The year is 1974 and we are in Kingston, Jamaica: Lee Scratch Perry has just presented Susan Cadogan's album 'Sexy Suzy' on his Upsetters label. The Jamaican singer, who is just under 25, sees her cover of 'Hurt So Good' flirt with the top of the UK and JA charts but has no idea that 50 years later, she would still be a household name among Jamaican music fanatics.
On the B-side of this LP, produced by Mr Perry himself, the penultimate track is a cover of Little Willie John’s "Fever". Over the years this song has taken an unshakable place in the hearts of reggae lovers worldwide. With nearly 700 different versions referenced to date, Fever already enjoyed classic status at the time, mainly thanks to the success of Peggy Lee’s version released in 1958. Since then, in all styles, across all continents, the song has been reinterpreted, so much so that it's rare to find a year since 1956 without a new version hitting the market! Universal, timeless, this love song is known to all music enthusiasts, but in the reggae scene, it’s Susan Cadogan and Lee Scratch Perry’s version that still reigns supreme.
50 years after its release, Stand High Patrol offer us their own version. Recorded at the end of 2023, the Susan Cadogan / Stand High Patrol collaboration wasn’t initially meant to move beyond its dubplate status. However, due to the track’s success in the dance and a growing demand, it became the first pressed collaboration on record between a Jamaican artist and the Dubadub Musketeerz. Accompanied by its dub version, Stand High’s take on Fever is a creative reimagining and brings to mind that classic 90s UK dub style. Its sits firmly on its foundations, a stepper roots-flavored drum beat. Some might find the interpretation ‘more jazzy’ than Lee Perry’s, but everyone will have their own take. One thing’s for sure—its impact on the dancefloors is undeniable!
BDQ Records are super happy to finally be releasing this absolute banger, we recorded this 25 years ago but for some reason we never released it, fast forward 25 years and whilst tidying up the studio we found the original tape, which we thought was lost, transferring it from tape was a mission, however we did it and then set about re-recording it. Currently both sides are being played out across the clubs and on radio, we’re getting some seriously good feedback from everyone. Also, it’s been our fastest selling preorder on Bandcamp.
Side one is a cover of the Timebox classic Beggin’ with fabulous vocals from the wonderful Sarah Orpen. its a Banger.
On the flip is Take me for a little While originally penned by Trade Martin, this fantastic slice of pure Northern Soul is getting some amazing reactions from Djs and folk on the dance floor, again Sarah knocked the vocal out of the park.
Released on limited Vinyl 45 this one is gonna be an instant classic.
After Dull Boy Johnny's previous release, a double EP with a tropical A-side and an erotic B-side, this time the three gentlemen are out on the dance floor. After all, the neighbours decided as much.
Unlike the recordings of their previous work that took place abroad, this time they stayed in a steamy attic room in Belgium, where guitarist and producer Jan built a studio. Unable to record at night because of neighbours who did not (yet) appreciate Dull Boy Johnny's music, they dove into Antwerp's nightlife.
The group's previous work took you on a cinematic journey where every musical nuance takes you to a specific setting. Be it an erotic seventies scene, a beach party in the Bahamas, or a blood-curdling chase in the Wild West, Dull Boy Johnny covers it all. Nard Houdmeyers, Rik De Bal and Jan found each other in a shared interest in film genres such as blaxploitation, neo-noir and spaghetti westerns. And therefore also the artists inherent to these genres such as Isaac Hayes, Curtis Mayfield and Ennio Morricone. Dull Boy Johnny's conceptual approach to music can be traced back to this passion for cinema.
For the new EP, however, they traded that cosy movie-watching for turbulent nightlife (the angry neighbours, you know). Besides, it was about time to get their inspiration in the flesh. Dull Boy Johnny immersed himself in the pulses, flashes and swell of downtown Antwerp. Thunder chasing crept under their skin and then into their guitars. In grandfatherly fashion, they then turned to composing, first with just bass, guitar and vocals. In that small lineup and with the sounds of the night still reverberating in their minds, the first pieces of the puzzle were laid out. After that, the sound was opened up and a solid rhythm boost was added. This defined the catchy, up-tempo nature of the upcoming EP that centres on themes of dancing, flirting and partying. Expect rousing riffs, catchy hooks and swinging rhythms. Details were meticulously laid out and bricked into the songs with delicate grouting. The fine polishing of the songs was done with patient finesse and a constant attitude to serve the song. With songs like Suspicion, She Can Groove and Dynamite, it is immediately clear that the gentlemen got their mustard from the club: action, party and spunk! All without losing their typical sensuality.
Despite the different working methods for the third EP, there are a lot of recurring elements that define Johnny's fresh sound. The essence? Catchy high vocals contrasted with a sensual baritone voice, carried by a groovy bass and rhythm section. Around it, the details that give the songs the right atmosphere swirl.
Dull Boy Johnny's music prefers to function as a soundtrack to your own imagination. As you listen, you are invited to wander through the various landscapes of their musical world, regularly giving a nod to the more lustful side of your brain. The songs have already been praised for their compelling melodies and irresistible energy.
With this release, Dull Boy Johnny proves their ability to create timeless music that both touches the soul and moves the body. So surrender to Dull Boy Johnny's punchy grooves and dance the night away. Long live the neighbours!
In 2002, before Madlib and MF DOOM finished Madvillainy, the first demo sequence of the album leaked online – early vocal cuts from DOOM, recorded then quickly mixed in LA at Madlib’s Bomb Shelter studio. The leak spread around the world, and while the tracks may have been unfinished, it was clear that this was a hip-hop album unlike any other…
In celebration of the 20th anniversary of Madvillainy, 'The Demos' is being released on vinyl for the first time, mastered by Dave Cooley, and with a new cover photo and insert of photographer Eric Coleman's contact sheets from the original album shoot. Vinyl mastering by Phil Rodriguez.
After his furious comeback, STARTER frontman Francis Foss has fallen in love. In “True Love”, one of the two new tracks on the upcoming maxi-single, he sings about the most overwhelming of all feelings. “Love is and always will be the most beautiful thing in the world,” says the young-at-heart Francis with conviction.
But when you turn the orange record over, you quickly realize: “Vision on My Mind” sounds more melancholic, darker. “Being in love has its mysterious side,” Francis explains. “Dreams and reality often go hand in hand. Especially when the full moon rises over New York.
Behind this production is once again the Swiss duo VISION, who brought STARTER back to life with “Future Shock”. For “True Love” they were able to use a demo tape by Reto Keller, alias “Gary Gray”, who was active for STARTER from 1985-1989. The result is an exciting mix of genres in the experimental style of the 80s.
The 12″ double A-side maxi single “True Love/Vision on My Mind” by STARTER is strictly limited to 300 copies and is pressed on orange transparent vinyl. It comes in a disco sleeve (opening at the top) and is protected by a sturdy plastic cover.
New full-length LP from Toronto producer, DJ and recording artist Tony Price on his Maximum Exposure label. Tony Price is a multi-time Juno and Polaris Prize nominated producer, having worked on a wide variety of records on labels like 4AD, DFA, Slumberland and more. Host of “The Maximum Exposure Power Hour” on NTS Radio
“Requiem For The Ontario Science Centre” is Tony’s ninth full-length LP since 2017, following a series of acclaimed records on labels like L.I.E.S. Records and Telephone Explosion which received coverage and reviews from established outlets like Pitchfork and Resident Advisor. “Requiem For The Ontario Science Centre” pays homage to the beloved 1960’s Canadian landmark and renowned brutalist architectural marvel, which was abruptly closed in the summer of 2024.
The album features longtime collaborator and Caribou touring band member Colin Fisher on Saxophone. The music is Rich with kaleidoscopic saxophone loops, surrealist sound collages, and retro-futuristic synthesizer mirages and will surely resonate with fans of Boards of Canada, Terry Riley and Don Cherry’s “Brown Rice”
DJ Quik is a giant of West Coast hip-hop. With 1995’s Safe + Sound, he scaled new levels of musical magnificence with his signature new age P-Funk/laconic G-Funk. A quintessential, sun-scorched LA album, this is pretty much essential. Typical for mid-90s albums the original vinyl copies are now rare so here’s the Be With re-issue, complete with “Tanqueray”, the hidden track from the original CD release.
