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Sunquake is the first ever vinyl compilation of work by Désaccord Majeur, the alter ego of French artist Jérôme Mauduit who played a crucial role in Europe's post-industrial/ethno-ambient scene. Linking with figureheads Muslimgauze, O Yuki Conjugate and Rapoon (Zoviet France) via cassette compilations and seminal label Staalplaat, his music is played today by the likes of Vladimir Ivkovic, Elena Colombi and Interstellar Funk. Three carefully chosen cuts by the A Colourful Storm crew, properly cut and mastered at 45 rpm and housed in full-colour printed sleeve. with liner notes by Vladimir Ivkovic.

Chra is the artist moniker for Austrian Christina Nemec (Bray, Shampoo Boy). SEAMONS is the latest missive in her ongoing exploration of suffocating abstract audio. At once designed and falling apart SEAMONS is rough and crude, a stumbling and staggering electronic expedition where nothing presents itself explicit in intent. It’s a tense obscure record that teases you into it’s peculiar vortex from it’s suggestive nature of exploring the enigma beyond it’s haunted facade.

VICIOUS WATER REGIMES stutters along as an ‘ugly’ mass of grey electronica. CAST(O)RO shines from light from the depths with it’s occasional foray into glistening tones. COLONIA MARINA SERENELLA is a dank squelching backdrop for a dark age. CAST twists tension with flickering electronics chaotic in their perpetual design of order confronting inevitable collapse. LET SHARKS SLEEP is not only a great title but a mind tickling adventure of descending/rising digital dance that builds in intensity with it's relentless repetition. WIDOW WALKS gallops and creaks along a path veiled in whispers. ENGE lunges through time with an air of deep uncertainty. SEAMONS hovers on the outskirts, crawling out of the speakers with endless surprising turns, few of them comfortable.

SEAMONS is progressive ambient, not the kind that makes you escape, but rather one you can't escape from. SEAMONS crawls into the very guts of sound to uncover and unravel the uneasy and unsettling underbelly within.

The super-producer duo behind the mega-hit “Let’s Go Dancing” makes their return at a time when there is nowhere to go dancing to, and no us to let go dance there.

“Your home is now the club, which makes it my responsibility,” says Tiga, safe inside a thick denim containment suit. “This is not the time for relentless bangers, no matter how amazing they sound when live-streamed by the world’s loneliest DJs. ’This Is a Dream’ is an epic poem, an immunity passport to the boundless dimensions that lay beyond the veil of slow wave sleep. For I am Sleeporus, musical ferryman to the realm of night. My toll is $1.29 on Beatport, and your pillows are my decks, and also the boat. I hope that’s clear."

Immediately contradicting his no-bangers edict, Tiga describes “Crushed by Meditation” as a weirdo freakout soundtrack for washing each grape individually. This scathing commentary on poorly curated self-care employs bizarre bits of tape found in a piece of gear the two purchased before flea markets were against the law.

“Foraging is the future of sampling. But I alone believe that humanity was destined for more than living underground, eating from a can. I only pray to Father Time and Mr. Destiny that we’re not too late."

Minyo Crusaders rework historic Japanese folk songs (min'yo) with Latin, African, Caribbean and Asian rhythms for their debut album 'Echoes of Japan'.

Releases from Ryuichi Sakamoto, Haruomi Hosono and Midori Takada have re-ignited global interest in Japanese music and 'Echoes of Japan' marks the arrival of a big band like no other.

'For Japanese people, min'yo is both the closest, and most distant, folk music' explains band-leader Katsumi Tanaka: 'We may not feel it in our daily, urban lives, yet the melodies, the style of singing and the rhythm of the taiko drums are engrained in our DNA'. Initially indifferent to min'yo, a tragic event in recent Japanese history set Tanaka on his current path: 'Following the Tohoku earthquake of 2011, I reflected on my life, work and identity. A fan of world music, I began searching for Japanese roots music I could identify
with. Discovering mid-late 20th century acts Hibari Misora, Chiemi Eri and the Tokyo Cuban Boys, I was
captivated by their eccentric arrangements and how they mixed min'yo with Latin and jazz.'

Originally sung by fishermen (Kushimoto Bushi; Mamurogawa Ondo), coal miners (Tanko Bushi) and sumo wrestlers (Sumo Jinku), these songs deal with topics such as the returning spirits of ancestors (Hohai Bushi), Japan's smallest bird (Toichin Bushi) and a bride's love for her husband's pockmarked face (Otemoyan).

Minyo Crusaders are one of the most hyped acts on the Tokyo music scene that went national in 2018 through festivals such as Fuji Rock. The band features veterans of the Tokyo roots music scene such as bassist DADDY U (Ska Flames), keyboardist Moe (Kidlat), sax player Koichiro Osawa (Matt Sounds/ J.J. Session), Yamauchi Stephan (J.J. Session), percussionist Mutsumi Kobayashi (Banda de la Mumbia), conga player Irochi (Cubatumb) and vocalist Meg (DJ collective Tokyo Sabroso).

- Wild blend of Japanese folk music with cumbia, boogaloo, Ethio jazz, Afro funk + more
- Ry Cooder, Mario Galeano (Ondatropica/Frente Cumbiero), Clap! Clap! are all fans
- European touring plans for autumn/fall 2019
- Includes Japanese lyrics + English translations

- Lacquers cut @ The Carvery

Late 20th Century outsider music from the outskirts of Buenos Aires featuring Alan Courtis, Pablo Reche, Quum and many more artists from the Argentinian underground.

Setting out as an archaeological excavation, literally exhuming material which has been under the surface for more than two decades, this special compilation features work by established and under the radar artists that helped set the now fertile Argentinian underground.

