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An outstanding raga-like drone lp with a distinctive cosmic vibe, Futuro Antico was a short living collaboration between the two italian Walter Maioli (Aktuala), Riccardo Sinigaglia and Gabin Dabiré (from Burkina Faso). The synthesis between ancient, ethnic and analog electronic music is just perfect, the minimalist repetition with slight changes gives associations of a slow growth; cyclic repetition gives the listener an opportunity to discover the sounds, to meditate, to go into the music, join the same journey trough ancient, primitive cultures and modern electronic soundscapes.Originally released in 1980, the sound is completly analog and warm, this reissue maintain the first tape artwork + info and photos.

Basque artist Elena Setién shapes the ethereal
into the immediate on the stunningly pristine songs
of ‘Unfamiliar Minds’. Her command of melody and
resolute voice are complemented by lush
arrangements that surround the listener in a world
of intimate beauty.
 Setién is an accomplished multi-instrumentalist,
collaborator and improviser, having worked with
artists like Mary Lattimore and Steve Gunn, as well
as composing for film and television.
 On ‘Unfamiliar Minds’, Setién reflects on isolation
and confusion and harnesses uncertainty with
optimism on ten ghostly wonders that capture
ineffable feelings in radiant detail.
 Produced by Xabier Erkizia, with whom Setién also
composed ‘Mirande’ and the soundtrack for
‘Altsasu’, a 2020 Basque TV miniseries.
 Mastered by Denmark’s RedRedPaw Mastering
(Oh Wonder, Colleen).
 LP with full colour inner sleeve and lyrics plus
digital download card.
 “Her songwriting invites curious listeners in, adding
texture and complexity where we may not have
found it ourselves.” - Pitchfork
 “Confident and auspicious... Setién masterfully
creates a musical space to cultivate social
progress.” - PopMatters (9/10)

The album ‘Romeo’ explores Sega Bodega’s relationship
with his fictional girlfriend, Luci (after Lucifer: bringer of
light), who is a being made entirely from light.
 Featuring some of Sega’s best production work to date,
with a few real sonic curveballs. His vocal performance
is brought more to the forefront than ever before.
 The album shows Sega really coming into himself as a
multifaceted artist and independent great after a couple
of years of building a solid core fanbase and producing
for some impressive names in the alternative space
(from Shygirl to Caroline Polachek, for instance).
 ‘Romeo’ features guest appearances by acts including
Arca and Charlotte Gainsbourg.
 Previous press support for Sega comes from Dazed,
L’officiel (cover), Fader, Office Mag, NME, DIY, i-D plus,
at radio, Annie Mac (Radio 1), Matt Wilkinson (Apple
Music 1) and Nemone (6 Music) have previously
championed Sega’s work.
 Born in Ireland, raised in Glasgow and now based in
London, producer, performer and labelhead Sega
Bodega - aka Salvador Navarrete - has built a reputation
as being one of the UK’s most innovative and precocious
creative minds.
 Inspired as much by his close network of peers as his
love of cinematic soundscapes, Sega has made impacts
spanning across music, fashion and film, soundtracking
some of the most important cultural moments in recent
years, as well as building a catalogue of prolific and
critically acclaimed solo releases that traverse genre,
style and composition.

Following the immense critical acclaim of Siti Muharam's album 'Siti of Unguja', On The Corner release a limited run of 500 transparent vinyl. Crowned Album of the Year 2021 by Songlines, 'Siti of Unguja' was also selected The Guardian's Global Album of the Month, The Wire's No.1 Global Album and included in best albums of the year lists in NPR and The Vinyl Factory.
Siti of Unguja tells the story of pioneering women, of the ‘golden voice’ of Siti Muharam, heiress to the singular legacy of her great grandmother, the mother of taarab, Siti Binti Saad.

On the Corner teases this first taste of a landmark recording that the label embarked upon two years ago on Zanzibar. Siti of Unguja has a transformative atmosphere, brimming with romance, passion and protest.

Zanzibar is an Island archipelago that lies 6 degrees South of the equator and 30 miles off the East African coast out in the Indian Ocean. Known for its spices, traditional Dhow sailing boats and being a mercantile trading capital of Swahili culture.

The modern history of Zanzibar can be animated through the life and legacy of one artist, Siti binti Saad. Born in 1890 in the small fishing village of Fumba, on Unguja (Zanzibar’s largest island), she became the first Zanzibari recording artist and her recordings sold in tens of thousands across the swahili world.

Double BLACK Vinyl, Gatefold sleeve, DL card. René Laloux’s celebrated 1973 sci-fi animation ‘La Planète Sauvage (Fantastic Planet)’, is overhauled with a re-imagined soundtrack by electronic modernists Stealing Sheep and legendary sound innovators The Radiophonic Workshop. This exclusive release is part of Fire Records’ re-imagined score series. “No institution has had a greater impact on the development of electronic music than the BBC Radiophonic Workshop.” The Vinyl Factory. It’s a real pre-Avatar conundrum that Stealing Sheep, with the help of Bob Earland, Dick Mills and Roger Limb from the Radiophonic Workshop, unravel. Creating an ethereal excursion that’s narrated by Roger Limb; like a futuristic Martin Denny, or Dr Who gone ambient techno, with a hint of Forbidden Planet 50 years on. It’s an analogue swirl set in an off-world paradise; a field recording from the future. This is a creative, generation-spanning, union brought together to score this unique cult film. A must for fans of psyche electronica and Stealing Sheep’s formidable ‘Big Wows’ album. “Stealing Sheep devour a broad range of styles, incorporating everything from the dark dance-pop of Grace Jones to the experimentations of Radiophonic Workshop pioneer Delia Derbyshire and John Carpenter soundtracks.” The Guardian // ‘La Planète Sauvage’ is a thing of ambient beauty punctuated with electronic earworms that switches from intensely ominous to otherworldly dream like moments.

On August 27th 2021 The Third Sound released their fifth album ‘First Light’ on Fuzz Club Records and it is now being given a second pressing after selling out upon release the first time aorund. Dealing in a hypnotic blend of neo-psychedelia, post-punk and new wave, The Third Sound is a Berlin-based band led by the Icelandic musician Hákon Aðalsteinsson, who is the guitarist in Brian Jonestown Massacre and formerly played in the cult rock’n’roll outfit Singapore Sling. A mainstay of the European psych underground in his own right, not just through his collaborations with the likes of Anton Newcombe and Tess Parks, The Third Sound has been Hakon’s primary solo endeavor since the release of his self-titled debut on Newcombe’s A Recordings a decade ago. Arriving following 2018’s ‘All Tomorrow’s Shadows’ LP, ‘First Light’ marks an evolution into a brighter and at times uplifting sound. Marrying moments of light and dark, the result is The Third Sound’s most dynamic full-length to date. Talking about the album, Hakon said: “This album is definitely less gloomy than the previous one, although some ghosts from the past are lurking in the background. We always try to make something new on each album and never make the same album over again, but this feels like an even bigger change than usual, especially regarding the mood. Something new is beginning although the past is not forgotten. I think the title, First Light, describes the overall feel of the record pretty well.” ‘First Light’ is the fifth full-length from The Third Sound and arrives off the back of 2018’s ‘All Tomorrow’s Shadows’, 2016’s ‘Gospels of Degeneration’, 2013’s ‘The Third Sound of Destruction and Creation’ and their 2011 self-titled debut. With Hakon Aðalsteinsson leading the group on vocals and guitar, the rest of the band is currently comprised of Robin Hughes (Guitar / Organ), Fred Sunesen (Drums) and Andreas Miranda (Bass). With a number of European tours in tow, the band have previously shared the stage with the likes of the Brian Jonestown Massacre, The Warlocks, Singapore Sling, Crocodiles, Clinic, Tess Parks and more.

“Sunlight to blue … Blue to blackness” - This was one of the more upbeat title suggestions for the very bare, back to basics, reflective album from The Durutti Column. Originally released in June 2008, Sunlight to Blue… was a conscious response to the previous two polished and ‘studio-based’ releases. Here he created some sparse, simply beautiful 'sketches' as he once called them, more reminiscent of his work from the early eighties. Many of the pieces are instrumentals played on his Juan Montero flamenco guitar, and he returns to 'Without Mercy' for the last track 'Grief' whilst reinventing 'Never Known' from LC. Now, for the first time, the LP is available remastered and re-packaged as a gatefold double 12” 180gram vinyl release.

This album also saw the debut of the then talented young pianist and singer, Poppy Morgan, who co-wrote the melancholy Ananda as a duet with what Reilly dryly called 'intrusive guitar'. For the uninitiated, Vini was the first artist signed to Manchester’s influential Factory Records, co-wrote and played on Morrissey’s first solo album ‘Viva Hate’, and was heavily featured in the Manchester music culture film, ’24 Hour Party People’. Vini Reilly has recorded under the name The Durutti Column since 1978 and has a rich portfolio of work, releasing over twenty albums in this time. Ever critical of Vini’s voice, but ever a fierce champion of his talent, the late Tony Wilson would surely appreciate this return of The Durutti Column.

For 20 years the Tuareg culture and music has fascinated the world. Their quasi-sacred poetic songs inspire western songwriters like KURT VILE or JOSÉ GONZALEZ, while the virtuosity of their guitar playing fascinates guitar heroes like JIMMY PAGE, and finally the spirituality and meditative hypnotism impresses electronic music producers like FOUR TET.With two albums, IMARHAN has become an emblem of the new Tuareg generation, breathing new life into “Assouf”, the desert blues.

While most of current Tuareg productions are exiled to the United States, the group, led by Sadam, is part of their culture and their city, the capital of the Tuareg people, with an open door to the desert. By building their own studio in Tamanrasset Aboogi, Imarhan become the spokesmen of the young Tuareg lost generation (forgotten by Algerian, Nigerian and Malian governments).With their new album Aboogi, Imarhan manipulate the rights and ancestry of the Tuareg. By inviting the legendary Mohamed At Itlale aka Japonais (who has since, sadly, passed away) and the genius musician Abdallah Ag Alhousseyni, IMARHAN follows the heritage of TINARIWEN, the godfathers of Assouf. When they recorded with GRUFF RHYS of the SUPER FURRY ANIMALS, their brilliant and universal songwriting takes on every sense of the word. Finally, by inviting the Sudanese singer Sulafa Elyas, we understand that IMARHAN is open to all of Africa, defenders of the Tuaregs but above all spokesperson for the new African generation.

AVA. Records celebrates its 10th anniversary with 52 artists. “10 Yahre” is a 4LP compilation housing 22 tracks, a printed 30 pages magazin and a mixed CD. All wrapped in a custom made silkscreen sleeve, also including a textile keychain and stickers. Sonically spanning from ambient to techno, 10 Yahre carries new and exclusive material, all woven around the label’s decade focus on dance floor culture, started 2011 in Cologne, Germany.

The 4LP vinyl includes music by: Am Kinem, Andy Hart, Axel Boman, Cinthie, Damiano von Erckert, Dman, Dogpatrol, форм, Jürgen Ratan, Jus-Ed, Lauer, Lowtec, Move D, Paingel, Paradise Grey, Retrogott, Robi, Ron Trent, Sinoesin, Tito Wun, U-I, Will Saul and Wolfey.

The mixed version of the entire compilation is contributed by Sally C.

The full color magazin and video includes works by: Alina Bader, Andy Kassier, Angel, Anna Beil, Ata Macias, Bailey Keogh, Damiano von Erckert, Dirk Jeans & Lou de Bètoly, Funkycan, Guido, Jana Marei, Jana Maria Dohmann, Joana Pratschke, Johannes Wohnseifer, Juri Bader, Kuchenbaum, Manuel Fischer, Maria Sécio, Martin Fengel & Public Possession, Mathias Schmitt, Maximilian Schweizer, Michael Satter, Naum Hirsl, Nicolas Wenz, Peter Wolff, Rein Vollenga, Rucksack Leer, Stelan Mergenthaler, Suzanne Caroline de Carrasco, Twit One and Yves Taron Harouche.

Compiled by Juri Bader and Damiano von Erckert, mastered by Enyang Urbiks. Design and concept by DVE 1989.

The original 7-inch versions of these two tracks by the cult vibes man. The A-side is a long-time jazz dance favourite, whilst its flip is a furious soul dancer.