A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.
By the time of his third album DJ Quik was a household name on the West Coast - California’s premier rapper/producer not named Andre Young. Released on Profile in 1995, Safe + Sound was certified gold. Less reliant on samples and more focused on live instruments, it elevated him from producer to fully-fledged composer. This sound — the quick, winding basslines, tinny high hats, smooth instrumental solos, soulful pipes, and Roger Troutman’s talkbox — defined him. This is an album of full-blown masterpieces. Rich soundscapes and masterfully arranged orchestrations with dense layers of sounds, intricate rhythms, and well-balanced songwriting.
The first track proper, “Get At Me” samples Cameo whilst Quik takes aim at the Judases in his life, the horn-laced chorus providing a triumphant feel. On the horizontal “Diggin’ U Out”, the soulful electric piano of Warryn Campbell lays a relaxed groove for Quik to talk over about one of his favourite topics: sex. Title track “Safe + Sound” chronicles Quik’s formative years over a slick instrumental. The moody bass locks a laidback infectious groove, the hook is catchy and Quik’s delivery is in fine form. On the uber-chilled “Somethin’ 4 Tha Mood”, Quik cooks up a breezy, feel good track of sparkly keyboards, syncopated claps, shuffling hi-hats, woozy synths and a floating two-minute flute solo courtesy of Robert “Fonksta” Bacon. Analysing the highs and lows of an average day in the hood, it echoes Cube’s “It Was a Good Day”.
“It’z Your Fantasy” is a silky smooth soundtrack to Quik’s detailed retelling of a sexcapade with a young lady and whilst “Tha Ho In You” is musically perfect for that midsummer family BBQ, its lyrical content is unsurprisingly decidedly less family-friendly. A real highlight, the infamous “Dollaz + Sense” is one of the most ruthless diss tracks of all time. The brutal lyrics ride a laidback West Coast beat, flipping a sample from Young & Company’s “I Like (What You’re Doing To Me)” as Quik fires lyrical shots at his arch Compton nemesis, MC Eiht. On the loping, hazy “Let You Havit”, Quik is again in gangsta mode, with more bars of barbs aimed at Eiht, rhyming over sun-kissed synthy-rollerskate funk.
Some of the finest tracks on Safe + Sound are those designed to de-stress. The evocative “Summer Breeze” is a classic warm-weather jam, anchored by a twangy funk guitar, breezy string arrangement, and a soulful hook delivered by Dionne Knighton. Quik’s nostalgic lyrics are not far from DJ Jazzy Jeff & The Fresh Prince’s “Summertime”, reminiscing over barbecues at the park, young love, and the brevity of halcyon youth. The relaxed and jazzy “Quik’s Groove III” is another highlight, as bass, guitar, piano and flute combine to create a smooth, soulful instrumental.
The swaggering “Shack Up”-sampling “Sucka Free” features a cameo from Playa Hamm, all funky braggadocio and over much too quikly (pun thoroughly intended). The jazz-flavoured “Keep Tha ‘P’ In It”, again featuring Playa Hamm but this time extending the cameo invitations to Hi-C, 2nd II None and Kam, is pure laidback P-Funk. The deep bass and industrial drums make sure the groove hits hard.
“Tanqueray” was originally a hidden track on the CD version of the album, but it’s too good to hide. This wild party samples Brass Construction’s gigantic “Get Up To Get Down” and soars in its drunk-ebullience. An apt way to close this party-driven set.
This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Safe + Sound was originally pressed as a double, so all that was missing was the CD’s hidden bonus track “Tanqueray”, so we’ve fixed that. The original vinyl release never got a picture sleeve, so we’ve recreated the original’s promo-style silver-sticker and plain black jacket. A subtle cover for a wonderfully unsubtle record.
Celebrating the 20th anniversary of Callisto's impactful debut album, Svart Records is proud to bring it to you for the first time ever on wax! Callisto is a post-metal band from Turku, Finland formed in 2001. They've headlined several tours in Europe, opened for High On Fire on their UK tour, and showcased in Canada and the United States. Whilst their early works are hardcore and metal, the debut album True Nature Unfolds has a strong sludge metal and doom influence. It was recorded in 2004 by the late Mieszko Talarczyk (Nasum) and introduced to Earache Records a year later through Johannes Persson (Cult Of Luna), earning the band worldwide distribution. True Nature Unfolds was originally released only on CD in 2004 by Fullsteam Records in Finland and Earache Records in the US and UK a year later. The album delivers a breathtaking mix of atmospheric soundscapes, heavy riffs, and haunting melodies. Each track invites you on an emotional journey, blending post-metal intensity with introspective lyricism. Don’t miss this powerful musical experience—let the journey begin! The 20th anniversary edition of True Nature Unfolds is presented on double vinyl in a glorious gatefold cover, with new album art by the band's drummer Ariel Björklund. Available versions are the Svart exclusive green/red/black marble vinyl, limited golden yellow vinyl, and classic black vinyl. Release date December 13th, 2024.
Jamwax is thrilled to announce the reissue of the iconic 45 RPM single “The Man Who Sold The World” by the Wally Brothers, originally released in 1974 on the Explosion label, a subsidiary of Trojan Records. This deep roots reggae track stands out with its unique orchestral strings, delivering a soulful and distinctive interpretation of David Bowie’s legendary song. Some even argue that this version surpasses Bowie’s original in coolness and creativity.
Produced by Desmond Bryan and Webster Shrowder, the Wally Brothers, better known as the renowned reggae band The Cimarons, brought their signature style to this remarkable track. Featuring Bobby Davis on vocal as confirmed by Locksley Gichie of The Cimarons, this version bridges Jamaican roots music with international influences.
At the time of its release in 1974, The Man Who Sold The World was relatively unknown to the general public, making this reggae adaptation a daring and unconventional choice. Decades later, Kurt Cobain’s unforgettable performance of the song during Nirvana’s MTV Unplugged in New York introduced it to a new audience, transforming Bowie’s original and its various covers, including this reggae rendition, into a cornerstone of music history.
Originally released in 1974
Licensed courtesy of BMG Rights Management (UK) Ltd.
Piska Power presents Hazardous Marine Creatures.Techno with constant modulations that will make your room vibrate. Movements that envelop you and capture you at all times. Includes remixes from Squaric, a Techno version for the dance-floor and an Electro-classic version from Ilektrolab to travel to another dimension. Printed cover!
RIYL: Sufjan Stevens, Pearls Before Swine, Richard Dawson, Incredible String Band, Scott Walker. When Dominic Harris started work on the follow up to 2017’s “Rural Tonic”, he had a different kind of landscape in mind than the bucolic inspiration he’d mined for that album and its predecessor (2013’s “Woodland Casual”). Instead it was nostalgia for winters of a youth (mis)spent in 90’s Berlin.
With a lucky find of a Hohner Guitaret, (a 1960s electric thumb piano), Harris began writing lyrics around its sparse and austere accompaniment. And after reconnecting with an old friend from Edinburgh, Ricky White, now living in the USA, the plan became clearer: a winter-journey to the rural Mid-West to write and record an LP. Convening in White’s new hometown of Bloomington IN, Harris would work each morning in the county library, the pair then venturing out on long, aimless drives down country roads before returning to put their ideas and conversation into music. With songs written over two weeks, Harris and White headed to a small studio space in a derelict strip mall in Indianapolis, to capture the album in as minimalistic a form as was fitting to the wintry feel of much of the music; glimmers of pedal steel and recorder shining out amid the dual acoustic guitars and piano arrangements. After the pandemic cut its swathe through all plans, the recording sessions decamped to Scotland.