All tracks were directly digitized from the original cassettes masters (half of them never previously released either). The emphasis being to maintain the original sound quality as it was produced at the time (hence the cassette format). The compilation also showcases a broad spectrum style of music that was done at a specific time with very primitive gear - not by choice but because of the obvious economic restrictions of accessing sophisticated equipment forced these musicians on the DIY road. Domestic tape recorders making cassette loops, broken record players, toy keyboards and the noisy ‘fingers on circuitry’ long before Nicolas Collins championed it on Hand-made electronic music.

Whilst some artists actually had access to professional synths and drum machines (Unoxuno, Quum, Jaime Genovart), they still lacked of standard recording equipment. A crucial document then showing how their unique approach to music making influenced the forthcoming experimental scene of South America making these artists influential cult figures of the underground.



Compiled by Juan José Calarco y Pablo Reche
Digitized & Mastered by Juan José Calarco

Fresh from hot releases on HAVEN & Rave Selekts Dublin’s Tommy Holohan debuts on Dance Trax with 2 breakbeat-tek-crunch anthems - all systems go!

The second release from Wax Ninja, a Moscow-based record-shop-turned-record-label, is the longed-for gem cut by Artem Xio, the humble leading light of the local underground scene. Can't Stop Now EP is a universal musical weapon, perfect for a DJ bag in which a variety of genres - from hip-hop and jungle to garage house and techno - coexist peacefully. Each side reflects Xio's stages of formation: not only as a collector, DJ and artist, but primarily as a an educated listener with a sensitive ear. The title track Can't Stop Now was written in 2010 to be rethought 10 years after and become a house banger powered by emotionally charged vocals. The dramatic opus that is Crucial Moment pleases with its Detroit-style anguish, while the U Took My Love, an ode to electric organ, gives out some proper Jersey house vibe. Raw and heavy, True School was born out of an unreleased remix for the local rap group, and finally Now U Know takes you back to the beginning of 00s thanks to Cream Soda d'n'b rework. In other words, this "unstoppable" EP is a true delight both for nostalgic old school heads and for those who expect some quality time on the dancefloor.

DJ Feedbacks: (please find all feedbacks in the pdf sheet)
Laurent Garnier: “GREAT EP -- Love the whole thing”
Tensnake: “can't stop now is big thanks”
Robert Owens: ''cool tracks!"
Ka§par: "“For me the house tracks are fun and all, but it's the
Cream Soda jungle mix that's got me into this release,
thanks!”
Anja Schneider: “Great thx .”
Portable: “Wonderful summer vibes post lockdown!”
Black Madonna: “Nice!”
Moodsetter: “Damn Yeaaah !!!
This is classic New York underground sound...
what a vibe !!!
I just L. O. V. E. I. T !!!

We are happy to welcome UK-based producer Native Cruise on Slam City Jams. The guy was on our radar since his releases on No Bad Days and Fruit Merchant that easily combined house music with new-age synths, a wave/EBM touch and balearic sounds.
His „Human Nature“ EP is no exception with five outstanding tracks that differ in tempo and vibe.
The opener „Crew Talk“ is a percussion heavy tune with lots of cowbells, a funky DX7 bass line, deep pads and dramatic chords that build up and up towards the end.
„Elsewhere" is the most housey track on this record, with four-to-the-floor 808s and bittersweet strings that burst out into euphoria. Closing down the A-side is „Fooled Again“, a balearic cut that feels like a day in the sun with it's little synth blips and arps.
On the flip we find the title track „Human Nature“ that might be the hidden jam on this EP. Hard hitting Linn Drums, digital synth bells and those haunting vocals we can’t get out of our heads. Finally we have „Not Long Now“ a perfectly atmospheric deep tune, that sits somewhere between ambient and reggaeton and will make fans of DJ Python more than happy.

In 1976, seven Cabo Verdean musicians going by the name Voz Di Sanicolau gathered in a small recording studio in Rotterdam where they laid down an album of fearsome coladeira songs inspired by the music of their home island of Sao Nicolau.

The album took only a few days to record, which may explain the unexpected urgency that fires each track. Treble-soaked electric guitar lines snake back and forth through percussion-and-cavaquinho driven rhythms rooted in the sound of the islands established by the previous generation of Cabo Verdean emigres; subtle keyboards wash through the background, and the vocals, traded between Joana Do Rosario and To-Ze, alternately push the music forward and soar above it. The resulting album is both deeply felt and fiercely executed, and in its grooves one hears the sound of some of the finest Cabo Verdean musicians of their era locked in complete unity of purpose.

It should have been the beginning of something extraordinary; but the pressures of making ends meet forced the musicians back to their day jobs, and Voz Di Sanicolau vanished as quickly as they had appeared, leaving their lone album, Fundo de Mare Palinha, as sole proof of their existence. Forty-four years later the album sounds as fresh as it did the day it was recorded. It is unknown if dutch sound engineer Frans Rolland, who oversaw the recordings, knew he was helping to make history: during these sessions, Joana Do Rosario, whose majestic vocals were crucial to the sound of Voz Di Sanicolau, became the first Cabo Verdean woman ever to appear on a long playing record.

This is the 4th ep that continues a volume of a 5 ep project. Its own kind of album type edition so to speak. Destination celebrates the drum and bass genre with its own style reminiscent of Aphex Twin and Squarepusher. type programming. It fuse’s eclectic beats with a more common flow of bass licks that cruise throughout the track. With a more psychedelic presence this track offers a complexity of rich sounds that will encapsulate any avid lover of electronic music from the headphones to the dance floor. Bouncy and fun yet with deep exploration of ‘Abstract sounds’ bringing a serious edge, Destination is equipped for any explorer seeking any type of Destination. Then comes Arrival. Not an ordinary piece of music, with the artist expressing themselves from past musical influences, to curve their own piece of storytelling art, through audio sonic means. An inner world reflective explanation can be as follows - An epic piece revealing the adventures of seeking depth, from ones dense conscious reality, tribal like mannerisms, traveling to a higher frequency of light and wonder, breaking through to the heart centre of ones own unique truth. By doing so, welding together the whole aspects of being, Arriving at ones own true balance of self. Reuniting with the dense tribal like self yet with a complete transformative understanding of life and self in relation to life as a whole. Ones outer world of reflective explanation can be this - starting from earth, leaving the tribal terrains of earth based reality, exploring out into the cosmic wilderness, looking back from a distance, witnessing Earths magnificence and enigmatic beauty. Continuing to swim out to the depths of the galaxy to ‘Arrive” at an unexpected splendour unknown to the human consciousness ,to a cosmic giant….. giant what? This remains to be unseen! It’s left to the imaginators discretion of wonder within the experience of the audio sonic delights presented in,….. ‘Arrival’.

