hallow Ground, Opal Tapes and Umor Rex for the better half of the past ten years. He has performed at festivals like CTM & MUTEK and many other well known international events. Apart from it Siavash is a co-founder of the “SET experimental art events” and “SETfest” in Tehran, Iran. His work ranges from fragile ambient pieces and brittle IDM (incorporating his distinctive style of atmospheric guitar playing) to noisy drones and bleak modern classical pieces. His compositions have been inspired by films such as Andrei Tarkovsky's The Mirror as well as novels by Dostoyesvky and poems by T.S. Eliot.

Saffronkeira is the Sardinian sound researcher Eugenio Caria being active in the electronic music scene since almost two decades. His most recent work - a cooperation with the Italian jazz trumpet legend Paolo Fresu - earned a lot of praise from the international music press for the pure timelessness of the album.

"Upon hearing a small snippet of sound an image is conjured, not a memory but not unfamiliar. A shell of a memory, thousand events superimposed on each other. While trying to extract points of a narrative to ease the discomfort of this recollection, I try to separate and unfold the image and with it the points of the spectrum which make up the sound, a shell of a narrative. Here is an album based upon an almost entirely imagined/ synthesized happening upon hearing a snippet of sound. It sounded like of a whole story that never happened but yet I felt myself amongst it’s participants, a sound triggering a false memory. Each sound in Eugenio’s collection of sounds and ideas guided me a to a point in the narrative and it’s construction. He had handed me a portals of some kind to a few scenes of the whole narrative. This is the soundtrack for that false memory from all the perspectives I can think of."

Reissue of the classic debut of Billy Bond & La Pesada del Rock & Roll, a legendary and historic Argentinian Rock & Hard Rock masterpiece from 1971. Recorded with an absolutely impressive list of musicians that includes legends such as Pappo, Luis Alberto Spinetta, Héctor "Pomo" Lorenzo, Vitico, David Lebón or Javier Martínez, and led by acclaimed singer Billy Bond, the band creates an amazing album fed by Hard Rock, Blues, Rock'n`Roll and a nice touch of Psychedelia that absolutely justify the cult status this album carries. A monster of a record and an absolute milestone in South American rock music. An essential release for the hugely important Argentinian label Music Hall, licensed by the label and re-released in close cooperation with the iNAMU, Argentina's National Music Institute. Includes classic heavy weight hits such as "Salgan Al Sol", "El Parque" or "Divertido Reventado". Gatefold cover, includes insert with extensive notes and rare photos.

Reissue, at last!, of Vol. 2, second album by legendary Argentinian Rock outfit Billy Bond y La Pesada del Rock and Roll, a Hard Rock classic originally released in 1972. Leaning on the heavier side of their Hard Rock, Blues, Rock'n`Roll and Psychedelic influences, and keeping their playful spirit intact, the band created another masterpiece. Includes bonafide classics of their repertoire such as "La pálida ciudad", "La máquina" or "Para qué nos sirven". Their tongue in cheek adaptation of the patriotic song "Marcha de San Lorenzo" got them heavily censored by the government. An essential release for the hugely important Argentinian label Music Hall, licensed by the label and re-released in close cooperation with the iNAMU, Argentina's National Music Institute. Gatefold cover, includes insert with extensive notes and rare photos.

“Golden Flower – Live In Sweden” is the first official release of two concerts from Swedish television and radio archives of legendary saxophonist and multi-instrumentalist Yusef Lateef recorded live in Sweden on September 13, 1967 with pianist Lars Sjösten, bassist Palle Danielson and drummer Albert "Tootie" Heath, and on August 1, 1972 at the Åhus Jazz Festival with pianist Kenny Barron, bassist Bob Cunningham and Albert "Tootie" Heath once again on drums. This is the second official release from Elemental Music in cooperation with the Yusef Lateef Estate, following 2024's Atlantis Lullaby: The Concert from Avignon. In Sweden was transferred from the original tapes and restored and mastered by Matthew Lutthans at The Mastering Lab. The limited-edition 180-gram 2-LP edition includes an extensive insert with rare photographs, newly-commissioned liner notes and interviews and testimonials from Kenny Barron and other musicians who were inspired by and knew and played with Lateef.

Originally released in 1973 and pressed in very small quantities, Emerge is the second album by the McCrary family and their non-gospel debut. Long sought after by collectors and modern-soul and funk connoisseurs, it's an exemplar of what was considered "progressive soul" in the early 70s as well as what emerged a generation later as "neo-soul." This long-overdue reissue was produced with the full cooperation of the McCrary family and gives this remarkable record wide distribution and easy accessibility for the very first time since its initial low-key release over half a century ago. The McCrary family started out as a gospel group in their native Youngstown, Ohio but turned to secular music upon relocating to Los Angeles in 1970 and recording this album for the tiny Cat’s Eye label of Beverly Hills. The music veers between sophisticated, jazzy R&B (Charity McCrary’s beautiful “Matter Of Time”) to occasionally grittier funk (as on “Kung Fu”). “Be A Father To Your Son” and “People Run On Love” bear messages that are still relevant decades later. The McCrarys would later gain wider recognition with their hit “You” featuring Stevie on harmonica and with “Any Old Sunday” which was memorably covered by Chaka Khan.