By then Harris’s longtime collaborator Robert McFall had written string arrangements for each song, effortlessly capturing the spirit of the original vision whilst elevating each song towards the universal. Still there were the frosty hedgerows and abandoned factories of the rural Rust Belt. But also now the sandstone architecture and cobwebs of Edinburgh, and the cold grey of the Firth of Forth. Diminuet, the cover artwork showing a catheter transformed into a flower, captures that fragile moment where the world seems forever frozen in time, even as the Spring prepares to transform us all once again
Garden of Eden is more than just a music label, it’s an exploration of natural sounds, raw emotions and the essence of humanity translated into electronic music. Inspired by the bond between man and nature, the label champions an organic and authentic sound dedicated to those who feel music on a deeper level. With each release, we strive to create something truly distinctive, push boundaries, and shape new musical genres within the electronic landscape.
The debut release marks the beginning of this journey, featuring two original tracks by Costin, complemented by a remix from Priku, one of the most respected artists of the underground scene.
A must-have for any collector, this exclusive release is limited to 200 copies, encased in a stunning gold cover, delivering timeless tracks perfect for both the main party and the after hours.
The 5th-anniversary release of the renowned vinyl label Artreform marks a significant milestone bridging the past and the future. The label's head, JOSS, a DJ and producer based in Kyiv, continues to unearth talented newcomers. The latest release features a track by a promising Ukrainian newcomer, Wonkie, who is relatively unknown in the electronic music scene. Additionally, the release includes a remix by the European house music superstar IO (Mulen). IO first appeared on Artreform in 2013 with the ghetto banger "Criminal Stuff," leading to multiple collaborations with the label. Two years ago, IO revisited Artreform with a remix of JOSS's single "Justify." IO (Mulen) represents the esteemed history of Artreform while offering a glimpse into its vibrant future.
The new EP showcases a blend of past and future influences. The lead track, "I Meet Somebody," features Artreform's signature minimal house sound with a touch of classic progressive elements. On the other hand, the remix by IO (Mulen) incorporates a modern proto-trance style with hints of old-school UK breaks. "Tubular Bells" is reminiscent of JOSS' mixes, combining sophisticated tech house with trendy dream house vibes. Overall, the release adds new colors and nuances to Artreform's latest work and the label's esteemed back catalog, much like the eye-catching cover of their anniversary record.
Originally released on 13th September 1994, Ready To Die is the debut studio album from hip-hop legend, The Notorious B.I.G. Upon release, the album was met with widespread critical acclaim, with Pitchfork giving it a 10/10 rating along with various other critics praising it for its brutally honest depiction of gang violence and conflict as opposed to the often-glorified portrayal in the genre and the wider media. The album has cemented its place in hip-hop history and has since gone on to achieve 6x platinum certification in the US, selling over 3.5 million copies, and has achieved platinum status in the UK as well.
This x2LP re-issue featuring the iconic artwork of an infant bearing a resemblance to the rapper has been out of the marketplace for over a decade and also features all 19 tracks from the Ready to Die Sessions.
The album cover is often cited as one of the greatest of all time, with Billboard magazine placing it no.4 on its list of “The 50 Greatest Album Covers of All Time” stating that juxtaposition of the music with the “innocence of a child” on the cover illustrates how “a cruel world imprints on unmoulded minds”. NME has also placed it no.12 on its list of “Timeless Hip Hop Album Covers” and Complex Magazine have placed it at no.16 on its list of “Greatest Album Covers”.
The Alarm 40th Anniversary release History Repeating is new Double CD and LP collection. The CD features 44 of The Alarm’s biggest singles and greatest songs and the double LP features 27.
Spanning all eras of The Alarm Timeline, History Repeating brings together all of the band’s ‘Crown Jewels’, including a brand new and previously unreleased recording of the title track.
History Repeating features all of the keynote tracks that have helped create The Alarm’s phenomenal and loyally dedicated following. The Double CD comes in a replica LP gatefold sleeve configuration and is the most comprehensive ‘Best Of’ ever released by the group since 1998’s Best of The Alarm and Mike Peters.
The Double LP comes in a gatefold configuration and is the first ‘Best Of’ compilation to appear on vinyl since 1990’s Standards. This is the record every single Alarm fan will want to own with its distinctive Red Poppy cover and beautiful depiction of The Alarm family across the inner gatefold.
Upon release, lead singer Mike Peters will be hosting a series of completely SOLD OUT Alarm Rock and Roll Staycations in the band’s hometown while telling the story of The Alarm through thealarms internet broadcast platform
The Big Night In, that will feature weekly shows dedicated to every single year of the band’s history.
In 2022, a major touring itinerary begins with the already SOLD OUT official 40th Anniversary Concert in St. David’s Hall, Cardiff Wales on January 21st 2022 followed by an international 40th Anniversary concert schedule all the way through to 2023.
“Raggamuffin Soldier” was recorded at Channel One Recording Studio in 1983 with Soldgie as engineer and a rhythm track played by Jolly Stewart and Daniel “Axeman” Thompson. Growing up in the Waterhouse neighborhood of Kingston, Jolly Stewart obviously developed this singing style and gave us a killer early digital dancehall missile with pure conscious lyrics “Raggamuffin soldier, big ina your area...me no deal with badness, me nah deal inna war, me is a raggamuffin soldier...mi raggamuffin ina foreign, raggamuffin sit down pon di riddim...how you know the raggamuffin? Me no wear no gold chain, me no wear no gold ring...”. “Raggamuffin Soldier” was produced by Fitzroy Peterkin who also produced the digital lover tune "Angie".
The Waterhouse style is a particular style of singing that emerged in the late seventies and early eighties within the Jamaican reggae scene. The Waterhouse style is commonly described as a plaintive, groaning and fluctuating vocal style, often nasal and strident, characteristics that will give it a sound that is distinct from the rest of the reggae singers. The commonly recognized founders of the Waterhouse style are the singers Michael "Mykal" Rose, Junior Reid and Don Carlos. The name derives from the famous neighborhood of the same name in Kingston, the capital of Jamaica, the place where the three pioneers were born and emerged. The Waterhouse style influenced many dancehall reggae artists of the eightiesvsuch as Tenor Saw, Half Pint, Nitty Gritty, Anthony Red Rose, King Kong, Yami Bolo, Andrew Bees...
Vincent Stewart aka “Jolly Man” is a reggae singer from Kingston 11, born december 16 1960 at Hunts Bay Lane, 4 Miles, Jamaica. Jolly started singing at age 13, he was placed in an approve School for 3 years and at the age of 16 he was released.
He started his musical career in the late 70's with Ossie Thomas, Phllip Morgan and Tristan Palmer from Black Solidarity label. Jolly Stewart recorded his first song entitled "Money Pyaka" on the classic "Pretty Looks" riddim which was recorded for Oswald Thomas on Ganja Farm label and released in 1979. Tristan Palmer who has another tune "Disappointed Lover" on the same riddim backed by The Soul Syndicate made the link with Jolly Stewart because he liked his style of song writting.
Jolly Stewart wrote three songs for Black Solidarity label: "Collie Man", "Bad Minded" and "Symbol Of Justice". All three tracks were covered by Triston Palmer. As a song writter, Jolly Stewart is behind Yami Bolo's hit on Stalag riddim “When A Man Is In Love” released on Winston Riley's label Techniques.
Jolly Stewart then decided to move on with his singjay career. He ventured to Tuff Gong studio where he met two producers. One was Prince Jazzbo from Ujama label, and the other was John John who owned the Bun Fi Bun label. He recorded "Praise jah" for Ujama and "Poverty Rush" for Bun Fi Bun. Still not satisfied with how his career was heading, he moved on to Lannaman's Preparatory School. There he learned to play guitar from a man named Fred McMurray aka Faf and Donald Jackson. Later he learned to play the keyboards by watching other musicians.
In the late 80's and early 90's, Jolly Stewart recorded many songs for various labels such as “Do Me Like So” for Bunny Gemini's label “Bun Gem Records” in 1987, “Late Last Night” and “War” for producer Zelma Rust and his label Myotta Ruff.
He also recorded for Augustus Pablo on his label Rockers International just before he died in the late 90's but we never heard about this release so probably Addis Pablo have it on old master tapes in the Rockers International archives....only Jah knows!