Following a high-pressure drop on Sneaker Social Club in 2019, bass-toting instigator Low End Activist steps up with his most expansive release yet.

His sound is a perfect amalgam of elements from the hardcore continuum – at times a dark and malevolent brainstorm of grubby drums dragged through crusty samplers, future-weary textural scrapes, moody splashes of pads and of course bucketloads of crushing subs, lows and low mids all designed to rock you from the waist down. You'll hear spectres of culture past lurking in the shadows – a trip hop skit from a gaunt figure here, a riotous brawl of grime MCs there – and feel the decades of soundsystem absorption seeping off the platters. It's like the LEA reached capacity and these productions were what happened when the sponge got squeezed.

One voice cuts a more prominent figure up front though – the peerless Flowdan, lending some powerful bars to Game Theory. What needs to be said about the Pay As You Go / Roll Deep mastermind you don't already know? His flow is mightier than any sword you care to step with.

Speaking of platters, this particular release marks the first vinyl pressing for Seagrave since the BOA 12" Warp Purpose Vol. 1 back in 2015 (slated for a repress – don't sleep!). It's an occasion worth toasting, building on a powerful and varied catalogue of sub-heavy sonics operating well outside the mainstream in service to naught but the sound, all packaged in a full-colour sleeve. As an expansive double pack of seven sure shots, it's also a fitting document of a subversive operative bringing some devastating angles to the hardcore tradition.

- Oli Warwick.

Gudu Records returns with its fourth release, courtesy of a debut EP from London-based newcomer, JRMS. His music will already be anyone who has caught Gudu boss Peggy Gou's DJ sets over the past couple of years, with JRMS tracks being mainstays of her mixes, including her 2019 DJ-Kicks compilation.

The memorable title track is a percussive, elasticated house delight, blending springing breaks with disorienting rave stabs. This taste for naive melody is further cemented on the loose-limbed 'Shake', while '3' defies it's purely numeric title with gleefully offbeat electro and a shuffling card deck of drums leading forward delicious oscillations. Finally, 'Solo' cruises on with space and sunsets in mind, a rich house journey that underscores both the distinct and versatile promise of JRMS.

* A UK roots / dub classic produced by Nick Manasseh, with Time Unlimited member Orville Smith on vocals.
* Originally released on the Orville's 'Walking on Tightrope' set in 1996, now on 7” for the first time, backed with first-time-on-vinyl-dub version.
* Crucial steppers fodder with ton-weight Manasseh dub.

Don Williams – The legendary Mojuba Don Williams is on fire. No holds barred GTA ride. The Chase. Run for your lives.

Cassegrain – Cassegrain places us in the eye of a mechanical storm. Valves bursting, pressure mounting, compensation needed. Avoid system failure.

ALTER presents a remastered edition of Cremation Lily’s second album, on vinyl for the first time. Recorded whilst living in Hastings and originally released as a double cassette on his Strange Rules label in 2017, The Processes… forms a trilogy of albums in the CL canon that were influenced by the life and atmospheres within British coastal towns. Composed using a rudimentary set-up of synth, drum machine and two modified walkmans, CL draws upon a broad range of influences from the underground electronic music spectrum. Noise, tape music and ambient techno are all referenced and align to form a cohesive collection of tracks, flowing fluidly in sequence. Melancholic synth pads and deep kick drums intersect with crude field recordings and occasional bursts of feedback, evoking a claustrophobic uncertainty that feels more like being pulled under than carried above.

Features additional piano and violin by Theodore Cale Schafer.
Remastered by John Hannon.

Actual Music is a Swiss record label with a focus on Detroit House, Deep House, and Nu Disco. Taking inspiration from the masters of Detroit, the label was started by Alexandre Gazzola & Michel Catanese in 2017.

Alex Mota is a DJ and producer based in Switzerland and as a member of Los Cruzeiros, he released on Crossfontier Audio, Monique Musique and Tenampa Recordings, working with Pier Bucci, Marc Poppcke, Hernan Cattaneo and Nima Gorji.

Here Mota provides us with a diverse four tracker. Opener ‘Senses’ is an uplifting nu disco stomper with nods to New Order with the vocal. ‘Buenos Aires’ fuses Flamenco guitar and Latin flavours a plenty fitting for the most Balearic dancefloor scenes, whilst working itself up into a rhythmic house beat too.

The relentless ‘Chicago’ goes heads down and four to the floor with some well-placed trumpet flourishes. Closing out the EP is ‘Bogota’. Latin flavoured House as the title would suggest, with scattered percussion and cheeky vocal samples.

Rare Brazilian spiritual jazz. Reissue for the first time worldwide from the original master tapes. Legendary sessions produced by Amado Maita. Deluxe Numbered Limited Edition with OBI and thick cover. Recorded Live at S. Paulo in 1982 it was originally issued on Amado Maita’s small indie label in the 80's called Poitou.

Featuring one of the best Brazilian Sax Players, the legendary Nestico and his sister composer, piano player Lilu. Nestico joined several Jazz ensembles in São Paulo, having participated in 1977 in the first Jazz festival held at the Municipal Theater, alongside the musicians Samuel (piano), Nilson (bass) and Caram (drums).