'The second pressing of Mountain Caller's debut album 'Chronicle I: The Truthseeker' is limited to 500 copies, cream vinyl housed in a single sleeve with printed inner, plus a full download.' Mountain Caller are ready to engage hyper-drive and launch their debut album into the riff time continuum. Mountain Caller are El, Claire and Max and hail from London. They describe themselves as a heavy progressive instrumental three-piece, who are driven to tell stories with music and want listeners to conjure up cinematic scenes in their minds. And that they do … in spades. If one needs a sonic ballpark, think the infectious jamming of Elder and the dynamic cinema-scapes of Mogwai, underpinned by the mantric riffs of Sleep. A rich amalgam of Progressive Rock, Post Metal and Doom. Nevertheless, Mountain Caller do succeed in weaving their own unique spell. The band are already buzzing, pricking up the ears of those in the know, and now after two years honing their chops with a clutch of immersive live performances under their belts (including a slot at Desertfest) Mountain Caller are ready to bring you their debut album. Chronicle I: The Truthseeker. Recorded in January of 2020 at No Studio in Manchester by producer Joe Clayton of Pijn, and mastered by Magnus Lindberg of ‘Cult Of Luna’. For the band, it’s a labour of love; the fruit of three years of jamming, crafting, and conceptualising; a collaborative piece, where each instrument takes centre stage, within a heady mix of chasmic riffs and panoramic, reflective soundscapes. Chronicle I: The Truthseeker is a feminist allegory created in tandem with the music. As the band describe it … In The Truthseeker, we join The Protagonist at the edge of the Twilight Desert, compelled by an indefinable but urgent need to set forth on an Odyssean journey to rediscover her memory and her voice. Over the course of 42 minutes, we travel from barren wastelands to mysterious cities, encountering trials of both body and spirit. It is indeed a 6 track instrumental journey. Full of winding roads, brooding valleys and strange encounters, all vividly evoked by a canny grasp of dynamics, melody and heavy, but hooky riffs, executed with peerless playing. 'Journey Through The Twilight Desert' opens the album in soundtrack mode, and develops in weight and riff (as if Goblin have taken up the baton) and closes in a full wide screen Mogwai trip .... and that's just the opening track. Elsewhere Mountain Caller pushes to noisier, heavier groovier places. Whether it’s the chiming guitars on the Krautrock/post-rock groove of 'I remember Everything' or 'Trial by Combat' and its doom meets Deftones vibe. To album closer 'Dreamspirals' with its melodic hooks and huge earworm riffs, it’s an album that more than stands up to listening on repeat as there plenty to discover.

Unrelenting but utterly charismatic across four tracks, Valerie Ace's debut EP blends her lived experience intertwined with today's increasingly complex politics of club culture with a thirst for experimentation, unpicking and subverting the strains of toxic masculinity that still run deep through contemporary culture. This is first-rate dancefloor discourse with little room for chin-stroking.

Life is slowly but surely returning to “normal”. From festivals to clubs,
many countries have begun to allow cultural events to take place with an audience again. It feels great - if occasionally still unfamiliar - to
rediscover and experience the way we used to live, love and party.
Janefondas’ new release “French love” is the perfect dancefloor weapon for this year’s summer season. This disco-house tune is driven by optimistic, uplifting vibes and funky guitar riffs. Strings full of desire and a touch of melancholy put smiles on faces whenever and wherever it gets played. Fortunea Records is proud to contribute this little treasure to the summer season of 2021.

"Ode To David”, the B-side track, rolls out darker vibes. It´s a thrilling
house tune that combines raw, crunchy disco-loop filter madness and
acid elements that let you forget the sorrow of the past.
Have fun this summer, be respectful, and stay safe.
Yours truly, Fortunea Records team.

This Release is limited to 300 vinyl copies.
Strictly no repress!

The ninth album in BBE Music's J Jazz Masterclass Series presents ‘At the Room 427’ by Koichi Matsukaze Trio Featuring Ryojiro Furusawa, a rarely heard exemplar of post-modal power bop and free jazz. Delivered by a trio playing with an intensity and energy that draws on classic Eric Dolphy and mid-era Coltrane but definitely with its own particular vibe, At the Room 427 is an exemplar of febrile improvised jazz that could only come from Japan. This deluxe reissue sees a welcome return to the J Jazz Masterclass series for saxophonist Koichi Matsukaze. Originally issued in 1976 on the cult ALM label, At the Room 427 is the debut album from one of the most exciting and forward-thinking instrumentalists to emerge in the mid 1970s. Matsukaze's distinctively angular, deconstructive style adds an unpredictable quality to the session that is balanced by the muscular bass of Koichi Yamazaki and the kinetic drumming of Ryojiro Furusawa, who provides a sound footing for Matuskaze’s fiery solos and free-form chemistry. The album opens with the epic Acoustic Chicken, a 20-minute tour de force of dynamic and explosive interplay. Featured on J Jazz: Deep Modern Jazz From Japan volume 3 and written by Furusawa, Acoustic Chicken's strong melody lines and scorching sax finely mesh with the driving rhythm section. Furusawa’s Elvin Jones-like rolls and batteries of percussion are underpinned by Yamazaki’s driving and rounded bass. At the Room 427 also includes a radical deconstruction of the Billie Holiday classic Lover Man and three more original compositions by Matsukaze. The album was recorded live in November 1975 before a small audience in – as the title states – Room 427, a classroom in Chuo University, the alma mater of both Matsukaze and Furusawa. However, despite the rudimentary surroundings, the recording by Yukio Kojima, founder of ALM, manages to give the listener the feeling of being in the room itself, up close to the band, bristling with an intense energy. This reissue of a long-lost rarity of post-bop/free playing maintains the exceptionally high standard set by the previous releases in the BBE Music J Jazz Masterclass Series. As with all releases in the series, At the Room 427 comes with full reproduction artwork and extra sleeve notes, with artist interviews and biographies. The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.

Cardinal Fuzz are pleased to announce the new LP from Mienakunaru – ‘Blood Sun’. After Mienakunaru's debut brain crusher 'Lost Bones Of The Holy Butterfly' that came via esteemed label Drone Rock Records (and reissued in the USA via Echodelick) - Cardinal Fuzz and Feeding Tube Records bring you 'Blood Sun' - A ferocious throb of of 3 people losing themselves in the beauty of fuzz, sizzle and noise.
Mienakunaru are a throbbing face melting power trio made up of Mike Vest, Junzo Suzuki and Dave Sneddon and if we were to write up the list of bands these artists have been involved with there would be no room to write more – Just believe me when I say that the list reads like a who’s who of cult underground hardcore and psychedelic bands. For those that may not have been listening to anything associated with these leviathans of heady, psychedelic noise – What we have here is fuzz drenched, waster infused and pounding like jack hammer freak-outs. Over four tracks of which the title track takes up the whole of one side you are treated to forty minutes of heavy cosmic amplifier worship, where the hypnotic nature of the music created within, unfolds and time and space begins to distort. Prepare to have your body shaken as Mienakunaru lay waste.

One of the promoters and DJs behind South London party Big Dyke Energy, Elliott is part of a new wave bringing contemporary queer energy and attitude to clubland. Following an EP on Kouncil Cuts as one half of Faff, working alongside Ornography, ‘Transcendence’ marks their debut solo EP.

If you’ve ever wanted to hear more acid in garage, the epic bubbling 303 breakdown of two-step opener ‘Tender’ answers your prayers, its ghostly lead out-emoting even Four Tet. ‘Loose Tooth’ then lands in clubbier territory, dubby rave synths again deployed with a canny melodic ear.

On the flip, ‘Metamorphic’ is noir electro, UV bleeps and infrared bass cutting through its heavy, murky atmosphere. Working her trademark magic on the remix, Naive boss Violet bumps up the tempo, turning in a cut of booming, bottom-heavy machine-funk, a dub siren and half-time section nodding to the influence of UK rave culture.

Tape

The Forbidden Dance label is marking their first year of existence and with already top-notch names (Vick Lavender, Alton Miller, The Mechanical Man) with the first three releases, they are celebrating the one year mark with another global gem, disco and house finest - Ilija Rudman!
Where Wild Horses Go is conveying an unquestionable sense of 80's electro and synth boogie filled with smooth and heavily reverberated rhythmics drenched in strong snares. Aligned with catchy and spaced-out disco pads, the album is riddled with ever strong analogue elements processed in a light, quirky and summerish way but with enough groove in some tracks easily applicable on the dancefloors in the late hours.
Dead Horse Gang is a brainchild music band/brand by Ilija Rudman dedicated to cinematic dance concept laying on the Los Angeles funk attitude, Art Of Noise perception of sound and raw 12-bit grooves making a statement of mid 80's culture with surf vibe of California summer.
"Dead Horse Gang Music is more than music, it's a way of life, a way of thinking, a path to a maximum freedom of the one, who can accept it."
-Ilija Rudman

Gwendoline, is a duo-antihero of the Rennes indie scene. Sensitive loosers and jaded start-up nation greats, Micka and Pierre shape their own style, a dark shlag wave in a percussive and poetic spoken-word style, with counter discussions as their primary source of inspiration, looking at those around them. Between fatalistic lyrics, self-deprecation, sarcasm and bitterness of the world's mediocrity, their sincere cold-wave is the symbol of a disenchanted youth and the perfect soundtrack to protest.

In 2017, they recorded their first album by locking themselves up for a fortnight to compose everything in one go, feeding off their daily environment in Rennes, numerous evenings spent at the bar and the anxieties of our time. At first self-produced on Bandcamp, this album "Après c'est Gobelet!" is pressed in confidence on vinyl in June 2020 on the Spanish indie label Dead Wax Records, whose stocks run out before the end of the year and which is now unavailable in France.

At the end of 2020, Gwendoline has also seen the doors of the Trans Musicales open to her, a favourite of Jean-Louis Brossard, for a live show at the Ubu, captured by FIP & Culturebox and accompanied by Maëlan and Romain, their stage accomplices.

Written without pretension and ambition, the duo is surprised by the interest shown in the project, between their programming at the Transmusicales, and the feedback from the press including major international media (KEXP, France TV, Les Inrocks, Post Punk Magazine...).

A video clip was released in April 2021 to illustrate one of their flagship tracks, the heady and heady "Chevalier Ricard", which was also a favourite of Franck Vergeade, music editor of Les Inrockuptibles (January 2021).

Gwendoline is the project from Micka (a.k.a. Mikoune) and Pierre (a.k.a. Daniel).

Based in Rennes, musically influenced by the classic cold wave which originated in their country, precarious and aimless, they shape Gwendoline to their own image.

Pure DIY ethics, quick recordings at their home studio.

Dark lyrics, self-mockery, criticism, sarcasm derived from the world’s mediocrity.

This release is a special one; a moment where the two halves of the Mr Bongo record label unite, our heritage re-issues and our contemporary artists roster.

Minoru Muraoka’s 'The Positive and the Negative’ is a firm favourite at Mr Bongo. It sees a master of the shakuhachi, a traditional bamboo Japanese flute, flex his prodigious skill resulting in a unique mix of breakbeat jazz and Japanese folkloric music. 'The Positive and the Negative’ featured on the 1970 'Bamboo’ album, which Mr Bongo reissued in 2019. Heralded by DJ Shadow, Cut Chemist, Egon, and many others. The record’s cult status had us thinking how could we pay further homage to a sublime track such as this. The opportunity came to us in an email from Melbourne’s Surprise Chef with a link to the fabulous reinterpretation of the track which they had just recorded.

"Minoru Muraoka’s ‘Bamboo’ LP has long been a fixture in our record bags, mostly for the killer shakuhachi funk cut The Positive and The Negative. The record is possibly our favourite from Mr Bongo’s extensive catalogue of reissues, and certainly the most influential to Surprise Chef; The Positive and the Negative’s cinematic atmosphere paired with the wonky drum feels and dramatic performance makes it a near-perfect amalgamation of what we try to capture on Surprise Chef records. We’ve borrowed an element or two from the tune over the last few albums (such as the percussion on ‘The Limp’), so it felt right to go head first into reinterpreting the entire track for ourselves. We recorded the tune in Karate Boogaloo’s attic studio with our man Henry Jenkins at the controls and Hudson Whitlock on percussion. We spent an entire day trying to get the take; we felt such a deep responsibility to capture the intensity of the original, we must have done 20 or 30 takes before we were finally happy. We stuck a fork in it late into the night, satisfied that we’d had our best crack at paying homage to a masterpiece by the great Minoru Muraoka.” - Surprise Chef

Forged in their signature sound, "The Chef" have made 'The Positive and the Negative' their own whilst simultaneously treating the original with utmost respect. The shakuhachi and koto have been replaced by synths and guitars, but the breakbeat psychedelic vein flows richly through both instruments

The 7" vinyl format was the right fit for this release, so the original Minoru Muraoka recording which clocks in over nine minutes has been edited into a 7” version to accompany Surprise Chef’s new take.