Argentinian producer Gonzalo MD is back on Knotweed with a 4-tracker where he further develops his own style, rough, tough, rhythmic and dreamy at the same time.
2026 Update: while stock last, this coloured vinyl now comes with a coloured cover “Exploring Different Shades of Techno since 2011”
Age Of Paranoia, the latest chapter in the band's lineage, was recorded by Igor Wouters at ARC Studios in Amsterdam, and includes several special guest guitar solos by J. Mascis (Dinosaur Jr., Witch) and Bubba Dupree (Void, Soundgarden, Dave Grohl's Probot, Brant Bjork).
Age Of Paranoia offers sixteen volatile tracks, packed into a succinct, white-knuckled twenty-eight minutes. The album surges with rapid-fire punk angst, replete with ripping rock leads and raised-fist, group-chanting anthems.
To complete the recording, the cover artwork is created by Marald (Baroness, Kylesa, High On Fire). See cover artwork, track listing and live dates below.
'One of the best and most important hardcore bands today" - PROFANE EXISTENCE
''Excellent and addictive, gathering the best of punk and metal: one part hardcore punk, another Motörhead'' - METAL ADVISOR
'the supreme thrash band in all of current rock 'n' roll'' - MAXIMUM ROCKNROLL
Pressed in red and white split colored run just in time for the holidays. Re-issue of the 1987 Profile Records holiday compilation in a red and white split colored pressing, with songs by Run-DMC, Dana Dane, Sweet Tee, The Showboys, The Surf M.C.s, Spyder-D, and more. Leading off with the Run-DMC smash, "Christmas In Hollis," this classic Christmas compilation features some of the hottest rap artists of the era, celebrating the holidays, hip-hop style. Highlights include Dana Dane’s "Dana Dane Is Coming To Town," Sweet Tee’s "Let The Jingle Bells Rock" and even the Surf MC's' "A Surf MC New Year," adding a California surfer (and, ahem, Beastie Boys rip-off) twist to the proceedings. Not to be overlooked is the classic front and back cover artwork, featuring a gift-wrapped B-Boy. It remains an essential, evergreen (pun intended) holiday album to this day.
A 2020 cover by a UK soul/jazz unit is now available on a 7-inch record!
It is the first time released as a 45 single in analogue, it was on the compilation double album 『Soul Togethereness 2020』 on a (track 3 side D 33rpm) Expansion Records LP EXP 62.
The UK soul/jazz crossover unit, formed in 1993, has released a cover of Melba Moore's classic song, which was only available on CD and digital in 2019, for the first time on analog.
Paprika Soul, a unit by Alan Barnes and Andrew Spiller, who have left many great works in the UK soul/jazz scene, has welcomed female singer Jacqui Hicks. This cover, with its uplifting and beautiful melody, features a warm, lovely, and urban Side A, and a more beat-driven, refreshing Side B Disco House Mix that would lift the mood on the dance floor in the early morning. This release is another excellent cover work that lets you indulge in smooth and Balearic sounds.
Proudly presenting, ‘Калі ты запытаеш (If You Ask)’, a brand new, blissed-out pop production with a ‘70s AOR touch, by the ever-on-point SOYUZ (СОЮЗ). Coming at a period between albums, the single features guest appearances from the sensational musicians, Biel Basile (O Terno, Sessa) and Anthony Ferraro (Toro Y Moi, Astronauts, Etc.). Friends of the band, they add their signature touch on the drums and synth respectively. To complete the package, SOYUZ back the title track with a short but sweet, Wurlitzer-laden, MPB-tinged number, ‘Tenório’.
‘Калі ты запытаеш (If You Ask)’ tells the story of lost dreams. A track that can be interpreted either as a bittersweet longing for childhood times, or for a native place you can’t return to. For the writer Alex Chumak he suggests, "In my case, as in the case of many Belarusians, it’s both".
For this song, Alex chose to sing in his native Belarusian tongue. As he explains this language "to me feels underrepresented in pop music, also it’s a beautiful legacy and sonority that I wanted to share with the listeners of our project around the world". One of the key inspirations was a Belarusian band “Песняры” (“Pesniary”), who produced a host of great progressive folk, jazz fusion and AOR, from the ‘70s to the ‘90s, predominantly sung in Belarusian.
Another key influence was the music coming out of the Brazilian state of Minas Gerais in the ‘70s, drawing inspiration from the sentimental and harmonious music of Beto Guedes, Lô Borges, Fernando Oly and Wagner Tiso.
Having parted ways with their drummer Anton, SOYUZ needed to find a new way to produce songs. The answer was to go remotely. Alex contacted the brilliant Biel Basile, who had recorded Sessa's contemporary classic ‘Estrela Acesa’, in which Alex also participated. Utilising Biel and Sessa’s newly built studio in São Paulo, SOYUZ had Biel record the drums directly to tape to get the rich sound they were after. Adding the final magic into the mix, California’s Anthony Ferraro provided a beautiful Solina String Ensemble synth arrangement, with drummer/recording engineer Albert Karch expertly assisting with the production.
To capture the essence of the single visually, Alex and the Brazilian one-man-industry visual artist Gabriel Rolim, spent a blazing sunny May day in Berlin shooting film and stills – one of which became the perfect cover image. We hope you enjoy this little nugget of SOYUZ mastery, a sweet taster to savour while the new album is recorded.
Take cover! It's impossible to get rid of the now legendary Stupeflip Crou (="crew"). Like a two-taste chewing-gum that's been stuck under your trainers since 1994, King Ju is back in force with Sons2ouf!!, an album meticulously selected from hundreds of unreleased tracks and alternative versions accumulated over the years. Always on the fringes of a bloated Game, Ju takes us on a tour of his strange cabinet of curiosities. Far from being a simple collection of sounds, the album is a real creation in its own right in the Stup discography. 'Mock-ups are often better than the final sound, like a sketch that's always more alive than a finished painting,' he explains. Here we find that first draft, bits of stuff not yet digested by the industry. Some of the nuggets are antediluvian, but they sound extremely lively, as if they had been written the day before. In Stupeflip's parallel world, time doesn't exist. We find the themes dear to Crou: childhood, rage, non- violence, the passage of time, a passion for music and nostalgia. As usual, the beat is cut with a meticulous flow, there's no time to take a breath, the Stup just does what it wants, churning out one bullet after another in a fusion of genres and styles that's as distinctive as ever. Specially dedicated to aficionados, the album celebrates 30 years of Le Crou! The Holy Grail for every Stup fan!
Vinkepeezer’s third album is a meditation in sound, inspired by the merging of spirituality and conspiracy theories. Guided meditations, esoteric voices and a plethora of samples from the most paranoid corners of the internet are combined with organ sounds and electronic pop music.
Plunging his listeners in apparent chaos, Dutch artist Vinkepeezer (Ivo Bol) leads you through a wild and varied soundscape with many unexpected turns. Vinkepeezer reworks found sounds, old and new electronics, and excess sounds from vinyl records and tapes into a new musical future, that can be as soothing as it is funny, chaotic and devastating. Everything is a frequency includes guest appearances of Raphael Vanoli, Ties Mellema, Udo Moll, Tom Aldrich, Jayne Bordeaux and Esther Mugambi.
The 180 grams Green Vinyl ® LP is made in an energy efficient way from less toxic materials. Sounds just as amazing. Cover art is by Ben Giles.
Musician and Zoitrax record label owner ZOiD, also known as Daniel Jacobson, announces the release of his sixth album, ZOiD Vs Musicians Vol 2.
Featuring thirteen tracks digitally, seven of which will be released on a 12” purple marbled translucent vinyl album distributed by Rubadub, ZOiD Vs Musicians Vol 2 will be available in record shops and on all streaming services and Bandcamp starting Friday, 22 November 2024.
ZOiD Vs Musicians Vol 2 is an electronic music album showcasing ZOiD's global collaborations with jazz musicians, creating a unique form of electronic jazz. Notably, his work with jazz drummer and brother Matthew Jacobson shines on the first single “Fit In Tree” debuting on September 13. Building on this momentum, the second single, "Module Bone, " featuring jazz trombonist Colm O'Hara, will be released on September 27, followed by the third single, "ZVSW, " featuring saxophonist Steve Welsh, on October 11. A special REMIX EP by Kirk De Giorgio, Sunken Foal, Americhord, and TR-One will be out on October 25.