He performed several times in São Paulo with Syncro Jazz group. In 1982 released with the ensemble the LP “Syncro Jazz - Live”, along with the musicians Lilu Aguiar (piano), Peter Wooley (bass), Vidal (sax and flute), Dagmar (trumpet) and Ronny Machado ( drums).

In the repertoire, the songs “Pro César”, dedicated to pianist César Camargo Mariano, “Winter know” and “Black Cock”, all by Lilu Aguiar, “For Guzi” (Peter Wooley), “Cruzan” (M. Santamaria) and Revelation (S. Fortune). The LP contains amazing Fender Rhodes solos in a Heavy Modal Spiritual and Bossa Jazz a la Strata-East & Black Jazz Records.

Ella is the most celebrated of divas, and she dominated the jazz scene for over fifty years, from her first hit A-Tisket, A-Tasket in 1938 to her gradual retirement from the stage in 1989 due to illness. She left her signature on every jazz universe to which she contributed.

The Essential Works 1956-1959 throw light on her talents as a performer of the greatest standards, with songs written by Cole Porter, Irving Berlin, George Gershwin and Rodgers & Hart. Ella succeeded in making popular melodies her own, most often songs taken from musicals that she transformed into as many pearls of vocal jazz.

The four sides of this album bring together the indispensable inner soul of Ella Fitzgerald's recorded work.

A new sub-label of the longstanding Canadian electro imprint Suction Records, Ice Machine — focusing on old-school wave/post-punk sounds — is thrilled to present a new, deluxe reissue of “Pow Wow”, the debut 1982 solo LP from Cabaret Voltaire’s Stephen Mallinder. Now expanded to a double-LP, and also released on CD/digital, it’s a definitive reissue which now includes Mallinder’s early solo discography in its entirety. This collection of mutant dub/funk/postpunk sounds just as fresh and contemporary in 2020 as it did in 1982 (note Autechre’s inclusion of standout cut “Del Sol” in a mix earlier this year), and highlights Mallinder’s crucial contributions to Cabaret Voltaire.

Some words from Mr.Mallinder on the scene and era from which “Pow Wow” was born: “It was an interesting, and inspiring, time. The primal caterwaul of punk was dying and lots of really significant things were emerging from the fires. Much looser vibes were in the air and there was a much more exploratory feel. Punk had championed a visceral, anti-intellectual approach but in truth the real characters brought so much more to the table, and what began to happen - from people like The Pop Group to Throbbing Gristle, and emerging scenes from No New York to Factory Records - is we began to embrace the art of it all. There was acknowledgement of the importance of books, films, graphic art, and experimentation with all those mediums. We were just as interested in turning over rocks to see what lay beneath, as throwing them. There was a sense of new magik emerging.”

“Pow Wow” was commissioned by the Fetish Records label, and recorded at the Cabs’ Western Works studio, where Mallinder would spend his days recording with Cabaret Voltaire, and continue on alone into night recording his debut solo material. “I slept very little in those days,” he adds, continuing: “It was done on 8 track and very multi-tracked, so lots of recording, then bouncing, and overdubbing, to get the integrated feel of the tracks. I became very adept at pressing record then jumping onto equipment to play it - it was actually a very 'live' record in that sense. I've always seen rhythm at the core of what I do so I loved the layering of counter rhythms. The sequence/arpeggiator parts were all drum machine triggers that were played live. It was about creating a distinct groove so arrangements came from weaving in and out of those linear grooves. It was fun to play everything from drums, guitars, keys, trumpet, percussion, tapes… and record and produce it all. Prince got it from me!”

Surprisingly, Mallinder’s first solo LP would also prove to be his last - that is, until last year’s critically-acclaimed solo return “Um Dada”, on Dais.

This new edition of “Pow Wow” contains 14 songs, and is housed in a recreation of the original, iconic Neville Brody jacket, painstakingly recreated using scans of Brody’s original artwork elements. The 2LP vinyl edition is in a reverse board, thick-spine jacket, and adds a 12”x24” folded poster/insert, featuring unused elements from Brody’s original designs, sketches, and instructions for the LP. The CD edition comes in a reverse board, 6-panel digipack.


2-11 from the Pow-Wow LP on Fetish Records, 1982.

13-14 from the Temperature Drop / Cool Down 12” on Fetish Records, 1981.

12 from the Fetish Records compilation The Last Testament, 1983.

1 edit from the Pow-Wow Plus LP on Fetish Records (Japanese pressing), 1984.

Fantastic first album of Tunisian producer Azu Tiwaline, melting psychedelic dub, industrial and hypnotic techno deeply rooted in her berber culture, supported by Lena Willikens, Nicola Cruz, Toma Kami and Violet, to name a few!

Azu Tiwaline is a new name for a new spirit: one of a producer inspired by the need to explore her origins, rooted in the Tunisian Sahara. The Call to a different sound, organic and raw, vibrating in the great spaces of the African desert where trance music resonates... Ecstatic ritual.

Her first album, Draw Me A Silence, conceived as a diptych, reveals the multiple facets of her identity. Uniting the bonds that connect Berber music, dub culture and techno hypnosis, Azu Tiwaline invites us to refocus on our senses and our Nature. She knows how to use contrasts between light and the invisible, exploring the complexity of our emotions and the mystery that emanates from them, in a polyrhythmic chiaroscuro that runs through each one of her tracks, and of which we discover, as we go along, all the outlines.

Draw Me A Silence Part. I (to be released in February 2020), delivers the most hypnotic variant of her music, centered on dark percussive rhythms and a skillful use of repetition; each of the 5 tracks ineluctably carrying the listener into a trance. Two major tunes particularly illustrate the artist's imagination: "Itrik" and "Berbeka", perfectly synthesizing the heritage of Berber trance music and her techniques derived from minimalist and repetitive electronic music.