Copenhagen based label Escho release “Escho 15 år: Burgers for my new life” - an extensive compilation of exclusive material for their 15th anniversary (2005-2020). The compilation gathers music by all the currently active artists of Escho - both Danish and international - 27 artists in total. Contributing artists for the compilation are (in alphabetical order): Anders P Jensen, August Rosenbaum, Astrid Sonne, Baby In Vain, BishBusch, The Bleeder Group, Bona Fide, Collider, Dane TS Hawk, Eric Copeland, Excepter, First Hate, Gullo Gullo, Homies, iB101, Iceage, Joanne Robertson, Kh Marie, Liss, Puyain Sanati, Small White Man, Smerz, Søren Kjærgaard, Thulebasen, Varnrable, Yangze and Ydegirl. About Escho and the compilation: The Escho sound was born 15 years ago in small apartments around Enghave Plads, a slightly run-down square at the west end of Vesterbro, Copenhagen, past the kebab shops and the porno shops and the drunks. A few years earlier, as teenagers, several members of the Escho crew had made extremely strange, crisp metal in a very popular band. Escho was a promoter and booking agent as much as it was a label in the early days. They put on small shows to foster and hype the local scene and they brought important performers from all over the world to Copenhagen for the first time. Black Dice, Gang Gang Dance, White Magic, Excepter, Hype Williams, Boredoms, Charles Hayward, they rippled through Copenhagen after they came. Eric Copeland stayed for months. Lorenzo Senni, now well known as a vanguard dance producer, brought his high-school hardcore band to Copenhagen. Escho found and asked these artists to play. And Escho played their humble part in giving sound back to the world. Iceage, Posh Isolation and the Mayhem scene went global. Escho is a lot about being in Denmark, what that sounds like, and projecting it for anyone to hear. Across its releases, Escho’s aesthetic has allowed for the amateurish and the obsessive, the soft and the hard. Escho is about the power of shared experimental experience. Escho has been going for such a long time that the kids who started it are now twice as old as they were when they came up with the name, the idea, the desire to start something. Much younger people, generations younger, work at the label. The world has transformed since then. Escho was born in a period of time where alternative and underground music existed on a private, separate plane to mass culture, and it now finds itself in a time where mass culture and the underground are porous. Tribalism and niche knowledge has been blended by the internet, erasing the border between mainstream and underground modes. Alternative thinking takes many forms now, and new artists continue to expand and interpret the sound of Escho, carrying with them the same curiosity that lit the first Escho sparks 15 years ago. As a whole, this compilation — it is important to note — is jagged in form and tone. It is not even close to a conventional scene compilation, where the sound of a clan flows together. This record doesn’t flow like that. And this, fittingly, makes this anniversary album a ‘classic’ Escho release, because conventions about form and presentation are thrown out the window and new conventions proposed. It is a reminder that Escho quietly remains an ongoing art project as much as anything else. More than its form and tone, however, this compilation is jagged because it is a document of today. It is not final, or conclusive in any way, because the contours of contemporary music are boundless. It’s jagged because Escho has been to a million shows, and put on a million shows, and still loves going to shows. It is a picture of pluralism, discovery and openness. It makes a case for having ears, and making art, and propagating this so that successive generations of young people do it too. This is exactly as it was in the beginning






















[v] 22 First Hate – Vampire Boy ¯\_(ツ)_/¯ [2020 Demo]

2 x 180 gr heavy weight vinyl in deluxe matte-finish Gatefold cover + Download Card) Flowers From The Ashes is the latest multi-artist project to bear the acclaimed Stroboscopic Artefacts imprimatur. Silvia Kastel, Andrea Belfi, Marco Shuttle, Ninos Du Brasil, Alessandro Adriani, Chevel, Lucy, Lory D, Caterina Barbieri & Neel Flowers From The Ashes is the latest multi-artist project to bear the acclaimed Stroboscopic Artefacts imprimatur. There is a sensibility of decadence and corroded grandeur etched within its four album sides, reminding us that historically 'decadent' times have nonetheless resulted in some of the boldest acts of individual and collective creativity. Like the 'floral' theme that has remained a consistent feature of S.A.'s graphic presentation, the music here equally presents fragility and intensity in a way that really drives home this visual metaphor for good, while still holding out the promise that similar creations will be seeded in the near future.Though many of the artists involved have set of residence outside of their native Italy, all contribute here to make a captivating portrait of a shared spirit and cultural memory. The album opens with 'Errori,' deceptively fragile sonic ornaments crafted and suspended in space by Blackest Ever Black artist Silvia Kastel. This is followed closely by the mellifluous, warming glow of percussionist Andrea Belfi's 'Spitting & Skytouching,' and then by the resolute electric bass patterns and luminous fog of 'Lux et Sonus,' from Eeri label head Marco Shuttle. Hospital Productions alumnus Ninos du Brasil open the B-side with a similarly dense, amorphous construction built from tribalistic chants and rhythmic patterns, to be followed by Mannequin label boss Alessandro Adriani's 'You Will Not Be There For The End,' showcasing his distinctive take on the 'paranoiac breakdance' aesthetic of classic EBM. S.A. veteran Chevel rounds out the first record in the program by interlacing several percolating synth lines together into a richly conversational piece.The journey continues with 'Starving The Mind,' an undulating mini-epic from S.A. founder Lucy that is animated by his signature balance of seductiveness and concentration. The bright, biting acid synth tones of 'PRV-HH3-X', by Lory D, then takes a sharp right turn into an invisible metropolis ruled by reflective high fashion and hidden intrigue. The imposing architecture of 'Virgo Rebellion,' designed by modular synth futurist Caterina Barbieri, acts as an excellent companion piece, and sets up the closing '4G' from Spazio Disponibile co-founder Neel - a crepuscular serenade that accurately sums up much of the foregoing activity.

Stroboscopic Artefacts is releasing its latest addition to the forward leaning edge of electronic music with the Totem series. Unfurling as a chain of transparent 10' vinyl, each of the Totem releases will have a subtly divergent take on the aesthetic space defined by techno and club culture. Totem continues investigations previously established by Stroboscopic Artefacts, namely the relation between sound and material object, spatiotemporality and the architecture of music. The series aims to collapse the artist, their intention and resonance with the public into one object, an artifact of beauty and functionality, the emblemized transparent 10-inch. In choosing a less common format for the Totem series, Stroboscopic Artefacts aims to reinforce the cognition that each of these pressings is a unique object, carrying a message that will develop as the record's existence moves through space and time

Home to Cuca Records and hundreds of Nashville-fantasizing pluckers and singers, Wisconsin’s Driftless region was a hotbed of country music in the 1960s. Influenced by old-timey ethnic songs, Bakersfield outlaws, countrypolitan rainbows, and the lonesome twang of every rural route roadhouse, these 17 Driftless Dreamers washed up at Jim Kirchstein’s Sauk City record plant with little more than $100 and a longing. Collected here are the fruits of Cuca’s documentary approach to record making, capturing the voices and stories of a culture and glacier in abatement.

In 1972, Australia’s Albert Falzon made a film that would forever change the way the world thought about surfing. The film was Morning of the Earth. For many people it was the very first time they came to recognise surfing as a complete lifestyle. This recognition, coupled with mind-blowing, innovative surfing made the film a classic that has remained vital for over 50 years. Albe’s portrayal of all things pure and simple influenced generations, and passed on an enduring sprit to our Australian culture, our music, and our lifestyle.

Morning Of The Earth’s ethos of soul and spirit in surfing representing surfing as a lifestyle rather than a commercial entity. Not only did it show that these opportunities were open to everybody on their own doorstep, but it also showed for the first time the new exotic frontiers of Indonesia and Hawaii, in which you could further your adventures that encompassed the realm of spirituality and soulfulness.

Morning of the Earth took a unique approach to music. G Wayne Thomas’s selection of performers, songs and songwriters along with his own writing and performance created a warm blend of country soul and pop that helps carry the film to an esoteric level. For the first time, music was not treated as a background or incidental to the vision on the screen. The music was the narrator, with each track played in its entirety. The original soundtrack produced the Australian #1 single Open Up Your Heart and was the first Australian soundtrack to achieve gold sales. It was also recently included in the 100 Best Australian Albums.

The movie and the soundtrack have gone on to become legendary within the Australian surf history so we will be re-issuing the original 12 track soundtrack on black vinyl to commemorate the 50th Anniversary.

Westcountry folk singer, songwriter and multi-instrumentalist Seth Lakeman was nominated for the Mercury Music Prize in 2005 for 'Kitty Jay'. It catapulted Lakeman into the forefront of the new British folk movement and his follow up was the gold-selling ‘Freedom Fields’ which was released twice in 2006. Produced by his brother Sean Lakeman it came out on iScream and was then re-released by Relentless (EMI) where it went on to become Seth’s first of 6 UK Top 40 albums.

To celebrate the 15th anniversary, Seth has announced a Deluxe Reissue of the album on CD & Vinyl plus a huge tour in November playing the album, which includes ‘Lady of the Sea’, ‘King and Country’ and ‘White Hare’, plus other favourites.

Freedom Fields helped Seth build on his traditional cult following but found him a whole new audience for his rhythmic, captivating brand of indie-folk song writing. He was named Folk Singer of the Year, and ‘Freedom Fields’ awarded Album Of The Year at the BBC Radio 2 Folk Awards in 2007.

Available to order on CD and double vinyl - Limited Edition Coloured & Black – all with exclusive bonus content including unreleased tracks and rare demos.

“Delicious harmonies and the occasional fiery fiddle are the order of the day, with his impressive song-writing skills shining out of every tune.” BBC Music (Freedom Fields)

Bossk are a metallic post-everything band from Ashford, Kent, England. In many ways all of us are migrating. To who, or from, is unique to the individual. "Migration" from Bossk is a soundtrack to that herculean journey we all take. Opener "White Stork" is a haunting swirl of analog synth noise and guitars, painting an ominous and fantastic atmosphere. "Menhir" then kicks open the door as a sludge-metal giant of a track, featuring guest vocalist Johannes Persson of Cult Of Luna. Machine-like "Iter" serves as an otherworldly interlude, a pathway to the post-metal masterpiece "HTV-3". Featuring Palm Reader vocalist Josh Mckeown, the song conjures the spirit of Tool and even late-era Faith No More in its sonic twists and turns. Experimental "Kibo" offers a deeper glimpse before fading into the horizon. "Lira" then emerges, a towering giant of a song (nearly 10 minutes in length) that contains one of their most unforgettable riffs to date. All of this leads to the epic "Unberth". A beautiful slow-build closer that brings to mind Pink Floyd in its vast sonic expanse.

From its earliest utterances, experimental music has been particularly disposed to transnational and cross-cultural collaboration. Seeking the answer for a fundamental problem - how to transcend the boundaries of difference, distance, and time - it presents a means to find common ground and communicate through the elemental form of sound. Over the last 5 years, this precisely what the duo of Félicia Atkinson & Jefre Cantu-Ledesma has achieved, intertwining sublime sonorities across the geographic expanses between their respective homes in France and the United States. Their third album for Shelter Press, ‘Un hiver en plein été’ (‘A winter in the middle of summer’) - the first to have been largely recorded by Atkinson and Cantu-Ledesma together in the same space - distills a mesmerizing pallet of acoustic and electronic sources into an open discourse of radically poetic forms, offering glimpses of warmth and intimacy waiting in the post-covid world to come.

Both veteran experimentalists with celebrated bodies of solo work behind them - each traversing the challenges of electroacoustic practice in their own singular ways - prior to their first recorded outing in 2016, Félicia Atkinson and Jefre Cantu-Ledesma had only crossed paths in person once, initially meeting in San Fransisco during 2009. The mutual bond formed during that brief encounter flowered into their first LP, ‘Comme Un Seul Narcisse’, followed two years later by 2018’s ‘Limpid As The Solitudes’. Both recorded remotely - sending files back and forth, fortified by conversations on a vast range of subjects - these two albums were guided by impassioned conceptual nods to Guy Debord, Baudelaire, Brion Gysin and Sylvia Plath, while seeking resolutions for the challenges and unique possibilities that working at a distance provoked.

Where the triumphs of its predecessors rose from the bridging of disparate moments and divergent spaces, ‘Un hiver en plein été’ culminates as a celebration of closeness, a result of Atkinson and Cantu-Ledesma working together in the studio, responsively in real time, for the first time. Recorded in Brooklyn during August of 2019 - a handful of months before the pandemic would impose chasmic distances across the globe - its six discrete works, carefully crafted and finalized over the ensuing year, evolve seamlessly across the album’s two sides, weaving a sprawling tapestry of sonority, within which both artists retaining their own voices and visions, while drawing each other towards uncharted ground.

Atkinson likens the recording of ‘Un hiver en plein été’ to have been akin to “a playground”, each artist “hungry for each sound, a bit like the rush in the Louvre in Godard’s Bande à part”, to which Cantu-Ledesma adds that the process seemed to have had “a mind of its own”, with both “along for the ride”. This organic sense of entropy and enthusiasm - a joyous exploration of the unknown - guides the momentum of the album’s evolving arc, as unfolding chasms of ambient space ripple with humanity, life, and fleeting glimpses of the actions that led to its material core.

Crafted from deconstructed melodic elements and drifting long-tones - laden with subtle nods to Indian classical ragas and free jazz - searching patterns of speech, textural elements captured within the studio and the outside world, and searching tonal and percussive interventions, ‘Un hiver en plein été’ coheres as a multi-faceted series of electroacoustic dialogues; nesting conversations between two artists working at the juncture of abstraction and narration, field recording and harmony, and the philosophical and phenomenological, in search for the meaning of friendship, and its manifestation in pure sound.

When he left Bronski Beat, , Jimmy Somerville formed Communards with Richard Coles (who formerly came play saxophone on Bronski Beat’ s classic track “It Ain’t Necessarily So”).
The Duet’s cult debut album from 1986 now is remastered for the very first time.

Double Vinyle edition : 2 x Black 140 G Vinyl. Gatefold Sleeve with spot matt & gloss UV. 2 x Printed inner sleeve. The album remastered from original tapes .
Vinyl package also features a selection of B - Sides from the 7” singles of 1985 & 1986 .

We commence with a warm and bouncy UK acid house vibe. We conclude with a beguiling 'Boards of Canada' style electronic bubble bath. We're treated to an array of flavors and an outstanding S.O.N.S remix in between. It can only be MUSAR and another compelling collection from Ricardo Tobar.
With a discography that started on Border Community and includes the likes of Co-coon and ESP Institute as well as MUSAR, Chilean Ricardo's credentials speak for themselves.
His music does, too. Constantly playing with themes of displacement, disorientation and delight in his fusions, 'Our Violence' was inspired by the ongoing discussions of cultural appropriation. At its heaviest, on tracks like the Isolee-esque 'Our Vio-lence' and S.O.N.S's SYO rolling breakbeat remix of 'La Femme Aux Masques', we're thrust deep into the most hypnotic of dances. At its most esoteric and experi-mental, tracks like 'Mineral' and 'La Femme Aux Masques', we're taken to places we didn't even know existed. Places that refuse to accept current formulas or standards and take us outside the box - where MUSAR always loves to be.