Expanding the album's diverse sound, ZOiD collaborated with Dublin vocalist, composer, and jazz improvisation specialist Jenna Harris on “ZVJH” and with Niwel Tsumbu, a Cork-based Congolese guitaristwho tours with Rhiannon Giddens on “ZVNT.”
ZOiD Vs Musicians Vol 2 is further enriched by the talents of Shane O’Donovan (H-Ci), who combines electronic and jazz elements, Australian saxophonist Daniel Rorke, US-based free improviser Catherine Sikora, Galwegian multi-instrumentalist Matthew Berrill, Dublin saxophonist Matthew Halpin (flute), and trumpeter Bill Blackmore, a key figure in Dublin's jazz scene.
ZOiD released his debut album, ZOiD Vs The Jazz Musicians of Ireland Vol. 1, in 2007. Production of ZOiD Vs Musicians Vol 2 began soon after, taking nearly 17 years. For Vol. 2, some musicians recorded their parts independently, while others recorded in Arad Studio with Les Keye and ZOiD's Dublin studio.
The album artwork is by New York-based artist Shane Ingersoll. The front cover displays black-and- white illustrations of Dublin in the year 2116, a city at war centred around a bold purple "ZOiD" logo, with the title "ZOiD Vs Musicians Vol 2" on the upper left. On the back cover is a 12-panel comic book story (originally written by ZOiD using stick figures) and a glowing robotic hand.
If you are looking for a witty all-around club record – it’s arrived.
Tripmastaz shows class on #09 of his self-titled label. Four cuts built to smack dancefloor fiends to their knees.
Big boy peak-time business on ‘Madd Rippz’ has been road-tested this year by the man himself, crossing various capacity clubs and festivals. An au fait organ riff keeps you in the loop, with slappy Tripmastaz-brand beats delivering as expected.
‘Seqund Lite II’ gives you a more minimal yet funky approach. No more to add—just nod your head twice.
‘4eeba’ is a jacky early 2k number that was originally recorded more than 10 years ago but mixed to crunchy perfection.
And finally, ‘Rule 4080’ is a bumpy house track that sends off some sense to the ones who know what the title means.
The artwork side is covered with the handwriting of one of New York’s finest tattoo artists, Nobu Umezu.
Special loud cut by Mike Grinser @ Manmade and the dynamic force of Tripmastering wrap up this baby neatly.
Artist, producer, DJ and cultural trailblazer Peggy Gou returns with her latest single “Find The Way” on Gudu Records.
The first new track since the release of her debut album I Hear You, this latest single builds on her recent sonic terrain. Making a midsummer bid for song of the season, on “Find The Way” Gou addictively blends her featherlight breezy vocals with a balmy, technicolour 90s house beat lush with mellow keys, acid tinged synths and hypnotic basslines.
2024 has been a huge year for Gou already with the release of her hotly-anticipated debut album I Hear You on XL Recordings in June. Alongside glowing reviews from The Observer, NME, The Line of Best Fit and more, she’s also graced the covers of Billboard (US), Vogue Germany and L’Officiel Italia. A huge year for her in the live arena too, having played to over a million people in 2023, 2024 has seen a string of high-profile appearances at the likes of the Coachella, Ultra, EDC and Primavera festivals alongside a headline slot on Glastonbury’s Park Stage.
Into The Light is the new 2LP Black set from Whitesnake, and is based on David Coverdale's three solo records. The Into The Light album was originally released as David Coverdale’s 3rd solo album, in September 2000, and was his first solo record in 22 years. With an impressive musical lineup, David is joined on Into The Light by guitarists Earl Slick and Doug Bossi, bassist Marco Mendoza, who would later join Whitesnake, legendary drummer Denny Carmassi, who as well as Whitesnake, has played with Montrose and Heart, and Mike Finningan on keyboards, who had previously played with Jimi Hendrix in the 1960s. As well as plenty of unreleased songs and bonus tracks, the set includes “Too Many Tears,” a song David wrote with Adrian Vandenberg and originally featured on Whitesnake’s Restless Heart album. Also included is “River Song,” David’s tribute to Jimi Hendrix, and “With All Of My Heart,” a song David wrote for his wife, and in his own words, one of top ten songs that he’s written. Into The Light also features the singles “Slave,” “Love Is Blind” and “Don’t You Cry.” The box set will also include David’s first two solo records, WhiteSnake MCMLXXVII from 1977 and NorthWinds from 1978, the two titles he recorded immediately after leaving Deep Purple in 1976, in both remixed, expanded and remastered form.
Since Outlaws in 2020, Ludivine Issambourg's flute has not cooled down. How could it have, when with that album of Hubert Laws covers, it had reached incandescence? Still panting, burning despite the lid of its case left wide open, it awaited the opportunity to continue the adventures that Master Laws himself had praised.
A continuation? Above The Laws isn't quite that.
Although his name still appears, Hubert L. is no longer the sole guide in exploring the vast galaxies of jazz-funk. Through covers but especially as an enhancer of her own compositions, Ludivine has invoked the spirit and intangible presence of Jeremy Steig, Ronald Sneijder, and Bobby Humphrey—the legends of the flute.
Guided by an unescapable groove, with a musical dial set to the late 70s and early 80s, Ludivine has enlisted the help of a brass section this time, a true propulsion engine for funk that can also shift to a soulful breath if the moment calls for it. Supporting the keyboards, there's a Moog laying down its rich layers or twisting tones.
The flutes are used like levers to stabilize the flight or, conversely, to make it soar even faster through the measures. The alto version, which Ludivine had previously used sparingly, adds the necessary velvety note when it’s time to embark on smoother destinations. Speeding up the tempo to make passengers rise from their seats as if danger were imminent; calming the atmosphere to put them in a reassuring cocoon where they can let their thoughts and spirits wander, the improvisations find their place in the compositions observed from the porthole. Detached from gravity, yet still very much in tune with the vibe of cities marked as hot spots on the current jazz scene radar, it's the scent of these streets that permeates some tracks of Above The Laws.
Directed from the control tower by Eric Legnini, Chassol, Alex Finkin, and Michaël Lecoq, Above The Laws benefits from a few stops along the way where precious connections are established. Nils Landgren and his trombone in the colors of the Swedish flag, Laurent De Wilde for a chase between flute and Fender Rhodes, Céline Bonacina’s saxophone for an Afrobeat detour.
But it's at the edge of a journey where organic intensity has continued to assert itself without losing power that Ludivine connected with Brian Jackson for a cover of "Angel Dust," a track from the era when he and his partner Gil Scott-Heron were creating soul masterpieces. One of them featured a flutist by the name of Hubert Laws.
The starting point of Ludivine's latest jazz-funk explorations also becomes the endpoint. Elevated by the ten tracks of Above The Laws, Ludivine Issambourg closes a loop where she has placed her flute and its flourishes in an undeniably leading role. Opening the doors to ambitious orchestrations, unexplored horizons, she weaves into her compositions the experiences, places, and encounters that have shaped her.
Over 1.5m albums sold in the UK and 3 consecutive no 1 albums for Noel Gallagher’s High
Flying Birds – plus a record breaking 10 consecutive chart-topping studio albums in the UK
for Noel.