The continuation, Draw Me A Silence Part. II (to be released in April 2020), gives prominence to a deep heritage drawn from the dub culture and its numerous bass music filiations. This second part thus gives a new breath in the use of sound space, exploited in a much broader way, leaving all their space to complex syncopated percussive lines, supported by massive basslines dedicated to the best sound-systems. Omok, the first of the five tracks of this Part II is the perfect demonstration of this, playing here the essential role of a bridge to the darker waters of this album's end.

Each of these two parts exist as an Entity, and it is only when they are united that they will reveal their full meaning. Thus, in May, Draw Me A Silence will find its final form in a double-vinyl unifying them. Listening to this album in its entirety offers us a wide panorama of the sound landscapes visited by Azu Tiwaline, who seems to breathe primitive sounds of a faraway desert into a music with modern tones - and vice versa. A resolutely hybrid sound and a singular experience, playing with contrasts and nuances to catch the listener in vast and so far unexplored territories.

Steel drum cover of Grace Jones. Steel drum cover of Erykah Badu. Third full length album coming in 2021. Bacao Rhythm & Steel Band is back with another crushing two-sider that is guaranteed to set dancefloors on fire and get heads nodding around the globe. The mysterious steel pan outfit hailing from Hamburg, Germany has become a staple in DJ sets from Europe to Japan, from the US to Brasil, and anywhere else these tunes have found their way to speakers. They have released a slew of classic 7”s and two critically acclaimed full length albums. With that they have set a high bar for themselves, one clearly they intend on pushing higher with this new offering. Side A is BRSB’s take on Grace Jones’ nightclub classic “My Jamaican Guy”. They take the tune to a new height from the first beat, laying down an infectious groove that will get people out of their seats immediately. Heavy duty drums and bass shake the speakers through the intro then the pans reveal what they are covering as they play the instantly recognizable top line of the original. Rhythm guitar, heavily echoed percussion hits, and the different pan sets all combine to make this yet another instant classic from Bacao. BRSB has received a lot of praise for their choices of covers. Occasionally reworking hits, but, most notably pulling the album cut gems from artists typically more championed by the underground. Well...here they go again, covering Erykah Badu’s homage to the late great J Dilla “The Healer”. This is the type of thing to make Spice Adams jump on his kitchen counter and scream. From the instant this comes on, necks will be snapping and faces will scrunch up as they take the original beat produced by Madlib and give it a run for its money. Shaking subwoofers with the eerie tremolo bass they replay E. Badu’s vocal melodies on the pans adding their own flourishes. Glockenspiel plays the downbeat and a clap like thunder keeps the two-step swaying, all coming together to make this another must have two-sider from Bacao Rhythm & Steel Band

Limited to 300 units.

Project founded in Mallorca circa 2015 releasing 'Four Seasons' by the end of that year, it was a digital and musical tribute to nature itself.

Then based in Barcelona on december 2017 came out an EP/Anti titled 'Continental', 41 minutes of pure melancholic weird dreams with crunchy beats.

On may 2019 Diürn presents 'Una Història Hologràfica', one hour of experimental electronic music that expands through downtempo, techno and ambient. The album pushes the sound boundaries further by exploring the consciousness of the unknown.

2LÄRM UND STAHL 2" is a new worldwide radiography of the actual “hidden” scene in dark electronics offering sharp- and crude minimal industrial beats as it's best; the featured bands are 89’s† from Mexico, S.A.D from UK, PALMARIELLO from Argentina & CHRIS SHAPE from Italy. All tracks have been specially remastered for LONG CUT Vinyl by Daniel Hallhuber at Young & Cold Studios!

Sylvia Fagan aka Guardian Angel is the oldest sister of Bevin Fagan which is Matumbi's lead singer. Matumbi was the top british Reggae band from the 70's and early 80's. Bevin Fagan and Euton Jones (drummer and founder member of Matumbi) produced Woman At The Well, the only LP by Guardian Angel in 1980 with a blend of disco, boogie funk, lovers rock and roots reggae. Recorded at Gooseberry and T.M.C. studios (London, UK) in 1980. Produced by Euton Jones & Bevin Fagan. Analog 1/4inch tape transfered at FX Copyroom by Euton 'Matumbi' Jones & Engineer Harvey Birrell on a Studer A810. Mastered and lacquer cutting by François Terrazzoni at Parelies Audio
Visuel. Special thanks to all musicians who made it possible, Dennis and Andy Robinson, Jason and Valerie Fagan, Euton Jones and his daughter Shana Jones, Winston Francis and Dennis Bovell.

Premisession’ pays homage to the pivotal but now defunct Minneapolis warehouse venue “Premises,” of which Craig Lambert aka Midnight Music Club founded, and where Kajunga hosted their rst ever all night party. The EP showcases MMC’s hardware uency with a lavish cruise through mesmerizing grooves and pronounced warmth.

Calling Card creates a welcome invitation to the record with sensual synth lines, paired with the drive of undulating tom rhythms. A New Day evokes the feeling of an acid soirée. Rich emotion and improvisational elegance resonate throughout the track.

Five A.M. starts the B-side off with spring-time air; blooming into a Sunday morning daydream. Private Guy seals the deal by providing a more moody take on A New Day, with melodies weaving through playful percussion.

Midnight Music Club has been collecting records for over 40 years, sharing them passionately for nearly 30 and studying music production for 20. This live artist’s timeless yet distinctly old school sound is reminiscent of early Chicago and Detroit pioneers, with a blend of deep house and techno that is uniquely his own.

He has released on Chicago’s Descendants of the Deep label, as well as Headphoniq and his own self titled outlet. His ‘Premisession’ EP is an ode to the pivotal but now defunct Minneapolis warehouse venue Premises, which he himself founded and which hosted Kajunga’s rst- ever all-night party.

dJ FeedbACK:

“Overall cool 12", Calling Card being my fav on here, the remix is nice as well!” - Kai Alce

“Dope!!!” - Fred P

“This record from Focus is off the chain! Analog funky grooves with real rhythms. Minneapolis coming with it on Kajunga.” - Ricardo Miranda

“Dope EP, A New Day does it for me.” - Roman Rauch

KAJUNGA is a record label, party series and monthly mix series formed in 2015; the result of four Minneapolis artists’ shared love for thoughtful music and unadulterated dance floor experience.