HOUND is proud to present its first Various Artists compilation available on 12” vinyl, featuring tracks by OTHR, Poison Point, Ćyan ID, and BLUSH RESPONSE.” ” HOUND is an Industrial / EBM techno vinyl label and podcast channel based in Georgia. The main idea of the project is to support underground culture and create the first Georgian podcast channel, with a unique VA feature. Accordingly, not only do we provide rare podcast compilations but release VA of the same artists that took part in podcast compilation as well. We believe this is the best way to create and spread a full range of sensations from underground music and leave it in history.”

These recordings, made in 2001 in the weeks before September 11, constitute a unique historical document. They are spoken-word adaptations of scenes taken from Destroy All Monsters, the first book by acclaimed writer and 'pop culture alchemist' Ken Hollings. A multistranded postmodern epic, Destroy All Monsters offers a radical retelling of Desert Storm, America's military operation targeting Iraq, using imagery derived from MTV videos, CNN news reports, Japanese kaiju movies and anime, Hong Kong action flicks and tales of alien abduction. The book's entire narrative nervously unfolds in an unstable of world of terror monsters, wrecked cities and dangerously tall buildings: where an event like 9/11 is inevitable. The book was officially launched on September 13, but distribution in the United States was delayed when ports on the Eastern Seaboard were closed to shipping post 9/11, leaving copies of the book stranded in the Atlantic. 'Published the very week of the "attacks on America",' Toby Litt wrote at the time, 'Destroy All Monsters is genuinely, spookily prescient…as a progress report on Planet Earth, it seems to have timeslipped onto the front pages.' Lydia Lunch praised it as 'a hallucinogenic spiral into future nightmare', while The Scotsman called it 'mind bending reading.'

In the summer of 2001, Ken Hollings was approached by sound designer and electronic music composer Simon James, who wanted to create an audio adaptation of scenes from the novel to share with subscribers to a spoken word channel launched by totallyradio. The idea was to record Ken reading his own words and then embed them in a soundscape that evoked the fragmented complexity of the original text. Ken concentrated on a small handful of threads from the overall narrative, while Simon directed and engineered the final recording. This resulted in the two sequences of words, sounds and electronic tonalities contained on this audiocassette: an unsettling portrait of people about to be overtaken by events.

In October 2001, having just got married in London, Ken and Rachel Hollings went to New York for their honeymoon, just as they had originally planned. They spent an unforgettable week in a city struggling to recover from the seismic changes that had just taken place while a sudden wave of anthrax attacks on government and media offices filled the news cycles. Rachel took a photograph of Ken at Ground Zero, where crowds of onlookers continued to gather, and the air still smelled of burning.

Ken Hollings is a writer and broadcaster whose main concern is the relationship between culture and technology. He has written and presented numerous critically acclaimed features for BBC Radio 3, BBC Radio 4 and Resonance 104.4 FM His other books include Welcome to Mars, The Bright Labyrinth, The Space Oracle and Inferno all available from Strange Attractor/MIT Press. His latest book, Purgatory, is due from Strange Attractor in Spring 2022.

Simon James is a producer, musician and sound designer based in Brighton, UK, whose work combines electronic sources with field recording techniques and sound treatments, using sound to transport the listener to fantastical audio worlds. Simon's latest release, Electro Smog, collects electromagnetic field recordings from Shenzhen's electronic markets, recorded while he was in China at the invitation of Musicity and The British Council.

The Destroy All Monsters audio adaptations marked the first occasion Ken and Simon worked together – subsequently they collaborated on the 12-part series Welcome to Mars for Resonance 104.4 FM and Connecting, an audio portrait of the original 'phone phreaks', for BBC Radio 3. In 2021 they teamed up again to make Fast Forward, a six-part documentary series for Kasperksy Lab.

Strut present a definitive vinyl edition of the groundbreaking compilation 'Nigeria 70'. Originally released in 2001, the collection set the benchmark for a new generation of archive labels and releases mining the vaults for rare Afro funk and Afro jazz fusions and helped to paint the wider picture of the 1970s Lagos scene beyond Fela Kuti's catalogue for a legion of soul, funk and dance music enthusiasts. This definitive reissue features the original LP remastered and pressed on 180g triple vinyl in a gatefold sleeve.
Narrated by Wunmi with commentary by the late Nigerian academic "Elder" Steve Rhodes, this one-hour piece is an essential snapshot of the 1970s Lagos scene and the cultural and political context from many of the key players of the time. It includes interviews with Ginger Baker, Fela Kuti, Ebenezer Obey, Segun Bucknor, Joni Haastrup of Monomono and many more.

Chìsake Algonquin: to chant; to conjure; to cast a spell; this generally involves a shake-house, or shaking tent, in which the conjurer goes into a trance; the conjurer then has an out-of-body experience, going into the future to predict coming events, or into the past; as well as going into any locality in the universe to seek out someone or something generally practiced for ancestral divination.

The unaccompanied flute pieces within this album are adaptations of Anishinaabeg shaking tent chants. The Anishinaabeg also known as Anishinaabe are a group of culturally related Indigenous peoples that reside in areas now called Canada and the United States. They include the Odawa, Saulteaux, Ojibwe (including Mississaugas), Potawatomi, Oji-Cree and Algonquin peoples. The word Anishinaabeg translates to "people from whence lowered". The Anishinaabeg origin myths describe their people originating by divine breath.

The shaking tent or conjuring lodge was the setting for a divinatory rite performed by specially trained shamans otherwise known as Chìsakewininì. During the shaking tent ceremony the Chìsakewininì would construct a special cylindrical framework typically of birch or spruce uprights planted in the ground with respective wood hoops to bind it together. This created a tensile structure of which birch bark, deer skin, or cloth was used as a covering. Rattles of caribou and deer hooves, or cups of lead shot, were tied to the frame. The floor was usually softened with freshly cut spruce boughs. The vertical axis of the shaking tent represents the realm of mediating beings, while the horizontal axis the earth or world of humans. The Chìsakewininì would enter the shaking tent at night and once inside would not be visible from onlookers. The singing of chants and drumming would summon the Chìsakewininì's spirit helpers, whose arrival was signified by animal cries and erratic tent shaking. During this transcendent state, the Chìsakewininì could dispatch these spirit helpers or Manidò to distant regions to answer questions from the onlookers about the most auspicious places to hunt, the well-being of a distant relative, and what would happen in the future.

The chants were usually sung using vocables before, during, and after the Chìsakewininì entered the shaking tent. Like many other similar divination ceremonies, singular or collective, the opening chants begin lyrically. They gradually turn to more reductive abstract structures midway and then end in lyrical chants. This symbolizes the performer and listener leaving the external literal world, entering a more abstract state of mind, and then returning. Traditionally all songs were carved on birch bark for record-keeping with mnemonic pictographs or other marks for future use. Tally mark clustering, sometimes used for song-keeping throughout the Anishinaabeg, is used for this album's track titles and numerical sequence.

The album intro begins with the shaking of a necklace of otter penis bone, fish spine, bear teeth, elk teeth and deer hide, gifted from Algonquin Elder Ajawajawesi. It is meant to focus the listener's attention before the flute pieces begin. The warble or multi-phonic oscillation prevalent in the middle tracks traditionally represented the "throat rattling" vocalization of the tonic note or sometimes known as the horizon of which the melody floats off of. Due to the repetition of multi-phonic oscillation the performer will breathe erratically creating an altered state correlating with the Chìsakewininì ceremonial actions. All songs are repeated seven times to signify the seven sacred directions: east, south, west, north, above/sky, below/earth, and center.

Years & Years has today announced details of brand new album, ‘Night Call’, which will see a release on Polydor Records on January 7th. Olly further introduces the record today with a brand new track, the pulsating ‘Crave’, and its incredible video featuring some of the cast of ‘It’s A Sin’ (Omari Douglas, Nathaniel Hall, David Carlisle) plus the likes of Munroe Bergdof. The record-breaking show won Best New Drama at the National Television Awards earlier this month, continuing a phenomenal year for Olly (which has also seen the release of first single ‘Starstruck’, its rework with Kylie, and a show-stopping performance of ‘It’s A Sin’ alongside Elton John at the BRIT Awards).

A daring dance track about leaning into submission to the point of embracing it, ‘Crave’ – says Olly – “is a playful way of inhabiting the deranged sexual energy I’ve always wanted. In the past I felt like I’ve been dominated by toxic relationships, and I felt like it would be fun to turn it on its head.” Consider this a risqué cut of kinked-up, club-ready pop, and Olly Alexander using his platform to push the boundaries of mainstream superstardom.

From its iconic artwork to its euphoric, rejuvenated sound, ‘Night Call’ is a thrilling new chapter for Years & Years. Inspired as much by pioneering figures like Sylvester as it is French House, at the centre of the record is that mermaid of a muse: a beautiful icon luring men to their death, on an album partly about those searching for love (or a lover) but ultimately finding power in themselves. Embodying the new perspective of a character – like Ritchie in ‘It’s A Sin’ - also deeply influenced Olly’s songwriting, with songs that blur the line between fantasy and reality but are bound together by their explorations of queer life. Hedonistic and escapist, ‘Night Call’ captures that joy and anticipation of going out precisely because, says Olly, “I was writing from a fantastical space, stuck in the same four walls. I wanted to have as much pleasure as possible in the music.”

As Years & Years, Olly Alexander has become one of the world’s most trailblazing modern pop stars. Across two hugely successful albums to date, the singer, actor, fashion icon and cultural vanguard has earned 5 Brit Award nominations, surpassed 4.4 billion global streams, and played triumphant homecoming shows at London’s O2 and Wembley Arenas. Along the way, Olly has also become a fearless, once-in-a-generation voice on important discussions around mental health, and issues affecting the LGBTQ+ community - all of which, in its own way, has taken him to ‘Night Call’, and the most essential Years & Years album to date.

Ever-evolving Australian outfit The Possé debut on cult deep house label Pulp with Moods & Vibrations. Their fresh new four-tracker includes a remix from Space Ghost.

Andrew Elston and Ross Ferraro are the core members of The Possé, but the group often expands or contracts with various other musicians. Since 2017 they have released on the likes of Plastic World, Ken Oath Records and Kolour LTD, and bring plenty of Southern Hemisphere heat to all their productions.

'Parting' opens up with plenty of soulful Detroit house flavours. The dusty drums get you in the groove while subtle acid and silky pads bring a feel-good, sun-kissed vibe. Remixer Space Ghost is Sudi Wachspress, a real album specialist who has released on Tartelet and Apron Records. He has a uniquely lo-fi house sound that draws on funk
and soul. This remix is a late-night jam with gorgeous trumpet motifs and scuffed-up drum patterns all finished off with warming sunset chords.

Then comes 'In Focus', a brilliantly loose and jazzed-up jam. The skipping drums are run through with playful keys and humid chords that cannot fail to bring the party. 'Prime Mover' is a little more direct and dynamic but no less heartfelt, with more expressive melodies and infectious drums. A liquid Mix of 'Prime Mover' layers in fatter bass and more crisp percussion to take you to another level. Moods & Vibrations is an EP of rich, musical house grooves that are overflowing with soul.

Stup Religion' is the second album of the French band Stupeflip,
originally released in 2005
It takes up the formula of the first album by prolonging their universe: bad taste
humour, provocative riffs, and lyrics sometimes absurd at first sight, but which
often have a hidden meaning. The musical genre of the album is unclassifiable,
between rap, rock and French variety, the various characters of the imaginary
universe of the group can be understood as having different musical tastes.
Indeed, the character of Pop Hip is a dissident who wants to make hits and pop
songs, whereas King Ju is a character who seems threatening and who will find
himself more in tracks mixing rap and metal. 'Stup Religion' is an unclassifiable
but stands out as a cult album of French rap of the last 15 years. 2021 edition
with remastered cover and double transparent orange vinyl.

Part of the joy of collecting soul music is searching for and discovering lesser known gems. Phoenix, AZ, might not be known as one of the main American cities for black music despite spawning artists such as Dyke & the Blazers and Eddie & Ernie, but the city holds a cult status among rare soul collectors thanks to the small output of labels like Artco, OK&T, Poorman’s and Raina.
One of the state’s well kept secrets is Bobby Barnes, who had a small number of 45 releases on local labels. All strong tracks which really deserved wider recognition than they got.
The 14th S4R release contains two previously unissued songs, from 1977 and 1984 respectively, recorded for the Raina label with Lawrence Carroll producing and arranging.
”Super High On Your Love” is in my opinion his best song - a super soulful floater type of modern soul dancer. The flip is an alternative, extended version of “I’ve Had My Share”, to my ears superior to the original with a sparser backing and keyboards replacing the guitar. Two truly sublime sides!

The third release on U-TRAX in 1993 was also a third debut, this time by Natasja Hagemeier and Jeroen Brandjes. Early in their career, they used several artist names, but became most commonly known as The Connection Machine. With their debut mini-album The Dream Tec Album they more or less described their style: dreamy techno. It became an instant Dutch techno classic and U-TRAX is proud and delighted to offer a fully remastered re-release, including three never before released bonus tracks (one of which is digital-only).