- Debut eponymous album released 17th Oct 2011, debuted at no 1 with 122.5k sales and
achieved double Platinum status less than 6 months post release
- International Magic DVD release of the 02 Arena gig Feb 2012 certified Gold on shipment
-2011-2012 live schedule saw NG HFB visit 32 countries across 6 continents, playing 150
shows over a 15 month period. 406k headline tickets and 1.2m festival tickets sold
- Chasing Yesterday, released 2nd March 2015, no 1 album on release with 89.1k sales and
certified Platinum
- 2015-2016 18 month world tour covering 122 shows in 28 countries. Almost 400k headline
tickets and 1.25m festival tickets
- Who Built The Moon?’ released on 24th Nov 2017 - no 1 with 77,853 sales (almost 35k sales
ahead of no 2), Silver album after only 4 days and certified Gold 2 weeks post release
- Tour covering 59 shows in 17 countries with 245k headline tickets and 550k festival tickets
- Noel Gallagher’s High Flying Birds released a series of 3 multi-genre EP’s over the course
of 2019 and 2020
- 2019 saw a host of headline festival dates covering 150k tickets sold across the summer
plus tours of the USA and Australia with Smashing Pumpkins and U2 respectively
'Science, Art And Ritual' is a story of ‘process'. Growing up in Harrow (a then quiet suburb of London) in the 70’s and 80’s from the age of about 10, Kingsuk Biswas aka Bedouin Ascent's ears opened up to sound as he scanned the airwaves. The undeniable righteousness of 80’s dub via David Rodigan’s Roots Rockers shows was the first prominent influence he received, and with punk roots —and his burgeoning record collection— became exposed to the breathless post punk experimentation that followed in the early 80’s sweeping up free jazz, noise, dub and much more. Throughout though, he maintained his fascination with Indian Classical music which was a mainstay in his parent’s house and spoke with the same infinite space as Joy Division's 'Unknown Pleasures', and King Tubby’s Studio dispatches. Through those teens he assembled and de-assembled, knocking about with fellow travellers —punk bands, garage, space rock, noise. Something was happening. On-U Sound, ECM, Factory Records kept him plugged in and sane.
At that time Kingsuk's core studio setup revolved around his vintage Gretsch, Fender Jazz, Moog, TR-606 and rudimentary FX. He added congas, folk instruments, pipes, hand percussion, gongs, and jammed out shards of funk, noise, jazz fusion, electro and ambience into his hungry Tascam Portastudio. By 1987 these had morphed into what we’d now refer to broadly as techno, but the genre didn't exist beyond the reverberating walls of his bedsit, and he hadn’t yet plugged into the global conversation.
'Science, Art And Ritual' was released in 1994 by Rising High Records and was presented as Bedouin Ascent's debut album, although 'Music for Particles' (released in 1995, again on Rising High) was recorded even before —'SAR' sessions span from 1992-1993, whereas 'Music for Particles' were earlier from 1989-1992, with some older 4-track references from about 1986 too.
Weaved in throughout the album are subconscious references to music that Kingsuk heard in the past that still remained within sight as companions. The opening track "Ancient Ocean III", referencing the extinct ocean Tethis, unapologetically channels Tackhead, Colourbox, Mantronix and Lee Perry. The style was also deliberately juxtaposed to the prevailing sound in techno at the time, which had locked onto a rigid form of symmetrical kicks and light snare drums. Elsewhere 80’s soul and funk are frozen and captured in fragile glass lattices. Electric pianos resound throughout, such as in "He Is She", probably a half-memory of 70’s MOR radio from childhood sleepy night drives. A duel between kick drums from three generations of Roland drum machines —TR-808, TR-707 and R-8— is a central theme in "Transition-R", all in conversation, calling and responding. These were not just machines to Bedouin Ascent, but part of an extended family, with heart and soul.
Three decades after seeing the light, Lapsus is proud to present a special 30th anniversary reissue of this
left-field techno gem in a repackaged and redesigned edition. All pressed on a deluxe 3LP marbled vinyl and including a limited lithographic insert print of the original album cover. All tracks have been restored and remastered directly from the original DAT tapes, and the album also features previously unreleased tracks such as "In the Clouds" and "Thru Water" —regularly performed live at that time and produced in the same period as the album sessions in 1993.
'Science, Art And Ritual’ may refer to esoteric traditions in Indian philosophy, but equally embodies the collision of the science, the art and the ritual that is at the core of being immersed in a deep musical journey.
Ulterior Motives launch their main label with a single from DJ Persuasion, featuring a Liftin’ Spirits remix from Ant Miles. The label, which is helmed by DJ and producer Noah Tucker, began life in 2021 with an anonymous edit of a much-loved underground hip hop gem. Two further 12”s in the white label series followed along similar lines, joining the dots between jungle, footwork and r’n’b in UM style. Since then, they have also launched their cassette series with a Metrist mix covering golden era tech step and d’n’b.
DJ Persuasion is principally known for A History Of Hardcore, a series of ten mixes covering ’88-’98 which appeared across a number of platforms between 2015 and 2020. Certain entries in the series appeared on cassette via The Trilogy Tapes, Blackest Ever Black (Id Mud) and Tape Echo. Persuasion also hosted the NTS Demon Poetry show (now the Drum Poetry show) for some years, and contributed In Focus sessions covering the work of Dillinja and LTJ Bukem, alongside Dev:Null.
Jameela EP covers four contrasting, but also concentric areas of the hardcore continuum, featuring a remix from Liftin’ Spirits aka Ant Miles of Origin Unknown. The title track rolls out at bleeding edge jungle hardcore tempo, taking in a mixture of familiar and unfamiliar references. Liftin’ Spirits contributes a standout remix which reframes Jameela as a drum’n’bass epic, opening with a panoramic intro and a quaking bass drop, then building to soaring strings. Robin Gets Revenge is an audial intervention into one of the last remaining unsolved mysteries in acid house, and a stomping 89’-’90 style jammer to boot. The B2 finds Jameela in a slower guise, offering something for after the club and the warm up.
Michael Mayer albums don’t come round too often, which is one of many reasons why his fourth collection, The Floor Is Lava, is a genuine event. It’s been eight years since his last one, the collaborative & released on !K7; its predecessors, Mantasy (2012) and Touch (2004), took their sweet time, too. It’s no real surprise, given the many hats Mayer wears – globetrotting DJ, revered remixer, inveterate collaborator, and boss of both Kompakt and Imara – that his solo productions are relatively sparing. But this also speaks to their quality: Mayer’s name on a record sleeve is a sign of quality, of music that’s both looking to the future and calling back to the past, that balances the imperatives of the dancefloor and the loungeroom, that’s as exploratory as it is functional.
On The Floor Is Lava, Mayer seems to be taking the temperature of both the music that surrounds him (past and present), and the ides of the industry he works within. There’s that iconic album title, for a start. “The album’s mindset,” he says, reflecting on those four words together. For Mayer, it’s partly a critique of the way the industry boxes in both producer and listener, focuses them on genre, on market, on the next new thing: “Being a free minded spirit that transcends genres has become an uphill battle.” A battle worth fighting, though, and with The Floor Is Lava, the result is an album that’s varied, quixotic, idiosyncratic, charming, and deeply, addictively listenable.
Throughout, Mayer finds thrills in exploration and juxtaposition, allowing unexpected things to blossom and giving them their life, their platform, throwing the listener exciting curveballs: “It’s a DJ album by a DJ that’s easily bored.” Either easily bored, or endlessly curious, The Floor Is Lava is rich with ideas. It opens with “The Problem”, which looks back to look forward, embracing the rickety way early house productions threw samples together with gleeful abandon. Mayer mentions Pal Joey, and the scene around Rockers Hi-Fi and their Different Drummer imprint, as reference points, and you can hear that freewheeling spirit throughout.
It’s followed by “Vagus”, a slinky, sensual minimal house number that Mayer describes as his “musical catnip”. The flow of these two opening cuts defines the dynamic of The Floor Is Lava, defining the dialectical drive at its core: thesis and antithesis leads to synthesis, but with a welcome prickliness that means you’re always excited, always engaged. It’s also productive in the way it derives energy from rubbing genres and sounds against each other, in unexpected ways, for maximum musical frisson. There’s psychedelic techno on “Feuerstuhl”, more minimal techno with “Ardor” (Mayer mentions ‘Immer 1’ era 90s minimal as inspiration), slippery, Shepard-tone breakbeat through “Sycophant”, a lovely, lush vocal turn on the poppy “The Solution”.