The impact and influence of music of (Afro) Cuban origin has spread from Cuba to the far corners of the world. Its fingerprint can be found through salsa, jazz, funk, soul, hip hop and everything in between. Cuba has an incredibly rich culture of music and dance which is ingrained in its people from birth. With this release we celebrate two compositions by one of Cuba's finest songwriters: Silvestre Méndez.

Here at Rocafort Records we are delighted to serve up two of Méndez's biggest compositions at their finest. "Mi Bomba Sonó" featuring the emblematic Celia Cruz and her explosive vocals over La Sonora Matancera's inimitable pulsating rhythms! On the flip side we have Joey Pastrana's thundering rendition of 'A Bailar Oriza', a funky reinterpretation of one of Méndez's most covered compositions.

Disclaimer: We will not be held responsible for any turntables, dance floors or pants catching on fire! We hope you enjoy this little tribute to Silvestre Méndez as much as we have delighted in putting it together!

In the deepest hour of nightfall, an explosion occurs on the horizon. An explosion so bright that daylight shows, just for a moment.

For the brief second, the landscape is exposed, vulnerable, like the alb of a high priest. 4 figures stand on a stand of gold leaf, staring out into a slow sea of crude oil. Invoke a violence from the sea, they say. The light goes out, and stays out. She Luv It carries in them an energy similar to a ritual of violence that can be heard in the music of Northern Europe as well.

The recording quality is bright with vocals that chug through an almost cassette-like sound. Bent notes harken back to Northern European scenery of "woods" and "darkness", but where they waded into shit politics rather than better music, She Luv It begins on a sturdy foundation of technical skill and intentional sound. Invoke the violence in yourself, stare into the black sea, and scream until your throat bleeds. This is 'She Luv It'.

METAL HAMMER - 8/10 review (October issue) "A genuine album of the year contender...Okkultokrati have blown all notions of what Scando-punk is clear across the Barents Sea. The caustic Hidden Future harks back to their roots, yet its the rousing Ocular Violence - which wouldn't sound out of place on Killing Joke's Brigher Than A Thousand Suns - that proves the real highlight in a LP full of them. Stunning."

ZERO TOLERANCE - 4.5/6 review (Nov/Dec issue) "Like Venom meeting Warfare...Equally rocking and experimental - a rather brilliant balance to strike."

‘Okkultokrati has always been more than being a band, making music, touring and making music. Striving to be something beyond the mundane and trivial. It's an attitude. In defiance. To everyone and everything. To not chase after trends. To seek truth in music wherever it takes you. To be an outsider and an outlaw, even though it makes you a freak. La Ilden Lyse is music for the misguided, the conspiratorial, the unappreciated and unwanted. It's black outlaw metal. It's a beacon in the dark, for desperate times.’ - Dionysiac

La Ilden Lyse is an album of pure, cold, grim rawness. Themes of enduring life, transcending death, worshipping the moon, and triumphant, satanic darkness are all at play here, and the album sounds harder, faster, and more nasty than ever.

No more messing around. Keep it black, keep it metal, all the time.

After much anticipation, our Belgian disco diamonds Rheinzand present their debut full-length album. On their self-titled record, The Belgian trio wraps the human heart in synthetic threads of modular electronic disco. 9 songs writhing on timeless dancefloors, morphing in and out of shapes of luxuriant melody and vivid instrumentation.

The album is full of classic disco and electro sounds, wielded with imposing prowess by multi-instrumentalist Reinhard Vanbergen. It’s both an exploration ofdance music’s electronic genealogy and the vintage cool that has defined its different eras. Still, an organic atmosphere pervades as the blend of real instrumentation fixes a sort of retro-futurism, imagining an alternative timeline that’s a bit more exciting, more sensuous and libidinal, maybe more human, too, than our current outlook.

We start the engines with Break of Dawn, a compelling beat rises from the basement and soon we’re submerged by the pulsing bassline. Dark sunglasses on, we cruise through the night, letting flashing city lights flow into unbroken torrents of color. Blind awakens us, a splash of handclaps in the face, vivid strings and Charlotte’s trademark slick vocals enter the stage. Tantalizing sunbeams power up circuits of electronic synths blipping and beeping away.

Later down the road, we hit the Latin part of town. Porque fits enchanting vocal spells in beautiful Spanish on playful flamenco rhythms. Fourteen Again is a throwback to early electro, playing around with knobs and buttons. An oscillating synth imagines new worlds of plastic emotion. Still disco and still very cool, though. A constant velocity is sustained throughout the album bythis recurring locomotive synth, trudging away beneath the action. Once in a while, we hear the deep, mighty, trembling voice of Mr. Rheinzand speaking to us in incantations. Someone’s pulling the strings here.

On Slippery People, the trio cover the Talking Heads classic in a characteristic procedure of bouncy funk. We’re swirled around by the delirious glasswork of You Don’t Know Me into the hypnagogic funk noir of Strange World. Drifting through the house of mirrors after the fourth mojito.

Obey collects all these threads in a full-bodied future classic disco anthem, before Queen of The Dawn wraps up the show with a sky-bound epic of operatic choirs and ceremonious drums that lands somewhere between Kate Bush’s Aerial and Peter Gabriel’s most bombastic.