Natasja and Jeroen resided in Utrecht back in the 90s. In 1991 they assembled all their ideas and recorded the track "24 Hours" with DJ Paradize. Soon after this experience, they started to buy their own gear, all strictly MIDI (which wasn't too obvious in those days). In their early recording years, they had three producer-names (Syndrome, The Connection Machine and Bitch&Bites), that were all collected under the The Utroid Machine Missions umbrella, which was used for their debut on U-TRAX.

All tracks on The Dream Tec Album are The Connection Machine's earliest works, from the 1991/1992 years.

"An Overflow of the Mind" is a beautiful, dreamy track with almost divine sounds and strange voice-samples that serves perfectly as an introduction to their entire repertoire.

Their first production was "24 Hours", and what a brilliant one it is! A well-known jazz-musician talks about a "24 hour party going on", on top of a sinister and trancey rug, woven of sampled sounds from pioneers in electronic music and nailed down to the floor with a deep pounding bassdrum. At the time they made this track, 141 bpm was unbelievably fast...

"Evilish Cosmos" is all about a very sad and personal emotion, so everything we say about it will be absolutely wrong. Just listen to the meandering piano line, distorted voice samples - and feel it.

The first bonus track on this release is "Recognized Pain", which was intended to be part of the original The Dream Tec Album. It had appeared on the Phuture Classical Section C cassette in 1993, on the famous Drome Tapes label that formed the roots of U-TRAX. It truly is an amazing track: pure sonic terror with haunting rhythms, psychedelic synth lines and shards of voice samples that make the listener feel slightly uncomfortable.

"X_Manray" is many electronic music lover's favorite track. It is sooo deep that it is hard not to get hypnotized by it. Warm strings are coupled with deep beats that show up and disappear every now and then. Could serve perfectly to start off any DJ's set, as long as she or he has the guts.

Though "Braindrain" is probably the most danceable track on this album, it is carefully designed to tease the listener. Everything in this track drops in too late and every tone, melody or loop last exactly a few bars too long. Designed as a DJ-teaser and so it is.

The second bonus track, "Cafe d'Anvers", is another previously unreleased work, of which unfortunately no master recording was saved. All that is left, as far as we know, was an old VHS Hifi tape from the U-TRAX Archives. And that is where this bonus track was taken from. Mastering engineer Thee J Johanz managed to restore the quality of the recording somewhat, while at the same time maintaining its dark, clubby sound, a tribute to the famous club of the track's name in Antwerp, Belgium.

"Dream Affected Dream" is one of the most recent productions on this album. It was recorded with CNN playing live on top of it. At this exact moment, CNN was having an interview with David Koresh, the leader of the infamous Branch Davidians sect from Waco, Texas, while they were under siege by an armed police force. Natasja and Jeroen were just ready to record Dream Affected Dream, and spontaneously decided to mix in the audio from CNN. Not very long after that, the cult members set fire to themselves. A very strange and oddly funky track, that also serves as a time-document.

The final track is another bonus track. Like Cafe d'Anvers, "Voight-Kampff" is taken from on old U-TRAX VHS Hifi tape and masterfully mastered into a lovely relaxed dreamtech piece. Very suitable to start the Sunday after a long night of clubbing. This track is available for free to buyers of the complete digital album only.

Original release date: July 1993.

Bathurst is pleased to announce the debut album 'All One' by The Motion Orchestra.

The group formed in 2017 in Hamburg as a studio project and outlet for lead writer and bandleader - David Hanke (Keno, Renegades Of Jazz) to explore his Neo-Classical and Jazz sensibilities in a new setting.

Comprising of the US-based Andy Sells on Drums, with Germans Alexander Bednasch on Double-Bass, Mark Matthes on Violins, and David Hanke on electronics and production, as well as a one-off guest appearance from other long term Hanke collaborators - Tristan de Liege on clarinet (for the track 'Maylight'), David Nesselhauf on electronics (for the track 'All One') and Ingo Möll on additional Bass (for the track 'Everything We Are').

Strangely, when considering the intimacy of the album the group has never actually fully met in person, with live recordings taking place over 4 years across studios in Seattle, Los Angeles and Hamburg. With Hanke and Matthes contributing the majority of the writing and arranging, the wonderful musicianship of the group as a whole is obvious to hear in the record, which expertly showcases the performers rare understanding of musical space and compositional balance, yet still allowing for flashes of individual brilliance.

As the first tracks were arranged it became clear that The Motion Orchestra occupy a musical space that sits aside from their obvious stylistic influences, instead bearing a compositional style that deftly fuses the orchestral and electronic worlds more akin to that of modern cinematic composition than most commercial releases. Matthes' lush string arrangements are a beauty to behold, layered elegantly upon the muscular and oftentimes swinging rhythm section low end, all the while Hanke's cerebral sound design and production elements interplay with all throughout, providing an eclectic array of wonderful foils and musical partners to the palette.

With only a small clutch of singles and tracks being released so far they have already turned the heads of Huey Morgan on BBC 6Music and Bandcamp Weekly, as well as closing in on 500,000 streams on Spotify. Exploring themes as time and space, transience, life and death – their music is delightfully relevant, timeless and contemplative in comparison to much of today's disposable music culture.

''All One' is a collection inspired by the notion that everything comes from the same source, the same starting point. And throughout its play time it builds out this concept from the reserved, poignant strings and ambience beginnings of opener 'From Dust', through to the delicate pitter-patter rhythm and memorable melodies of 'Threadspin', before picking up in tempo and dynamics ahead of the epic penultimate track - Sonorous' and its piano chord harmonics, tasteful bass notes, and swirling jazz drum patterns. Indeed by the last notes of title track 'All One' there is a real sense of having mentally journeyed some distance to arrive exactly where you are for the listener. It's a truly atmospheric audio experience that is constantly engaging and inspiring both feelings and thought throughout.

Perhaps the mastermind of the project - David Hanke, sums it up best himself:

"It begins where it ends. Turning these subjects into sounds, creating an emotional sound journey with a deeper note is the idea."

Habibi Funk presents a selection of works by Algerian-born, Amazigh artist Majid Soula. Majid’s music blends the best of Arab-disco, highlife and groovy funk into something wholly unique.

Born in Kabylie, Algeria - a place that remains fundamental to his career - Majid Soula is a self-made musician, artist and producer. With no formal music education, Majid’s tenacity has led to a career that is still blossoming. His synths, driving drums, guitar & strong lyrics make a unique sound. A strong proponent for the rights of the Amazigh, he has a band that to this day plays shows, most linked to cultural events of the Amazigh diaspora in France, as well as in Belgium, Russia the UK and Sweden. He was part of a new wave of widely popular and successful Kabyle artists in the 1980s, such as Ait Menguellet, Lounès Matoub, Takfarinas, Idir and many more.

Habibi Funk as a label is dedicated to re-releasing music from “The Arab World”, but this release shows how reductive this term can be, as the countries from North Africa and West Asia being summarized under this term include a vast number of languages and identities. Obviously, headlines sometimes come with limited space, and one can’t avoid using terms that paint a half-finished picture. That being the case, however, we are even more happy that Majid Soula liked our idea to work on a release of a selection of his music with us. The tracks here are incredible and need to be introduced to a new generation of listeners.

For Majid Soula music is more than just entertainment. He considers himself an activist through music, and foremost a “chanteur engagé”, as he says of himself: „I take my inspiration from the daily life of my people and I share all their aspirations, mainly the official recognition of Tamazight as a language, culture and identity.”

He still works on new music in his small home studio in Belleville and occasionally plays concerts for the Amazigh community of the city.
We sincerely hope that for you reading this and listening to Majid’s album, his music will have the same revelatory feeling it had on us, and that this will be part of a momentum that will allow Majid to keep on working, playing, and sharing his message for many years to come.

60 million streams after their 2nd opus Running To The Moon, the duo's 3rd album, War Is Over, is a dive into 70's funk and soul with the same will to get the essential: the beauty of the melodies and the implacable groove. The Hip-Hop instrumentals on which singers and MCs seem to have more fun than ever, serve as a link to the whole.

Recorded mainly in Bordeaux, this new opus marks a turning point in the group's production method. The brass section present on the Running To The Moon tour was involved in the composition and thus brings a more organic touch to the sound of the album.

As usual, the duo has surrounded themselves with a horde of cult singers and MCs: R.A The Rugged Man, Pav4n & Illaman, Yoshi Di Original, Blake Worrell, MysDiggi or the young hopeful Yudimah (Fair 2020 winner) and the Englishman C.W Jones.

War is Over sounds like a declaration of love to black American music, from Early Jazz to Hip Hop, via Soul and Funk.

Four Flies' new record series, ITALIAN LIBRARY SONGBOOK - Masters of Cinematic Music Reimagined into Song, hopes to build a bridge between the modern and the contemporary. Producers and songwriters from today's music scene put their spin on hidden tracks and outtakes from the catalogues of Italian soundtrack maestros, reimagining them into new, previously unheard songs poised between pop and club culture – a sound nestled somewhere in between Balearic, downtempo, and organic grooves.

Volume I focuses on Alessandro Alessandroni, a composer whose trajectory is emblematic with respect to Four Flies' journey as a label and publisher. Despite being best known in his lifetime for his unmistakable whistle in Ennio Morricone's soundtracks for Sergio Leone's spaghetti westerns, Alessandroni was way more than that. He was a refined composer and multi-instrumentalist, and one always ahead of his time. Partly thanks to Four Flies and its contribution to the rediscovery of the Maestro with releases such as the EP "Afro Discoteca" and the compilation album "Lost & Found", this has become unquestionably clear in the past few years, which have seen his name climb to the top of collectors' want lists and gain recognition in the international music industry.

This release goes back to one of Alessandroni's lesser known film scores, Sangue di sbirro (written for Alfonso Brescia's 1976 poliziottesco Cop's Blood), where he created his own version of the soul-infused jazz-funk music typically found in 70s Blaxploitation movies.

More specifically, Neapolitan producer pAd and London singer-songwriter Jessica Duncan reimagine the original "Philadelphia", which appears on Side B and whose title clearly refers to the city that, back in the 70s, saw the birth of (mellow) disco. The result of their collaboration is "Do You Wanna Get Close?" on Side A, a downtempo, jazz-funk and Balearic gem pervaded by warm, sexy and elegant pop-soul vibes that make it a perfect club track to enjoy the night until the early hours of the morning.

To ensure maximum audio quality, the mastering was done by Fabrizio De Carolis at his Reference Mastering studio in Rome's Prati neighborhood (the same neighborhood that was once the epicenter of Roman library music) while the vinyl cut at the The Carvery, the multiple Grammy-nominated London studio behind some of the best organic grooves records of the past decade. The result is a deep, full, rich and three-dimensional sound that enhances the beauty of both tracks.

The series and volume artwork is by graphic designer and calligrapher Luca Barcellona, an artist used to working with analog tools such as ink, brushes and pencils. He drew inspiration from the world of literature, imagining each release as one of the volumes in an elegantly bound classics book series - an analogy that reminds us of the tactile element that makes vinyl records so unique and precious, while also suggesting the cultural value of a music that aims to connect the legacy of the past and the creativity of the present.

Mauro Pawlowski is what one might call 'rock royalty'. He has been of the key figures in the Belgian contemporary music scene ever since he started his career as frontman of notorious cult band Evil Superstars in 1992. The insatiable Mauro was a dEUS member for years but he was also the driving force behind countless other musical projects and alter egos. He had a hand in over 100 records and counting.

Mauro is now releasing a new solo pop album called 'Eternal Sunday Drive' under his own name via Unday Records, something a generation of music lovers has been yearning for the last decade.