The album closes with the melancholy “Süßer Schlaf”, where Mayer sets a poem by Goethe to one of his most haunted, moving pieces of music yet, in abstract tribute to a lost friend. It’s one of the most affecting moments on The Floor Is Lava. There’s also an update on 2020’s wild Brainwave Technology EP, with the surrealist glitter-stomp of “Brainwave 2.0” (check out those handclaps!),where Mayer’s thinking about the socio-political precipice of the now: “I’m reading with great interest about this whole complex of how humanity is about to cross so many lines and the implications that the resulting financial and educational inequality will bring.”
That’s The Floor Is Lava: then and now, brainwaves and nerve structures, problems and solutions, genres on fire; the real, the unreal, and the surreal. An album for the easily bored and the endlessly curious. Mayer has the last word, telling us all you need to know about the album’s spirit: “Burning for the cause, being zealous, being addicted to the heat of the night, the exuberant powers of music.”
Michael Mayer veröffentlicht nicht oft Alben, was einer von vielen Gründen ist, warum ‘The Floor Is Lava’ ein echtes Ereignis ist. Es sind acht Jahre vergangen seit seinem letzten Werk, dem Kollaborationsalbum &, das auf !K7 erschien; seine Vorgänger, Mantasy (2012) und Touch (2004), ließen ebenfalls auf sich warten. Es überrascht nicht wirklich, da Mayer viele Rollen gleichzeitig erfüllt – weltreisender DJ, vielbeschäftigter Remixer, unermüdlicher Kollaborateur und Chef von sowohl Kompakt als auch Imara – weshalb seine Solo-Produktionen eher sparsam ausfallen. Doch das spricht auch für deren Qualität: Ein Album mit Mayers Namen auf dem Cover steht für Qualität, für Musik, die sowohl in die Zukunft blickt als auch auf die Vergangenheit verweist, die das Gleichgewicht zwischen den Anforderungen des Dancefloors und des Wohnzimmers hält, die genauso erforschend wie funktional ist.
Auf The Floor Is Lava scheint Mayer sowohl die Musik um ihn herum (vergangen und gegenwärtig) als auch die Strömungen der Branche, in der er arbeitet, zu reflektieren. Da wäre zunächst der ikonische Albumtitel. „Die Grundhaltung des Albums“, sagt er, drückt sich in diesen vier Worte aus. Für Mayer ist es teilweise eine Kritik daran, wie die Industrie sowohl Produzenten als auch Hörer in Schubladen steckt, sie auf Genres, auf den Markt und auf das nächste große Ding fokussiert: „Ein freier Geist zu sein, der Genres überschreitet, ist zu einem steinigen Weg geworden.“ Ein Kampf, der sich jedoch lohnt, und mit The Floor Is Lava ist das Ergebnis ein Album, das vielfältig, eigenwillig, charmant und tiefsinnig, aber auch süchtig machend ist.
Im gesamten Album findet Mayer Freude an der Erforschung und Gegenüberstellung von Stilen, lässt unerwartete Dinge erblühen und gibt ihnen Raum, überrascht den Hörer mit spannenden Wendungen: „Es ist ein DJ-Album von einem DJ, der sich schnell langweilt.“ Entweder langweilt er sich schnell oder er ist unendlich neugierig – The Floor Is Lava ist reich an Ideen. Es beginnt mit „The Problem“, das in die Vergangenheit blickt, um nach vorne zu schauen, und die wilde Art, wie frühe House-Produktionen Samples mit fröhlicher Unbekümmertheit zusammenwarfen, aufgreift. Mayer nennt Pal Joey und die Szene um Rockers Hi-Fi und ihr Label Different Drummer als Referenzpunkte, und dieser freie Geist zieht sich durch das gesamte Album.
Es folgt „Vagus“, eine sinnliche Minimal-House-Nummer, die Mayer als seine „musikalische Katzenminze“ beschreibt. Der Fluss dieser beiden Eröffnungstracks definiert die Dynamik von The Floor Is Lava und den dialektischen Antrieb im Kern: These und Antithese führen zu einer Synthese, jedoch mit einer willkommenen Schärfe, die dafür sorgt, dass man immer aufgeregt und engagiert bleibt. Zudem gewinnt das Album Energie, indem es Genres und Klänge auf unerwartete Weise aneinanderreibt, um maximalen musikalischen Nervenkitzel zu erzeugen. Es gibt psychedelischen Techno in „Feuerstuhl“, mehr Minimal Techno mit „Ardor“ (Mayer erwähnt ‘Immer’ Ära Minimal als Bezugspunkt), gleitenden Shepard-Ton-Breakbeat in „Sycophant“ und einen lieblichen, üppigen Vocal-Auftritt im poppigen „The Solution“.
Das Album schließt mit dem melancholischen „Süßer Schlaf“, in dem Mayer ein Gedicht von Goethe vertont und eine seiner bisher eindringlichsten und bewegendsten musikalischen Kompositionen schafft, als abstrakten Tribut an eine verschiedene Freundin. Es ist einer der ergreifendsten Momente auf The Floor Is Lava. Ebenfalls gibt es ein Update der wilden Brainwave Technology-EP von 2020, mit dem surrealistischen Glitzer-Stampfer „Brainwave 2.0“ (hör dir diese Handclaps an!), in dem Mayer über den sozio-politischen Abgrund der Gegenwart nachdenkt: „Ich lese mit großem Interesse über diesen ganzen Komplex, wie die Menschheit dabei ist, so viele Grenzen zu überschreiten und welche Auswirkungen die daraus resultierende finanzielle und bildungstechnische Ungleichheit haben wird.“
Das ist The Floor Is Lava: Damals und heute, Gehirnwellen und Nervengeflechte, Probleme und Lösungen, brennende Genres; das Reale, das Unreale und das Surreale. Ein Album für die schnell Gelangweilten und die unendlich Neugierigen. Mayer hat das letzte Wort und sagt uns alles, was wir über den Geist des Albums wissen müssen: „Brennen für die Sache, leidenschaftlich sein, süchtig nach der Hitze der Nacht, den überschwänglichen Kräften der Musik.“
cat can do presents M SERIES VOL.10. A double LP 12" Vinyl with a printed cover that will go straight to your all-time collection. Techno as a conductive channel with Detroit and Acid overtones will make you never stop listening to this organic and timeless album. A masterpiece that will last forever.
Dark Entries has assembled a superb collection of covers celebrating 60s garage and soul music by the one and only Patrick Cowley. This LP showcases another side of the great producer's diverse influences, in particular his psychedelic San Francisco roots which can be heard in most tracks. They were mostly written between 1980 and 1982 when he was in prolific form and highlight his virtuosity while paying respects to the music that shaped him. The collection features a reimagined version of Loverde's 'Iko Iko,' a hi-NRG cover of The Doors' '20th Century Fox,' and a haunting take on The Who's "Shakin' All Over." It concludes with a swinging rendition of the Four Tops' 'Baby I Need Your Loving' and is another essential one for the collection.
A sonic portal to a parallel universe where neon-soaked dreamscapes transform the stark realities of a post-pandemic world. Music for a forgotten future, where echoes of the 80s cast long, enigmatic shadows through a rich tapestry of emotion that charts a journey from isolation and fear towards healing and hope. This is the journey of Season One and Season Two, the debut companion albums for the solo project of Italian composer Battaglia, both out this fall on Four Flies Records.
In 2020, as the world retreated onto itself due to the COVID-19 pandemic, Battaglia entered the recording studio. Driven by a desire for experimentation, she decided to focus on the classic synths that have made history to create a sonic and emotional alchemy that reimagines the 80s to resonate with our current experiences and sensibilities.
Drawing inspiration from the cinematic magic of iconic early-80s films, and especially the haunting soundtracks of Tangerine Dream and John Carpenter, she crafted a soundscape that goes beyond nostalgia to capture the spirit of a generation navigating uncertain times.
Season One and Season Two explore the complexities of a world grappling with lethal pandemics, climate catastrophes, and nuclear disasters through themes such as longing, fear, and hope, set against a scenario that blends elements of dystopian and post-apocalyptic science fiction and, at times, horror.