Open minded EP opening on a 145 BPM kicker, straight solid and heavy in da bass from Spered... Then comes Ludien with his mental light speed kicks hiding a secret little melodies full of beauty and nostagly... The flip opens with Ito and a solid mental crucher, loud basses and hypnotic hardcore kick. Kebrat finally comes with a broken 165 BPM hardtek tune. Hardfloor loudness ! Fat ! With anonymous style.

yellow & red mixed vinyl

Mike Redman's Deformer project has achieved cult status throughout the years. Known for its extreme, horror infused electronic music and surprising collaborations with groundbreaking musicians, visual artists and film studios, Deformer keeps reinventing its sound while keeping its signature aesthetics. Consistent in being outrageous... with the new record "Inner-Outcast" musical boundaries are being crushed, again with a little help from some heavyweight invitees. On four of six tracks Deformer's fierce breakbeats enter into a deadly duel with the live drums of legendary ex-Suffocation drummer and blastbeat pioneer Mike Smith. Vernon Reid of Living Colour lays down some menacing guitar solos, Body Count's Ice-T provides some threatening words and many more legends are making "Inner-Outcast" an original, intense and above all, an unpolished release. A special appearance is made by iconic Hollywood actor Tony Todd, providing a haunting vocal performance as horror villain Candyman. Oh, and the cherry on top is definitely the amazing cover art by visual artist Ed Repka, known for his classic artwork for legendary bands like Death and Megadeth. With "Inner-Outcast", music journalists may have to come up with a new term for yet another genre, because Deformer's ever evolving sound is more unorthodox than ever...

blue & purple mixed vinyl

Mike Redman's Deformer project has achieved cult status throughout the years. Known for its extreme, horror infused electronic music and surprising collaborations with groundbreaking musicians, visual artists and film studios, Deformer keeps reinventing its sound while keeping its signature aesthetics. Consistent in being outrageous... with the new record "Inner-Outcast" musical boundaries are being crushed, again with a little help from some heavyweight invitees. On four of six tracks Deformer's fierce breakbeats enter into a deadly duel with the live drums of legendary ex-Suffocation drummer and blastbeat pioneer Mike Smith. Vernon Reid of Living Colour lays down some menacing guitar solos, Body Count's Ice-T provides some threatening words and many more legends are making "Inner-Outcast" an original, intense and above all, an unpolished release. A special appearance is made by iconic Hollywood actor Tony Todd, providing a haunting vocal performance as horror villain Candyman. Oh, and the cherry on top is definitely the amazing cover art by visual artist Ed Repka, known for his classic artwork for legendary bands like Death and Megadeth. With "Inner-Outcast", music journalists may have to come up with a new term for yet another genre, because Deformer's ever evolving sound is more unorthodox than ever...

Ragga jungle french label Psychodynamic continues his crusade to the loud master sound !!
Inviciting Chopstick Dubplate, Mr Williamz, Cutty Ranks, Dub Pistols... bloody bigh fat sound here !!

In 2015 US soul, boogie and disco legend Jay W. McGee teamed up with Hamburg producer, multi-talented musician and DJ Julian "Mzuzu" Romeike to record McGee's comeback album "Good Feeling". Even though both artists are from two totally different generations, they got on so well with each other after the official re-release of Jay W. McGee's classic 12inch "Turn Me On" on Légère Recordings two years before that they started to write and record together. After all, it was Julian "Mzuzu" Romeike himself who made Jay W. McGee return to the music business after nearly 15 years of silence.

The creative process did not stop with "Good Feeling": "We now have a brilliant combination of fresh songs. Many different accurate beats and of course Jay's incredible writing and singing skills," says Romeike. "I feel that it's a great combination of dedication, skills and talent which made this album possible. I work on some grooves and hooks for Jay, he picks the ones he likes and returns a proper song with vocals and arrangement. My production team, The Unbelievable Two, then work on the final mix."

"Smooth Crusing" hints towards McGee's classic late seventies sought after sounds like "When We Party" with the first "Uptwon, Downtown". The album also includes some reggae touches and smooth soul excursions. "It is such a big pleasure to work with these guys as everything works perfectly together," comments a happy Jay W. McGee. "It has all the ingredients for a classic album. It's funky and soulful, recorded in a unique modern style. We have a tribute to the good old funky music with 'Old School Love'. A lover's rock orientated tune with 'Chance I Have To Take' and some kind of up to date Afro-Disco-Soul with 'Bounce Back To Me'. And of course, 'Smooth Cruising' is full of funk!"

Telfort’s seductive sound returns with three new cruise missiles from the faultless producer. Deep house done with a dazzling expanse, his imaginative and charismatic influence on the genre have previously piqued the attention of the more creative DJs and diggers who’ve dug the producer’s umami-esque palette: intangibly savoury, hard to define but unequivocally tasty.

On his fourth release via the sporadic yet impactful TLFT imprint, the producer retains his playful touch as he delivers three bright, optimistic dancefloor vistas that shimmer and shine like sunbeams off a dappled ocean. “As Though It Were” immediately injects energy and light into our minds and bodies with its candescent bass riff and catchy three note melodies. Synth-strings are arranged with perfection, hinting at a brave New World full of compassion, love and unity; while its driving and buoyant beats urge us into a hips’ n ’shoulders workout comparable to a high-octane gym session.

“It’s A Phase” is as finely crafted a piece of Telfortian house as one can hope for. With a direct and rugged B-line, peppered with light perx and decorated beautifully by one of Telfort’s trademark, textural synth patches. It’s further garnished by a dreamy, weaving lead solo that should draw heartfelt feelings of desire and nostalgia out of all who experience it.

“MSR Dub” completes the session and deep bass plumes and breathy flute melodies give us Big feelings as we floor the speedboat’s accelerator and splash across the rollers and swells at max speed. Achieving a tranquil and calming terminal velocity, time appears to stand still as gorgeous scenery rushes past our eyes. It’s a picturesque and evocative end to the trip which should etch itself into one’s memory hole, full of jubilant and joyous sentiments and overwhelming positivity throughout.

Evoking ambrosial notes and feels throughout, reminiscent of spending life affirming time with top friends in exotic locations and holiday house music splashing in corals. You only live once; ensure it’s spent enjoying tunes like these loaded with carefree abandon. Telfort’s In A Good Place right now…

Presented by Mitsuko & Svetlana Records, distributed by WRWTFWW Records.