H- side is etched
The American cable-television industry exploded in the 1980s, pushing broadcasts of diverse programming and emissions of low-laying cultures into homes. Community stations piggybacked on the digital developments of the time, extending their existence through telephony and broadcast a iliates. For those growing up in this time, in locations such as New York City, the localized communications beamed into their homes exposed them to an impressionable array of disparate sounds and visions.
Move into the 1990s and New York was filled to the brim of emergent cultures drawing from this ebullition of communication. From Rammellzee’s shapeshifting to the late Judy Russell and Frank and Karen Mendez’s Nu Groove imprint fusing reggae, poetry and house, nascent ideas emanated from the city walls, from within stores such as Sonic Groove store and on VHS releases such as Stakker’s The Evil Acid Baron Show, a legendary technicolor psychedelic trip along the wildest frontiers of acid house. As scenes expanded and identities developed, such individuals weather the events of the visceral now, expressing themselves right into an unpredictable future.
Function’s long career has seen him uncover a vast range of sonic identities, a mainstay through house, techno and industrial with collaborations with the likes of Regis, Damon Wild alongside his highly influential Infrastructure imprint. With influences deeply tied to pop art, rave and gay scenes, and early memories of block-parties emitting Kraftwerk and Strafe, he found himself seeking out the undercover illegal nights of the 90s on a quest of sexual unearthing, mixing the ever-yearning escapology mission of disco with the influential DJ sets of Jeff Mills.
For his new album Existenz, he marks a clear step away from the corporeal techno of his recent releases. Pivoting around themes of religion, sexuality, trauma and healing, it is a work expansive and celebratory, a clear liberation from a deeply internalized past. Formed from a collection of recordings made in a period from late 2016 to mid 2019, Existenz takes the form of a creative outburst in reaction to a number of traumas - recent, childhood and throughout Function’s life. Life partner Stefanie Parnow assisted the production process in its entirety, providing inspiration, spiritual healing and featuring vocal contributions.
Cosmic synths soar and swoop in ‘Pleasure Discipline’ through towering stacks of rhythm that stutter and creak to a halt before rebooting, a firm robotic response to human intervention. ‘Zahlensender’ reflects a spatial tetris of urban life, as digitalization set within an XYZ matrix confronts the sprawling city. Constant arpeggiated meditations echo synaptic transmissions, e ecting a dissolution of boundaries. ’The Approach’ recalls the unification of the self, a state of delirium non-subjective and smooth, as all connections and functions give way to simple intensities of feeling, crossing the threshold into spirituality. ’Golden Dawn’, featuring Stefanie Parnow, marks a further elevation of dubbed-out euphoria, as once more positive rays emerge. His ode to the effortless short-trip urban navigation 'Kurzstrecke' finds Function in motion, upfront and bold, snapshots of conversation and flickers of light. 'Ertrinken' finds metallic bass jabs swamping snipped synthetic voices, with hidden stores of emotion set as a nod to the history of vocoders as a tool for encrypted military communication. House icon Robert Owens features on 'Growth Cycle' and 'Be', entrenching a celebratory atmosphere over Function's clubwise leanings. Closing track 'Downtown 161' reflects the unmistakeable filtered and squashed interjections of television, and sampled dance vocals - a sound for the curious, dreamers and dancers.
With Existenz, Function reveals an essential body of work, spread over 4LP - thought experiments on the role of identity and spirituality after a lifetime of upheaval and trauma. Leading up until the release date, Function will undertake an album promo tour with select dates - A/V shows at Berlin Atonal and Rural festival in Japan, and three dates as part of his Bassiani residency.

Marshall McLuhan’s famous edict ‘the medium is the message’ has never been more apt than with regard to modern remix culture. Although the idea of the remix goes way back to the Jamaican dub pioneers and New York disco remixers of the 1970s, the form didn’t truly come into its own until the acid house explosion of the 1980s, when remixers’ credentials often subsumed — and sometimes surpassed — the original source material. Some, among them our lost friend Andrew Weatherall, used remixing as a springboard into multiple other directions, and became auteurs in their own right.

Forged in the white-hot heat of post-acid house Britain, these Heavenly remixes are perfectly weighted with respect and irreverence, the remixer in each case carefully chosen to add heft to the song (as on Al Breadwinner’s dubwise reworking of Mattiel’s ’Guns of Brixton’— the pairing more a game of chess than a best-of-three arm wrestle).

Although Heavenly was founded in the wake of huge upheavals in electronic music, it was still imbued with its own curious parallel life. I’ve always thought of Heavenly as one of the UK’s alt-pop labels; a place where brilliant pop bands live and record, if the general public would only realise. Some of them have ended up in the real, actual charts (Saint Etienne, Doves), but that’s missing the point about Heavenly, who are, like Factory and Fast Product before them, pop music’s conscience.

There is no sense of order to this compilation and we make no apologies. It’s the Heavenly way. Think of it as a present from Loki, the Norse god of mischief. You’ll find a smattering of older tracks: album openers Saint Etienne are taken on a Poseidon Adventure with Underworld, who inject ‘Cool Kids of Death’ with typically manic energy. Elsewhere, ’90s Brum duo Mother add dancefloor pzazz to Espiritu’s innate glamour on an all-funked-up reworking of ‘Los Americanos’, and Mark Lusardi’s remix of Moonflowers’ ‘Get Higher’ is an early Heavenly classic.

On ‘Terracotta Warrior’, a perfect, psyched-out, Mancunian union is created betwixt Jimi Goodwin and Andy Votel, whilst Goodwin cohort Simon Aldred, in his Cherry Ghost guise, receives a proper Tamla-Motowning from Richard Norris (aka Time & Space Machine) on an inspired cover of Cece Peniston’s glam-house hit, ‘Finally’.

There are several of Heavenly’s current darlings here too. One of the most exciting young British prospects, Yorkshire’s Working Men’s Club, effectively remix themselves, as Minsky Rock — WMC’s Syd Minsky-Sargeant and producer Ross Orton — cleave ‘X’ into a riotous industrial racket. Jagwar Ma’s Jono Ma takes the Kraftwerkian leitmotif on ‘Automatic’ and drives the Australian jazz-funkers Mildlife down an electro-convulsive psychedelic tunnel (thankfully no-one was harmed during the making of this remix); Sheffield’s DJ Parrot and Jarvis Cocker deliver one of the outstanding remixes of 2018, turning Baxter Dury’s ‘Miami’ into a lovelorn minor opera; and, making its first appearance on vinyl, David Holmes’ Unloved project is taken on a panoramic Welsh waltz thanks to Gwenno.


There may well be no rhyme, nor reason, to how these compilations have been put together, beyond the fact that they are assembled with love, an innate understanding of the power of great pop music, and a skilled marriage of song and remixer — but does one really need anything more than that for an album to make sense? I’d suggest not.

It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

Reissue of Elizio De Buzios's "Tamanquiro". Remastered and pressed on 45 RPM!

Sitting a good 90-minute drive away from Rio de Janeiro’s crowded beaches and packed tourist hot-spots, Campo Grande is not a neighbourhood that attracts travellers from around the World. Traditionally it is home to the city’s lower middle-class, whose aspirations of moving up the social ladder were played out in a suburb that has always been solidly working-class.

Campo Grande is home to Elizio De Buzios, a Brazilian musician who started playing music in the late 1970s and early 1980s. De Buzios began as a drummer, before learning to play guitar and starting to compose and sing his own music. When he turned 18, De Buzios joined a local band formed by some of his friends and other like-minded local musicians: Sol da Terra. The band mostly played samba in neighbourhood bars and small venues around Camp Grande, but De Buzios was interested in more than just samba. While he naturally admired great samba composers such as Cartola and Beth Carvalho, his musical pass went far beyond Brazil’s national music. He also loved MPB and bossa-nova and at home he listed to Joäo Bosco, Milton Nascimento, Luis Melodia, Tom Jobim, and many bossa-nova singers.

In 1980 De Buzios was noticed by a local representative of international major label Polygram, who gave him the opportunity to record two songs. He was excited, so started searching for inspiration for the songs he would eventually lay down. He found that inspiration close to home while passing a neighbourhood shop which made and sold clogs. After noticing a display of then fashionable Portuguese clogs outside the store, De Buzios popped inside to talk to the owner. It turned out that he was a tamanqueiro – as clog-makers are traditionally called in his native Portugal – and was as passionate about music as he was about the footwear he made. Thus inspired, De Buzios returned home to work more on the lyrics and music.

The next day, he headed into the studio to record the song, with Vale Ribeiro, who later went on to produce tracks for Marcos Valle, behind the desk. With Ribeiro’s assistance, De Buzios managed to record two songs in one day: ‘Tamanqueiro’ and ‘Sou Um Louco’, a ballad with English lyrics blended into the mostly Portuguese text. From the start, it was clear that ‘Tamanqueiro’ would be the single’s A-side. Incredibly catchy and funky, with some subtle disco elements, the song remained distinctively Brazilian thanks to the use of the cuíca. Listening back all these years on, De Buzios’ lyrics seem almost spontaneous, carry the track forward, and make it almost impossible not to sing along. Its infectiousness and funkiness made it an instant hit with the first few people to hear it.

When it was released, responses to the song were enthusiastic, even if it never became the Brazil-wide smash it should have been. It resonated well in the local clubs and on the radio, but unfortunately the marketing was handled by an inexperienced Polygram employee who failed to adequately promote the track. As a result, the record sank without trace and De Buzios’ dreams of stardom evaporated. Having just started a family, he realized he could not live off the uncertainty of being a musician. Instead, he got a job at city hall as a civil servant, a role he continued until his retirement a few years ago. ‘Tamanqueiro’ and ‘Sou Um Louco’ remain the only two songs he ever recorded.

In the early 2000s, with the rise of diggers’ culture, ‘Tamanqueiro’ slowly surfaced again. It became a sought after, hard to find seven-inch single, finding its way onto the airwaves once more and into the ears of a new generation of listeners. Some started appreciating the song so much that it was referred to as the “best-Jorge-Ben-song-Jorge-Ben-never-recorded”. And they are right: ‘Tamanqueiro’ does have that Jorge Ben-straight-forwardness. It’s a completely honest song that’s almost impossible not to fall in love with. Thanks to this remastered reissue on Rush Hour, De Buzios may now get the props his sole record so richly deserves.

Now for the good news: De Buzios is still singing in local bars and clubs in and around Campo Grande. He is surprised, but also incredibly proud, that the record he had almost forgotten about is appreciated so much by a group of music lovers he didn’t even know existed. But above all, he is happy that more than 40 years after the recording session, the record lives on – not only on this re-release, but also in his weekend sets in the bars of Campo Grande.

A sublime techno reissue from the vaults of one of London's leading electronic labels of the last 25 years, remastered and re-presented for 2022!

Originally released in 1994 on Mr.C's cult UK house and techno label Plink-Plonk and composed and performed by Laggy Panteli and Zeno Messis (aka Megalon) in their London studio, 'Pandora's Box' is a truly unique record. Sleek, futuristic, fathoms deep and wholly original, the music contained on these 2 discs sounds as modern and as vital as it did on it's arrival all of those years ago.

Exploring a deeper vein of electronic music, Megalon craft their own sonic landscapes that are undoubtedly inspired by all forms of cerebral electronic music. Ambient, Detroit techno, electro, European electronics and of course the duo's experiences in London's early acid house and rave scene all filter through their lens to bring something brand new to the table. The arrangement, sound design and mix on the album is outstanding, lending a totally visionary and modern feel to the tracks that continues to echo today.

'Pandora's Box' is a record that has existed within the shadows for many years, with a hardcore cult following. The kind of record that one might hear deep into the early hours, at the hands of a seasoned selector or an 'insider' who has the knowledge. It is redolent of a time when innovation, ideas and imagination trumped the run of the mill and the homogenous, which goes a long way in explaining what makes this record so exciting some 25+ years later.

A totally essential mid 90's UK techno and electronic classic, as much a treat for the mind as for the body.

Reissued in full conjunction with the artists and remastered by Curvepusher from DAT and original source materials. Redesigned by Atelier Superplus and distributed worldwide by Above Board distribution, 2022.

Composer duo Kaae & Batz release hazy electronica single and announces new album L.U.S.H on vinyl. Kaae & Batz, the duo behind the Netflix series Bordertown’s score, is ready with a new album. The first single “Into the Void” is released 15th September, while the album L.U.S.H lands 29th October both digitally and on vinyl on Copenhagen- based record label StereoRoyal.

The album is a collection of reflective and melancholic cinematic tracks with clear references to jazz and neo-classicism where organic elements merge with electronic textures and emotional vocal samples. The album is teased with the first single “Into the Void (Part 1)” – a dark and hazy dystopia accompanied by beautiful piano chords. The album came to life on a 14-day trip to Istanbul and the majority of the tracks, including the first single “Into the Void”, are created entirely from samples and programming.

Kaae & Batz has previously released two albums, Basement Tales (2015) and Mosaic (2019), as well as composed scores for several international film productions which have garnered attention and critical acclaim in the industry. The story about childhood friends Kaspar Kaae (CODY) and Brian Batz (Sleep Party People) dates back to their teenage years in Bornholm where they were both born and raised. They went to high school together, cultivated their shared interest in music, and played together in bands. These years became the cornerstone of their friendship and musical collaboration.

With L.U.S.H, Kaae & Batz shines a light on Danish electronica. The album is released 29th October on a limited-edition LP (180g) and on all streaming platforms.

Pink Vinyl
It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

Damage machine delivers a chanting speedcore industrial pearl.
Infamozz is here the more "normal" hardcore tune : an industrial banger.
Komprex goes extreme speedcore, hardish shaker !
The flip opens with a Qualkommando acid uncompromised style. Massive superb savage tune.
Infared is my fave... with a clear clean minimal speed hard HELP tune, travelling in a flashcore, full of life and surprising sequences. Big structure here !
Lawrencium goes even more extreme and success into doing an overspeed hardcore with a high definition... probably the best 400BPM vinyl release of the year !

Argentine producer Pedro Canale returns from a three-year sojourn with his long awaited third album. Originally coming out of Buenos Aires's famed digital cumbia scene, Chancha has notoriously broken way outside those boundaries to forge unprecedented mergers between Brazilian rhythms, Paraguayan harp, Andean mysticism and the solitude of Argentinian folklore - all processed through his own futuristic style of postdubstep.

Chancha's sound is without question truly unique and instantly recognizable to the point he has become a key reference point for an entire crop of artists that have begun to carry his genes.

Hailed by the Washington Post, the New York Times, Pitchfork, NPR and countless others, Chancha Via Circuito defies even the shrewdest of marketing geniuses. On one hand, he is something of a cult artist within micro-circles of electronic music, having been invited to perform at Montreal's MUTEK as well as the Roskilde and Vive Latino Festivals. At the same time, Chancha's music has found broad appeal outside of the avant-garde, most notably his magnificent remix of Jose Larralde's "Quimey Neuquen" which was heavily featured in 2013 as part of the final season of the critically acclaimed television series Breaking Bad. Fans of the show undoubtedly remember Walter White burying his millions in the desert, soundtracked by the wide and gentle grooves of Chancha Via Circuito.