"Ingredients In A Recipe For Soul proved that Ray Charles didn’t so much ignore genres, but, by the ’60s, had become a genre unto himself. An academic might want to separate this stack of songs into neat little buckets—country, jazz, standards, blues, pop—but those are just the ingredients. Ray Charles sings whatever he likes and whatever he sings comes out as a Ray Charles song, with a flavor all its own.

Two hit singles, “Busted” and “That Lucky Old Sun,” made Ingredients In A Recipe For Soul an instant Top Ten when it was released in 1963. Bootlegged across Europe for decades, this is the fi rst and only legitimate reissue of this essential album on vinyl (and its fi rst appearance on CD since the 1990s), now fully restored and remastered with the full cooperation of the Ray Charles Foundation."

Come Live With Me represents a creative peak that sounds fresher in 2025 than it may have in 1974. The first album on his Crossover label, it lives up to the label’s name by showcasing the man’s singular ability to cross over to any audience by making songs from any time or genre undeniably his own.

Each side of Come Live With Me sets a seamless mood: Side 1 is a romantic suite of lush, latenight ballads, while a non-stop soul party is cooking on side 2. This two-sides-of-a-Saturday-night concept lets Ray Charles blend modern sounds and timeless traditions in ways no other artist ever could.

Removed from the trappings and tropes of the mid-’70s music scene, and fully restored and remastered in cooperation with the Ray Charles Foundation, Come Live With Me is finally ready to be appreciated as the masterpiece it always was.

On the occasion of the celebration of the tenth anniversary of our work, in cooperation with PGP-RTS, we prepared a quite special edition: Max And Intro-Return To The Future 1984-1994 LP collects 12 tracks of this legendary Belgrade synth-pop group on high-quality 180-gram vinyl, remastered from the original master tapes with a handful of extras: the record comes with a rare interview from 1985, a lyrics sheet, and phenomenal unreleased photos by Goran Basarić and Max’s Poster.

The legendary trance tune "Eternity" was originally released in 2000.

Webmedia "We Rave You" estimates that "Eternity" is "A beautiful mix of pounding dance-floor driven percussion progressing into a beautiful array of dreamy, melodic sounds, this is one of those tunes that sits as one of the benchmarks in trance and lives long in the memory of fans of the genre. An absolutely timeless chord progression runs throughout this tune and the climax is nothing short of epic."

To celebrate the 25th anniversary of Eternity,, Music on Vinyl in cooperation with Armada Music and Armin van Buuren present all 4 versions of Eternity on vinyl for the first time. The 12-inch is available as a 25th anniversary edition of 1500 copies on silver coloured vinyl.

Repress of 2018’s classic compilation from Brownswood.

A primer on London’s bright-burning young jazz scene, this new compilation brings together a collection of some of its sharpest talents. A set of nine newly-recorded tracks, We Out Here captures a moment where genre markers matter less than raw, focused energy. Looking at the album’s running order, it could easily serve as a name-checking exercise for some of London’s most-tipped and hardworking bands of the past couple of years. Recorded across three long, fruitful days in a North West London studio, the crossover between each of the groups speaks to the close-knit circles which make up the scene.

Surveying the way that London’s jazz-influenced music had spread outside of its usual spaces in recent years, this album bottles up some of the vital ideas emanating from that burgeoning movement. Giving a platform to a scene where mutual cooperation and a DIY spirit are second-nature, it’s a window into the wide-eyed future of London’s musical underground.

Ubiquitous, much-lauded saxophonist Shabaka Hutchings is the project’s musical director. His own recent projects span from South Africa-connected, spiritually-minded jazz players Shabaka and the Ancestors to Sons of Kemet, who match diasporically-connected compositions with viscerally-direct live shows. His entry on the album, ‘Black Skin, Black Masks’, is typically difficult-to-define: with an off-kilter, shifting rhythmic backbone, repeated phrases – mirrored between clarinet and bass clarinet – shape the track with an alluring hue. His input ties together a deft, genre-agnostic sensibility that’s shared through all the players on the record.

Theon Cross – who’s also part of Sons of Kemet with Hutchings – starts his track, ‘Brockley’, with the solo, distinctive low rumble of his tuba. Winding and mesmeric, it sees tuba and sax lines winding together in rhythmic and melodic parallels. Ezra Collective – whose drummer and bandleader Femi Koleoso has toured with Pharaohe Monch – run a tight, Afrobeat-tipped rhythm on ‘Pure Shade’, with the final third changing gear into a melodic, momentous closing stretch.

Joe Armon-Jones, whose ludicrous chops on the piano have seen him touring with the likes of Ata Kak, showcases earworm-like, insistent motifs on ‘Go See’, balanced with a playful, improvisatory approach with room for ad-libbing and solos a-plenty. Taking a softer tact than many of the other entries, Kokoroko – whose guitarist Oscar Jerome has been making waves with his solo material – spin a lyrical, steady-paced meditation on ‘Abusey Junction’, matching chanted vocals with gently-played guitar.

Nodding to spiritual jazz influences, Maisha’s ‘Inside The Acorn’ is a wandering, explorative rumination, balancing delicate washes of piano and percussion with sharp interplay between flute and bass clarinet. In contrast, Nubya Garcia’s ‘Once’ is taut and carefully-poised, her tenor sax guiding a carefully-built energy to an explosive conclusion. And finally, Triforce’s ‘Walls’ is a performance in two parts: starting with Mansur Brown’s languorous, lyrical guitar, the second half switches up to a low-slung, g-funk-tipped groove.