A golden era gem from the master himself.

Archival reissue of long lost treasure from genius pianist and composer Masahiko Satoh whose resume includes hundreds of legendary albums and collaborations with Midori Takada (Lunar Cruise and Ton•Klami) among many others.

Very rare soundtrack of a 9-episode suspense drama that aired on TV in 1969 and 1970. Filled with exquisite jazz, soul-jazz, folk-jazz, and mystery-jazz, plus groovy affairs, classical moods, and 70s flair.

Highly recommended to Japanese jazz collectors, soundtrack collectors, Masahiko Sato collectors, lovers of rare gems and wearers of vintage trench coats.

All compositions and arrangements by Masahiko Sato
Masahiko Sato: piano, keyboard
Yoshiko Goto: vocal
Kiyoshi Sugimoto: guitar
Kunimitsu Inaba: bass
Yasuo Arakawa: bass
Akira Ishikawa: drums

Originally released in November 1970 as an LP on Toho Records (BL-1001)

Who put the dance into Factory Records?”

Be With would like to refer you to FAC 59.

Working with founding member Tony Henry, we’re honoured to present the reissue of 52nd Street’s crucial debut single “Look Into My Eyes”, backed with “Express”. Originally released on Factory Records in Summer 1982, this ultra-rare 12" is a double-sider in the truest sense. Unrivalled Manchester jazz-funk-boogie-soul.

Both “Look Into My Eyes” and “Express” came out of a five day recording session in the spring of 1982 at Revolution Studios in Cheadle Hulme, just outside Manchester. Rob Gretton had just signed the band to Factory, snatching them from under the noses of RCA and WEA Records who had been sniffing around and seemingly ignoring Tony Wilson’s concerns that Factory might not be the right home for a black soul act. Rob clearly thought different.

The band of Tony Henry on guitar and vocals, bass player Derek Johnson, drummer Tony Thompson, lead vocalist Beverley McDonald and John Dennison on keyboards were put in the studio with A Certain Ratio’s drummer Donald Johnson producing the sessions. The band also found themselves with an interesting new member.

The back cover of the finished record credits synth F/X to a mysterious “Be Music”. Turns out that’s Bernard Sumner. Yes, that one. Tony Henry explains that bringing Bernard in was another part of Rob Gretton’s plan, “Barney was a real soul boy at heart and had always wanted to produce and work with black artists… with 52nd Street, he was an honorary member”. The results suggest he fit right in.

“Look Into My Eyes” squeezes so much aural pleasure into one side of a 12" single. A strutting, rich, soul-gliding funk with bass and guitar high in the mix above twisted, bubbling synths. Like Nile and Barney drenched outside the Haçienda that first summer. How can something be this liquid loose whilst sounding so, so tight? The hypnotic, naïve-cum-insouciant vocals from McDonald, backed by her fellas, only add to the track’s charm. Put simply, it sounds like nothing else.

On the flip, “Express” is sheer drama on wax. Tony’s opening lesson in good manners (“Excuse me miss, is this seat taken?”) sees us strapped in for a wild, chaotic, rhythmic ride. All bold keys, synth brass blasts, insistent bells and a galloping groove giving *that rush* atop a bassline to die for. No surprise it was a Frankie Knuckles favourite. Blistering heat.

The 12" was Paul Morley’s single of the week in the NME but his approval did little to get daytime radio play or to sell the record when it was released. It probably didn’t help that, in Tony Henry’s words, Factory were a label “notorious for not promoting their bands, not wanting any communications with the written press and not answering their office phones.” It came and went with none of the fuss that music this good deserved.

But in the near-40 years since they were released, these two tracks have gone on to become cult underground hits for those in the know. Of course that means those original 12"s have gotten rare and pricey. So here’s your chance to own this particular piece of post punk Factory Records funk.

But this record isn’t just a vital slice of Manchester soul history. Tony’s not shy about just how important he thinks the collaboration between 52nd Street and Bernard Sumner was: “this worked out quite well for us in the band but even better for New Order and Factory Records as Sumner studied grooves, rhythms and how to write and construct funk and dance music from 52nd Street and producer Donald Johnson”. You just have to listen to Blue Monday to hear what Bernard did when he started putting what he’d learnt into practice.

“Look Into My Eyes” and “Express” come from a chapter of the history of Factory Records that no-one seems to have gotten around to writing. Working with Tony to reissue the original 12" is the start of putting that right. The story of 52nd Street is more than just a footnote.

DJ Die Soon is a local legend and ongoing inspiration in the Berlin underground electronic music scene. Remaining largely unknown outside the city, with only a handful of releases and appearances to date, the man behind the mask delivers truly freakish beats built from chaos driven crushed drums and eerie horror style basslines.

KAPPA SLAP wrenches the Morphine catalog by the neck, takes it off it’s feet and slams it back unsteadily in front of the fans who loved the Container, Metasplice and Hieroglyphic Being output of the label. DJ Die Soon delivers extreme work here. The album is a mixture of instrumental pieces and vocal tracks featuring the talents of five contrasting MC's. Three Ugandan lyricists feature: there’s MC Yallah, with whom he worked during a residency for the Nyege Nyege Festival , Lord Spikeheart from the Duma hardcore pressure band, and the mighty ECKO BAZZ. Long time friend and collaborator Infinite Livez (Ninja Tunes) appears on the cosmic & eccentric Ranthworth, and finally there’s Japan’s MA, who recently dropped the incredible AMA album on the label. Incidentally, the pair (both Japanese) decided to collaborate after acclaimed performance at the Morphine Showcase Berlin’s Berghain in 2019.

KAPPA SLAP contains a lot of our favorite sounds all in one album. Stunningly, DJ Die Soon manages to paint the Morphine picture in one hard stroke.

Artwork courtesy of Lorenzo Mason Studio