Amansara is a natural progressing of Chancha's special strain of electronic South America. Lead single "Coplita" features the haunting vocals of previous collaborator Miram Garcia, while "Sueno En Paraguay" merges Andean folklore sounds with bleeps and blips and pounding drums in a way that sounds completely natural and ordained. "Jardines" features the driving vocals of Lido Pimienta merging with heavy synths, percussion and bells into an unforgettable track, while both "Tarocchi" and "Guajaca" ramp things up into deep, electronic dancefloor inna rainforest territory.

Art for Amansara comes from Argentinian psychedelic folklore painter Paula Duro who has crafted the look of all of Chancha's previous releases.

Manchester's jazz scene has produced some of the UK's brightest and most original jazz groups. Now with its eighth releaseMatthew Halsall's Manchester based Gondwana record label shines a light on another of Manchester's well kept musical secrets, the expansive, brilliant piano trio GoGo Penguin.
Featuring pianist Chris Illingworth, bassist Grant Russell and drummer Rob Turner (all still in their twenties), GoGo Penguin, draw on a heady brew of influences from Aphex Twin to Brian Eno, Debussy to Shostakovich and Massive Attack to EST. GoGo Penguin who have already developed a growing cult following in the North West as well as turning in storming performances at the Gateshead International and Manchester Jazz Festival's first came to Halsall's attention when he heard them at a friends night (Norvun Devolution) at the Roadhouse in Manchester. He was immediately drawn to their sublime collective empathy and the seamless fusion of jazz, classical and electronica influences in their music. 'I was blown away the first time I heard them, for me tracks like Last Words and HF are modern anthems and I knew immediately that I wanted to release their music". I am very proud to welcome them to the Gondwana label"

GoGo Penguin met whilst studying music at the RNCM in Manchester. After doing frequent gigs together with various other bands and musicians they started jamming together and started creating new music. They had no specific sound in mind, but just wanted to be free to create freely and honestly. The new band quickly became a vehicle to combine all the best bits from the music they where influenced by and loved. Individually Illingworth brings a lyrical and melodic style influenced heavily by classical piano music and electronica. Turner brings a driving modern style of drumming influenced by jazz, electronica, ambient, classical and dance music. Russell brings a gritty energetic double bass style influenced by the likes of Charles Mingus but also more modern electronic producers. The band's modus operandi is to have one of them bring an idea to rehearsal. Then there's a lot of experimentation, they try out as many different ways to play the piece as they can think of, until it begins to sound like something they all like.
It is their unique ability to synthesis and develop each others melodic and harmonic ideas while drawing on music from classical to electronica that makes GoGo Penguin's music so enthralling and their debut album such a powerful opening salvo from a powerful new voice in UK music.

The last Henry Cow record made after the group had officially disbanded. I'm biased of course but I believe this was a milestone recording, and perhaps the closest we came to getting the music to sound the way we wanted on disc. Guest appearances by Irene Schweitzer and Anne-Marie Roeloffs.

Cementing his reputation as the star toaster with the small but popular El Paso sound system, based in the Waltham Park area, Dennis Alcapone was one of the first deejays to rise to prominence following U Roy’s breakthrough in the late 1960s. Born Dennis Smith in the rural district of Culloden, he became immersed in sound system culture after settling in western Kingston. Once El Paso became big on the sound system circuit, dental technician- turned-producer Keith Hudson brought him into the studio for his debut recordings, which led to a debut album for Studio One and hit material for Duke Reid, some cut in concert with his deejay sparring partner, Lizzy. Alcapone’s longstanding links with Bunny Lee yielded the excellent Guns Don’t Argue album, first issued in 1972, on which the toaster raps with style over some of Lee’s all-time greatest rhythms, including Delroy Wilson’s Better Must Come, John Holt’s Left With A Broken Heart and Slim Smith’s rendition of the Temptations’ soul classic Ain’t Too Proud To Beg.

So you thought U-TRAX was all about fancy, state-of-the-art, absolutely undanceable, hard-to-understand, semi-intelligent techno Well, you're absolutely right, but this U-TRAX-release is just not!

Produced by German Heinrich Tillack, these TICK TRAX VOLUME 1 are just the good old way of making techno. Raw & uncomplicated, in the tradition of the Chicago underground.

Heinrich is a bit of an enigma. Having released some 12"s on Detroit's Plus 8 Records (as Sysex), Force Inc. Music Works (as Absolute) and Disko B (as Festival) and his own label Jakpot (both as Festival, as well as Co-Jack, together with Olivier Bondzio aka Hardfloor), he more or less disappeared from the face of the earth. It is said that he is a developer of children's apps for mobile phones nowadays.

The 5 tracks on this 12" are centered mostly around the 909 drum machine and the 303 bassline synthesizer. While two bulky techno tracks feature on side A, the flipside is completely dominated by acid tracks, most of them receiving high praise when they hit the dance floors in the mid 90s.

More recent techno heroes also know how to appreciate these vintage tracks, like Dutchman Danny Wolfers, aka Legowelt, who had this to say about 'Pump Track' on his Facebook page: "Such a fun track, how it stops and starts, almost falls apart. It's mentally challenged simplicity with a giant hall rave vibe... total dance floor control track. On the super cult U-TRAX, one of the coolest Dutch labels from the 90s!"

Original release date: Fall 1994.

The third release on U-TRAX in 1993 was also a third debut, this time by Natasja Hagemeier and Jeroen Brandjes. Early in their career, they used several artist names, but became most commonly known as The Connection Machine. With their debut mini-album The Dream Tec Album they more or less described their style: dreamy techno. It became an instant Dutch techno classic and U-TRAX is proud and delighted to offer a fully remastered re-release, including three never before released bonus tracks (one of which is digital-only).

Natasja and Jeroen resided in Utrecht back in the 90s. In 1991 they assembled all their ideas and recorded the track "24 Hours" with DJ Paradize. Soon after this experience, they started to buy their own gear, all strictly MIDI (which wasn't too obvious in those days). In their early recording years, they had three producer-names (Syndrome, The Connection Machine and Bitch&Bites), that were all collected under the The Utroid Machine Missions umbrella, which was used for their debut on U-TRAX.

All tracks on The Dream Tec Album are The Connection Machine's earliest works, from the 1991/1992 years.

"An Overflow of the Mind" is a beautiful, dreamy track with almost divine sounds and strange voice-samples that serves perfectly as an introduction to their entire repertoire.

Their first production was "24 Hours", and what a brilliant one it is! A well-known jazz-musician talks about a "24 hour party going on", on top of a sinister and trancey rug, woven of sampled sounds from pioneers in electronic music and nailed down to the floor with a deep pounding bassdrum. At the time they made this track, 141 bpm was unbelievably fast...

"Evilish Cosmos" is all about a very sad and personal emotion, so everything we say about it will be absolutely wrong. Just listen to the meandering piano line, distorted voice samples - and feel it.

The first bonus track on this release is "Recognized Pain", which was intended to be part of the original The Dream Tec Album. It had appeared on the Phuture Classical Section C cassette in 1993, on the famous Drome Tapes label that formed the roots of U-TRAX. It truly is an amazing track: pure sonic terror with haunting rhythms, psychedelic synth lines and shards of voice samples that make the listener feel slightly uncomfortable.

"X_Manray" is many electronic music lover's favorite track. It is sooo deep that it is hard not to get hypnotized by it. Warm strings are coupled with deep beats that show up and disappear every now and then. Could serve perfectly to start off any DJ's set, as long as she or he has the guts.

Though "Braindrain" is probably the most danceable track on this album, it is carefully designed to tease the listener. Everything in this track drops in too late and every tone, melody or loop last exactly a few bars too long. Designed as a DJ-teaser and so it is.

The second bonus track, "Cafe d'Anvers", is another previously unreleased work, of which unfortunately no master recording was saved. All that is left, as far as we know, was an old VHS Hifi tape from the U-TRAX Archives. And that is where this bonus track was taken from. Mastering engineer Thee J Johanz managed to restore the quality of the recording somewhat, while at the same time maintaining its dark, clubby sound, a tribute to the famous club of the track's name in Antwerp, Belgium.

"Dream Affected Dream" is one of the most recent productions on this album. It was recorded with CNN playing live on top of it. At this exact moment, CNN was having an interview with David Koresh, the leader of the infamous Branch Davidians sect from Waco, Texas, while they were under siege by an armed police force. Natasja and Jeroen were just ready to record Dream Affected Dream, and spontaneously decided to mix in the audio from CNN. Not very long after that, the cult members set fire to themselves. A very strange and oddly funky track, that also serves as a time-document.

The final track is another bonus track. Like Cafe d'Anvers, "Voight-Kampff" is taken from on old U-TRAX VHS Hifi tape and masterfully mastered into a lovely relaxed dreamtech piece. Very suitable to start the Sunday after a long night of clubbing. This track is available for free to buyers of the complete digital album only.

Original release date: July 1993.

Believed to have been recorded in 1983, ‘O Filho Do Homem’ is a newly discovered and previously unreleased single by the late Brazilian composer and keyboardist Ana Mazzotti. Though it’s her only known studio recording of the decade, ‘O Filho Do Homem’ is one of several unreleased compositions Mazzotti and her band performed on TV Cultura and Programa MPB during the 80s.*

These performances showed Mazzotti had transitioned towards a harder edged and more daringly experimental sound in this period, while keeping the core components of samba, jazz and funk that characterised her two studio albums from the 1970s, Ninguem Vai Me Segurar (1974) and the self titled Ana Mazzotti (1977). This evolved 80s sound had evidently taken a similar path to that of her contemporaries and mentors, like Azymuth, whose keyboardist José Roberto Bertrami arranged her debut album, and Hermeto Pascoal who described her as “a super musician.”

Following the resurgence in appreciation for Ana’s music that arose from the 2019 reissues of her two studio albums, her son Toni Mazzotti was compelled to re-examine the archive of artefacts he’d inherited from his parents. Amongst the LPs, chord sheets, photos and VHS recordings, Toni stumbled upon a mysterious reel of tape, which he swiftly dispatched to the Far Out office in London. Toni and the Far Out team were delighted to discover the mystery tape was a hazy jazz-funk gem recorded by his mother (and father, drummer Romildo Santos) during the twilight of her short career; Ana Mazzotti sadly passed away in 1988 from lung cancer at the age of just 37. Aside from Ana on keyboards and vocals and Romildo who produced and played drums on all of Ana’s recordings, the line-up for the quartet is unknown.

“O Filho Do Homem” will be released on 7” vinyl and digitally on the 10th December 2021 via Far Out Recordings.

Alex Van Pelt writes songs for ghosts and broken hearts.

French multi-instrumentalist Alex started making music fifteen years ago when he was still a teenager, in bands such as Coming Soon, Mont Analogue, or as a guitarist for Sierra Manhattan, Norma, François Virot and Adam Green. But today he grows up and shows what he’s made of as a solo artist.

After his debut album Tum Tum (2019), in which he stated the basis of a rich and sensitive musical vocabulary made of DIY synth and post-romantic songs, he cultivates and confirms his originality with his new opus, Global Crush (out in November 2021). Words reverberates with sounds, and structures assumes ever shifting shapes : passed Global Crush’s melodic immediacy, one soon perceives a will to disrupt the conventional ground rules of pop music.

Like in a Kitano or Wong Kar Wai movie scene, Alex’s songs mix melancholy and humor. He has put together the intimate patchwork of Global Crush in a landscape painter fashion, and the result somehow works as a map to the artist's interests and influences (to name a few : the Everly Brothers’ breakup songs, Supertramp’s melodies, Daniel Clowes comics and video games ost such as Final Fantasy and the Sims).

Fueled By Ramen will be reissuing one seminal album from our 25- year history each month throughout the calendar year of 2021, again this will be on Silver Vinyl as part of the FBR 25th Anniversary.

FBR 25 Podcast

We are currently working on a 16 part podcast that will delve into the history of FBR, it’s cultural relevance and Global impact over the past 25 years. Each episode will look at the careers of some of our most important artists, and deep dive into the making of albums told by the artists themselves in their own words.