Season One delves deeper into the darker aspects of this new reality, evoking a sense of unease and uncertainty, occasionally interspersed with soothing flashes of light. In Season Two, while darkness still lingers, the sonic landscape is infused with a sense of optimism and determination, offering glimpses of a possible salvation.
With Battaglia's signature blend of dark wave, synth-pop, suspenseful electronica, and cinematic vibes, Season One and Season Two create a sonic world that is at once hauntingly familiar and utterly captivating -- the perfect soundtrack, one is tempted to say, for the countless sci-fi/horror-fantasy series that have been flooding streaming platforms in the last decade.
The covers of both albums were designed by Eric Adrian Lee, who conceived them as two sides of the same image, two versions of a world in crisis but whose ruins contain the potential for rebirth.
Battaglia's Season One and Season Two will be available on black vinyl LP starting from October 25th. Digital versions of both albums will also be released on the same date, featuring five bonus tracks (two on Season One and three on Season Two).
A sonic portal to a parallel universe where neon-soaked dreamscapes transform the stark realities of a post-pandemic world. Music for a forgotten future, where echoes of the 80s cast long, enigmatic shadows through a rich tapestry of emotion that charts a journey from isolation and fear towards healing and hope. This is the journey of Season One and Season Two, the debut companion albums for the solo project of Italian composer Battaglia, both out this fall on Four Flies Records.
In 2020, as the world retreated onto itself due to the COVID-19 pandemic, Battaglia entered the recording studio. Driven by a desire for experimentation, she decided to focus on the classic synths that have made history to create a sonic and emotional alchemy that reimagines the 80s to resonate with our current experiences and sensibilities.
Drawing inspiration from the cinematic magic of iconic early-80s films, and especially the haunting soundtracks of Tangerine Dream and John Carpenter, she crafted a soundscape that goes beyond nostalgia to capture the spirit of a generation navigating uncertain times.
Season One and Season Two explore the complexities of a world grappling with lethal pandemics, climate catastrophes, and nuclear disasters through themes such as longing, fear, and hope, set against a scenario that blends elements of dystopian and post-apocalyptic science fiction and, at times, horror.
Season One delves deeper into the darker aspects of this new reality, evoking a sense of unease and uncertainty, occasionally interspersed with soothing flashes of light. In Season Two, while darkness still lingers, the sonic landscape is infused with a sense of optimism and determination, offering glimpses of a possible salvation.
With Battaglia's signature blend of dark wave, synth-pop, suspenseful electronica, and cinematic vibes, Season One and Season Two create a sonic world that is at once hauntingly familiar and utterly captivating -- the perfect soundtrack, one is tempted to say, for the countless sci-fi/horror-fantasy series that have been flooding streaming platforms in the last decade.
The covers of both albums were designed by Eric Adrian Lee, who conceived them as two sides of the same image, two versions of a world in crisis but whose ruins contain the potential for rebirth.
Battaglia's Season One and Season Two will be available on black vinyl LP starting from October 25th. Digital versions of both albums will also be released on the same date, featuring five bonus tracks (two on Season One and three on Season Two).
Barkley Bandon’s debut album “Love Machine” is a sexy concept album, perfect pop record and an experimental look at club music all in one.
Hard to pin down stylistically, it’s visiting multiple spaces on a colour spectrum, with hues of Sophie’s hyperpop, Hudson Mohawke’s cheek, the nostalgic shades of Oneohtrix Point Never, a nod to Dean Blunt’s DIY aesthetic and maybe flirting a little with the of Teaches of Peaches. But really, it’s carving out a sound all for itself that is like nothing else out there.
The mysterious London producer recently contributed a song on CASISDEAD’s chart topping, Brit Award winning debut album ‘Famous Last Words’ and has worked with London RnB vocalist Gloria on her release Metal, which came out on Gaika’s label The Spectacular Empire.
Working here, on in his own playpen, he shows off his pop production skills on tunes like ‘Green Light’ and ‘Nails’ (collaborations with rising artist Kaleab Samuel from Aurora, Colorado) and ‘You Decide’, a collab with pig$ - the incredible producer from LA who makes up the other half of their joint project Parking Big. Then he flips the approach, stuffs a bunch of percussion sounds in a box, shakes it and lets clanky club bangers like ‘Vertigo’ and ‘Eye Candy’ tumble out.
Fronting the cover we see Barkley’s real life wife as a teen dream - his ultimate Love Machine.
The album will be released on 25.10.2024 on his own label Laterhosen Records on digital and limited cassette tapes.
“That bass… absolutely filthy” Tom Ravenscroft, BBC Radio 6
Trance Pandemic is back with new full cover EP - masterpiece of Dima Phase designer.
The musicians' solo sound is changing, they continue to search for themselves, thereby releasing without losing the atmosphere and drive in their music.
Komponente takes its rhythm from 707 drum machines and 80s synths, adds a TB 303 and wraps it in long pad melodies in Boston Dynamics.
In Acid Explorer, he builds electro-trance with the sound of a nuclear siren using Elektron machines and packs everything into his favorite voice presets from Korg. New and old music technologies are intertwined into one whole, giving birth to new sounds from the late 20th and early 21st centuries.
Kurilo continues to work with modern sound machines, drawing on the best and creating a smooth, even groove.
If you like trance synthesizers, mysterious melodies, then your choice is Eating Raoul, nothing more, a sound inspired by the New York night where Evgeniy currently lives.
Not From New York carries a different trip, but no less atmospheric, deep bass and acid accents - everything you need for a dense sound on your sound system, be it a club or rave party or a home sound system or headphones.
In general, although the release is different, it is united in one thing: atmosphere and melody.
This October Jamiroquai celebrates the 30th anniversary of ‘The Return Of The Space Cowboy’. Their second album, it will be reissued as a double-LP set on 140g “moon grey” vinyl and includes Michael Gray’s Good Vibe Zone edit of ‘Space Cowboy’ - which has never been released on a physical product. The packaging has also been re-designed for this anniversary release including foil enhancement of the original cover design.
‘The Return Of The Space Cowboy’ is the follow up album to the band’s huge 1993 debut, ‘Emergency On Planet Earth’. Selling over 3 million copies globally, ‘Emergency On Planet Earth’ put the band on the map with their distinctive sound standing them apart from other popular acts of the time.
‘The Return Of The Space Cowboy’ was released just one year later and was met with great critical and public acclaim. Certified Platinum in the UK, Japan and France, it achieved chart success in multiple countries and spawned the single ‘Space Cowboy’ which remains one of their biggest tracks to date. Critically the album was lauded with Rolling Stone saying "Jamiroquai parlay jazzy soul pop so tight it crackles… Nowadays, when most funk comes out of cans, Jamiroquai's live spark glows", The Guardian said “... this second album sounds like vintage Stevie Wonder and Johnny 'Guitar' Watson, but Kay's vocals are as snappy and engaging as his extrovert persona" and Q magazine said it “combines intricate arrangements with several long, free-form workouts crammed with virtuoso performances".
For many, this album is defined by some of the most complex songwriting the band have ever produced and Jay Kay called it “one of our most creative and accomplished albums”. The process of making the album came with many challenges. Having to recruit a new drummer (after Nick Van Gelder failed to return from holiday), the band were met with second-album syndrome with Kay proclaiming since that lyrics weren’t coming "... because suddenly I wasn't homeless, I had everything I needed. So I found myself creating problems to write about." The songwriting process was complex for the band as Jay Kay was often dissatisfied with the results, leading songs to be scrapped or rewritten, but half-way through recording Kay wrote ‘Space Cowboy’, a song which reflects darker times during the recording session, and it became the catalyst of creative inspiration helping them finish the record. On this 30th anniversary edition of the album Space Cowboy gets a modern dance makeover courtesy of DJ Michael Gray, shedding new light on the track and emphasising it’s already infectious groove.
The album built on the success of ‘Emergency On Planet Earth’ and Jamiroquai have become one of the UK’s most pioneering and ground breaking bands of the past 30 years. Pushing boundaries and bringing jazz and funk to a mainstream audience, their sound is not only unique, but immediately recognisable.