25th Anniversary Merchandise

We announced the 25th Anniversary around Thanksgiving last year with our first 25th Anniversary limited merch drop, and then will be working throughout 2021 on new and exclusive designs to drop throughout the year.














m 13. Good Girls Go Bad (Frank E Remix) [feat. Flo Rida]

New Zealand dreampop luminaries French For Rabbits have dedicated nearly a decade to creaming warmly detailed and expansive music together. Their third, prophetic, LP The Overflow is set for release via Reckless Yes (UK), AAA Records (NZ/Aus), and A Modest Proposal (Italy) is described by the band as their most “immediate and honest” record to date. The Overflow draws on the influence of contemporary artists Laura Jean, Hannah Cohen and Hundred Waters alongside the storytelling of folk and rap music, and even references 90’s cultural touch points such as Moby, Enya and The Lion King. Whilst its inspirations are diverse-the result is a singular album that is confident in its delivery. The album follows on from their elegantly stated second LP The Weight of Melted Snow and their 2014 break-out Spirits, which received millions of streams, and song placements everywhere from the Vampire Diaries to Netflix’s Never Have I Ever TV series. On their new album, the group, led by Brooke Singer, sweeps forward with their most dazzling body of work to date-from the introverts’ anthem ‘The Outsider’ to the unfurling end-of-the-world statement piece “Nothing in my Hands”. Written and recorded mostly in 2020 in Wellington, the songs on The Overflow cover a wide range of topics, with the common threads of introversion and anxiety woven throughout. Yet, on first listen, you could be forgiven for mistaking the album’s subject matter for something lighter and more upbeat, resplendent with featherlight vocals and delicate layers

Critically allaimed debut full-length available for the first time on vinyl. First pressing of 3,000 on “pear” vinyl. Originally released in 2006 on Absolutely Kosher Records, Shut Up I Am Dreaming is the first full-band effort from Montreal’s Sunset Rubdown, a project previously reserved for the solo experiments of Wolf Parade’s Spencer Krug. Alongside Michael Doerksen (guitar), Jordan Robson-Cramer (drums, keys, guitar), and Camilla Wynne-Ingr (keys, percussion, vocals), Krug and his new band recorded the songs in just five days with the help of engineers Jace Lasek and Dave Smith at Breakglass Studios. Though met with praise by fans and critics alike, placing 15th on Pitchfork’s Top 50 Albums of 2006, Shut Up I Am Dreaming was never made available on LP. Now, fifteen years later, Krug is having the album pressed to vinyl via his own tiny record label, Pronounced Kroog. Remastered for vinyl at Greymarket Mastering by Harris Newman (the same engineer who mastered the original), and with original cover art by Matt Moroz reformatted for LP jacket, this first-ever pressing of a now cult classic will be available this winter. After a decade and a half of earnest inquiries, Sunset Rubdown fans are finally able to add Shut Up I Am Dreaming to their record collections. About time!

A further volume of ryūkōka recordings, covering the end of the 1920s though to the late 1930s, supplementing the recent Longing for the Shadow collection...

Emerging during the early stages of the recording industry in Japan, the ryūkōka style adopted western classical, blues & jazz elements into traditional and classical Japanese music.

Is It Really Goodbye? further collects pre-war ryūkōka records which capture the hauntingly unique sound of a cultural merging that was starting to reflect itself via popular song, ahead of the widespread influence of western pop music during post-war US occupation.

This is the 30th release and 3rd Anniversary of our first tape, so to celebrate the label has brought together friends new and old for a spectacular compilation ranging from ambient to dreampunk to uk garage to house. All proceeds from this release will be donated to the Coral Reef Alliance.

For his first solo EP, Tushen Raï designed a record in the form of a colorful patchwork of sounds, a meticulous collage of samples, surrounding noises and synthesizers. Here, Maori percussion dug on field recording discs from the late 60s and 70s meet Indonesian chants recorded on phones and posted anonymously online. A nostalgic yet deeply contemporary testimony to an imagination weakened resulting from the cultural globalization.

With Drums Circles, Tushen Raï wants to reconnect with the adventure novels, from Jules Vernes to Barjavel, which nourished his childhood. Thought out as an ode to the diversity of our cultures, our practices and our beliefs, Drums Circles is a cry in favor of open-mindedness and curiosity. It is an invitation to discovery rather than to conquest.

A humble invitation to embark on a journey and to collective trance.

Multi Culti launch a new quarterly 12" series in step with the seasons beginning with SOLSTICE I:

Post-pandemic lockdown inspiration can be found in the great planetary balancing act that has taken place since a cataclysmic impact with an asteroid caused mass extinction and set our earth’s orbit off axis. This AXIAL TILT, or obliquity, is responsible for the seasons, and life as we know it has evolved around these unleashed forces. As our lives and for many, careers, have spun dramatically off axis as of late, we look ahead to the coming seasons, with the hope that we can weather the changes, and maintain inner stability. To aid in this quest, Multi Culti promises to deliver sonic support with utmost regularity at the peak moments of cosmic significance, with each Solstice and Equinox.

Beginning this journey are some of the label’s most beloved artists. Israeli duo RED AXES provide a chakra-elevating soundtrack with their inimitable blend of psych-garage-tronica, a sun-kissed banger that signals a long-awaited return to the togetherness of the dancefloor.

ZILLAS ON ACID turn in a robustly wiggly jam that electrifies, frazzling zaps and frenetic percussion recall the fritzy tension of the past year, a cathartic shock-treatment for traumatized dancers looking to get back to prime spine-shaking shape.

Mexico managed to stay open for the most part, and TYU seems to have not skipped a beat here, still in perfect form after breaking out as one of the hottest young producers to emerge in recent years. Dark disco, Mexi-chug, call it what you want, but the emergent genre is never better represented than here… spooky, phosphorescent tribal dance, Tulumminati-tested and approved.

Finally, the big guy - MANFREDAS - whose remixes and edits have been highlight-reel material the past couple of years, delivers a long awaited original track with his requisite heavy-weight swag. Wonky tunings and a chunky downtempo beat underpin Manny’s trademark masterful arrangement style, building patiently, with breakdowns that managed to wring every last drop of impact out of an odd, other-worldy assortment of sounds.

Finally available the 2nd – unreleased – album by iconic Italian post-punk outfit. Born in 1979 as Sextons, in 1980 they became Rats and in 1981 they published their classic debut ’C'est Disco’. Set to release in 1982 on cult label Italian Records, the record didn’t make it due to several diatribes with the company itself. Here’s your chance to taste this precious moment in Italian wave revolution.

Record Kicks presents "Gurami" the first single from the forthcoming "Origin of Forms" album, the vibrant debut album by Moscow funk band The Diasonics with a mix of cinematic funk, instrumental hip-hop and soviet psychedelia.

Record Kicks is proud to present the mesmerizing psychedelic universe of The Diasonics. "Gurami" is the first single taken from "Origin of Forms" the startling debut full-length by the Muscovite band, coming out on January 28 2022 on ltd edition LP, CD and Digital. "Gurami" is an instrumental funk cut with heavy abstract hip hop influences and it will be available on limited edition 45 vinyl and digital.On the flipside the instrumental soul bonus track "Gradients". The 45 is limited to 500 copies wordwide.

Welcome to "hussar funk", that's how The Diasonics call their music: a style that blends infectious deep funk instrumentals, East European flavours, hip-hop rhythms and psychedelia. Firmly rooted in the late 60s and early 70s, their debut album "Origin of Forms" was recorded on an 8-channel Japanese tape recorder Otari MX-5050 MK III at The Diasonics HQ's Magnetone Studio in Moscow and was mixed by Henry Jenkins (The Cactus Channel / Karate Boogaloo) in Melbourne.

The Diasonics are one of the latest additions to the Russian instrumental funk scene. The band was only formed in 2019 and it's made of five young and seriously talented Muscovite musicians: Anton Moskvin (drums), Maxim Brusov (bass guitar), Anton Katyrin (percussions), Daniil Lutsenko (electric guitar) and Kamil Gzizov (keyboards). In just a couple of years the band has amassed a cult following, releasing a shower of ten celebrated singles and various in-demand 45 vinyl records on funk labels such as Funk Night Records and Mocambo Records.

Fans of Khruangbin, Dj Shadow and of instrumental soul, take note!

This November, American cult hero Dev/Null debuts on Trickfinger & Aura T-09's Evar Records with MICROJUNGLIZM, an 8-track album that explores the power and beauty of darkcore, jungle tekno and breakbeat rave. Chopped drums, hairpin turns and alluringly emotional pads open up a time portal between the past and the future, decorated with haunting samples and musical Easter eggs that show off Boston-based Dev/Null's deep history as a rave historian and scholar.

MICROJUNGLIZM's fantasy suite was written over the last year, arranged and sequenced entirely without a computer. Dev/Null fell in love with Teenage Engineering's PO-33 Pocket Operator – a portable, pocket-sized sequencer that he started using during his DJ sets to create special versions on the fly. The limitations of making entire tracks inside the PO-33 immediately suggested the sampling techniques and stylistic hallmarks of early jungle, already one of Pete's longtime obsessions.

"The PO-33 has some of the same low-fi sonic charm as retro gear used back in the day," Pete explains. "8-bit samples, 11khz mono sound, kind of like an Amiga computer. It's been really fun and exciting to have my own tracks to throw into sets – even if they're raw, unfinished 3-minute things which get played once and never again. A few of these tunes were done for my sets at parties thrown by Aura T-09 in L.A., so I'm happy they're coming out on her label."

Digital Afrika return to the fray with this incredible EP for ASW. Featuring the original Gnawa plus it’s acoustic source recording as performed by Radouan Naim in Morocco PLUS two truly excellent remixes from the legendary Jose Marquez and Melbourne’s own TEYMORI (Amin Payne).

The original source recording for this track was laid down in Planet Essaouira and recorded by Zhonu “Nui” Moon (Digital Afrika ) on one of his many cultural trips to his ancestral home land. The studio is situated on the Moroccan coastal town of Essaouira , a cultural hub for the Berber (indigenous Moroccan) traditions.

This enigmatic town , popularised by the beatniks and bohemians of the 60ʼs, most famously by Jimi Hendrix and The Rolling Stones , has a mystique all its own as well as a long musical history.

“Gnawa” in Berber language literally translates as “Trance“ music , and is traditionally performed in “Lilas” musical ceremonies accompanied by dance that can go on for days .. where the purpose is to produce trance-like states of being where different types of healing or catharsis can occur ..

The recording was then brought back to Melbourne, Australia. Where the Digital Africa team applied its electronic Afro-house touches , while keeping true to its original North African aesthetic.

WRWTFWW Records is absolutely honored to announce the release of Kenji Kawai’s complete soundtrack to Mamoru Oshii's 1993 superb political thriller science-fiction mecha anime PATLABOR 2: The Movie, available on vinyl for the first time ever and housed in a beautiful heavy gatefold sleeve with obi, as well as on digipack CD. Both versions come with liner notes by the great Masaaki Hara.
A true soundtrack maestro, Kenji Kawai is behind the legendary soundscapes of cult animes and movies such as Ghost in the Shell, Avalon, Ring, Ip Man, and Seven Swords among numerous others. PATLABOR 2: The Movie (Original Soundtrack) is one of his most experimental offerings, an outstanding palette of emotion-filled ambient atmospherics and percussion mastery breathing beautifully through Kawai’s minimalism meets modern classical approach. His symphony of moods paints a delicate picture of urban isolation, a central theme in the movie, but doesn’t hide hints of hope for a joyful future.
PATLABOR 2: The Movie (Original Soundtrack) is an ideal companion to Kenji Kawai’s Ghost in the Shell soundtrack, already available on WRWTFWW Records.

KiNK is back with number six on his sometimes experimental, often exemplary, but always exciting Sofia outfit. The driving force of Clap On 2 are the tropes of acid and its numerology (101/202/303/). The opener Disco Spectrum shows why the sound rose from the shards of smashed mirror balls in Chicago – updated and optimized for today. Turbo – nomen best omen – takes it even further, faster and fiercer, while the theme song completes the pogo picture. Finally, Almond Break lulls you into a false sense of security (think yoga camps, namaste cults, kale drinks and Balearic sunsets), before it turns into a pagan ritual to complete this acid test. Remember: wo wants to own the future needs to conquer the past!

SOFIA: Founded by Strahil Velchev and Konstantin Petrov, Sofia is not only the physical location where this music was made, the city where they met and developed as artists, but also a paradox that is reflected in the art and music that comes from the place. Beautiful and ugly at the same time, clean and dirty, brutal as well as romantic, it’s a place where aesthetically seemingly incompatible styles come together in a twisted, yet unifying form. The photographs for the sleeves are made by influential local selector DJ Valentine, effortlessly capturing the local reality.

Blood On Satan’s Claw – AKA Satan’s Skin in the USA, is a cult British horror movie from 1971. It’s a film from the golden age of British horror, and one that ticks most of the horror connoisseur’s boxes - it stars the Devil, Olde England, it has nudity, strange ritualism, a fair smattering of blood and of course, sublime music. Produced by cult masters Tigon, this film was the perfect companion piece to their earlier Witchfinder General (1968). Set in rural 17th century England, it tells the fine story of a small village that quickly falls under the devil’s spell. It’s brilliantly told and quite beautifully shot with a very fine cast of superb character actors.
Over many years the film has slowly gained a cultish reputation, and there are rumours that good old Tim Burton is a very big fan and used the movie as an influence for his “Sleepy Hollow” production.
The score was never released. Written by Marc Wilkinson, former director of music for the National Theatre, this cult soundtrack takes its lead from “The Devil’s Interval”, but more about that in the next paragraph. Musical appearances from the Ondes Martenot (the earliest electronic instrument) and Cimbalom add to the overall spookiness of this recording. And in 38 years the music has lost none of its depth or addictive, evil hooks. The first pressing sold out many years ago and commands high prices. A repress has been requested for many years.
Here’s Marc Wilkinson’s thoughts…
“The descending chromatic scale which features throughout the music omits the perfect fifth (the only true consonant in the chromatic scale) and therefore highlights the diminished fifth, which ever since the middle ages in Europe has been known as the Devil's Interval!!”
BRIEF ARTIST INFO: Marc Wilkinson was musical director of the National Theatre throughout the 1960s. He scored a number of films in the late 1960s and 1970s including “If” for Lindsay Anderson. Wilkinson currently lives in France.