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Richard Youngs' e work can traverse everywhere from avant-folk or otherworldly pop to minimalist electronics or some of the most fervent 'outer sounds' one can dredge from the deepest crevices of their doubtlessly life battle-scarred imagination. On Metal River, Youngs offers four songs of deep space beamed curdled electronics not far removed from being akin to the contorted death caterwauls of a cyborg species reaching out in uttermost anguish. It's like prime Edgar Froese getting snagged on Incapacitants before tumbling headlong into a dingy cellar that then has its door slammed shut and locked before one notices the only company is accorded by body parts in dusty and mouldy demijohns. Features three songs on the first side, 'Days of Gravity Indoors', 'Metal River' and 'Rainy Days Static Caravan', plus the side long 'Dual Monody of Accumulated Detritus'. The perfect follow up to the 2dicks 7" lathe-cut also featuring Richard Youngs and released by FD in June. White vinyl, too. What more could you possibly ask for? "

Two classic cuts from the Presidentcatalogue.

Doris Willingham ‘You Can’t Do That’ - A big Northern floorfiller from a renowned soul backing singer who cut her own material later as Doris Duke.

Her only release under the Willingham name, originally out on the super cool UK Jay Boy imprint in 1968 (the label’s debut release - BOY1).

Produced by Bernard Purdie (Funky Donkey label) who was at the controls for a number of super rare Northern sides.

An early gem from the artist who ended up working with the legendary Swamp Dogg (Jerry Williams) charting with the ballad ‘To the Other Woman (I’m The Other Woman)’.

Pat Hervey With The Tiaras ‘ICan’t Get You Out Of My Mind’ - An anthemic, handclap-friendly gem that goes for anywhere between £50 to £100. Released on the UK President label from 1966.

Blue-eyed Canadian soul backed by black Canadian harmony group The Tiaras (not to be confused with the LA harmony outfit).

A slow burner that ramps up the horns and strings behind some funky guitar chops and Hervey’s euphoric vocal, her one-off stab at the soul charts guaranteeing obscurity and legendary status.

Former Missouri disc jockey, Don Woody teamed up with a friend to write
a dozen rock ‘n’ roll songs to pitch to the record companies.
One was picked up by Little Brenda Lee and opened a door for Don with Decca
Records. Don’s clever way with words is evident on the recordings of “BirdDog” and “Barking Up the Wrong Tree” cut at Decca, while his more recent
coupling on Arco should consolidate his elevated position with the hep set.
YOU’RE BARKING UP THE WRONG TREE

Vertaal first mixtape, Paradigm Shifting had a soft digital released on the 23rd April 2020, on Vertaal’s Empty Quarter Tribe imprint.

Self-produced, recorded and mixed in their own studio, the EP was nominated by Jazz Revelations for EP of 2020 and produced

four singles, ‘Polar’, ‘Duels, ‘Drop Off’ and ‘Dilla5’.


2020’s lock down led to a completely remixed and partial re-recording of the mixtape into a full, seamlessly mixed double LP with 6 additional

tracks and a further 6 musical ‘skits’ recorded separately by all the contributor musicians on the album during lock-down.
The limited edition numbered coloured vinyl 2LP will be released on March 26th 2021 supported by a fifth single, Alcazar b/w Husky on April 2nd

with promo video directed by Ben Sommers (Smoke No Pony Productions) whose previous credits include Mary Epworth, Archive, Young Knives and many others.



Vertaal have been an increasingly notable presence in the nu-jazz scene over the past 3 years.
Tipped as “ones to watch for 2019” by Jazz Re:freshed, Vertaal played an exclusive pick of sold out shows at prestigious venues such as Ronnie Scott’s, Pizza Express Soho and the Jazz Café.

They have also supported the likes of Mark Guiliana (David Bowie), & Pete Ray Biggin (Level 42) and finished off 2019 guesting for Richard Spaven at The Cambridge Jazz Festival.



Of the six tracks on the current mixtape, first single ‘Polar’ was played on the uber-cool Deeper Cuts show by DJ Karl Bos who described the track as an “incredibly produced record.”

Tony Minvielle (Jazz FM) urged his listeners to “…hunt this down. They’re making incredible music!” after playing two tracks from Paradigm Shifting on his show,

and the mixtape has garnered similar excited responses from many DJs and reviewers (press list below).



Paradigm Shifting will be released on March 26th. The shrink-wrap will be stickered with full information and press quotes.

Producer extraordinaire John Morales returns to BBE Music, celebrating the life and work of R&B / soul legend Teena Marie with a double album full of brand new remixes, lovingly crafted from the original studio tapes, entitled ‘Love Songs & Funky Beats’. “Teena is somewhat underrated, and people don't really know much about her.” Says Morales. “I set out to immerse people in her music and represent what she really did. That meant for me a dive into more than her R&B hits, to dig into her ballads and dance cuts. People know she was talented. I don't really think they really knew the depth of her abilities, her complete confidence to take it upon herself to do everything – singing, producing, arranging, songwriting. Teena Marie was the total package.” John Morales had the pleasure of mixing many of Teena Marie’s original records over the years, so it felt natural to dig into the archives and select his favourite cuts to rework, extend and subtly update in his own distinctive style. While by no means a definitive collection of Lady Tee’s expansive musical catalogue, ‘Love Songs & Funky Beats’ represents a fitting tribute to a multifaceted and important voice in popular music, by one of the most storied mix engineers and remixers of our age. Jumping into the music industry deep end in 1979 with a three-year mentorship from Berry Gordy & Rick James at Motown, Teena Marie then spent seven fertile years with Epic, which yielded her greatest commercial successes (including the classic album 'Starchild'). After founding an independent label ‘Sarai’, Marie took a ten-year hiatus which ended in 2004 in a deal with hip hop label Cash Money Records; a less unlikely partnership than some might assume, given that Teena was one of the first ‘mainstream’ artists to perform a rap verse, on 1981’s ‘Square Biz’. Teena Marie Brockert forged a unique path through the industry, an artist in-charge of her own destiny, influencing (and heavily sampled by) both the hip hop and R&B sounds of the 90’s and early 2000’s. Her 1982 lawsuit against Motown records resulted in "The Brockert Initiative", which has benefitted literally thousands of other artists by making it illegal for record companies to ‘shelve’ artists by keeping them under contract without releasing their material. She continued to tour regularly and deliver commercially successful, expertly sculpted music, right up until her untimely passing in 2010.

Re-issue of a soul masterpiece from 1974, 'I Love You More and More' by Tom Brock was Tom's only solo album release, but what a beautiful classic it is. For some, it is up there in the pantheon alongside their all-time treasured soul favourites such as Marvin Gaye's 'What's Going On'.

Produced by the legend Barry White and released on 20th Century Records in 1974, it features the lush hallmark orchestration, heartfelt songs, and funky yet slick playing you’d expect from a White production. Like a dusting of sugar onto the top of the cake, the record also features the stunning arrangements of the great pianist, arranger, composer, and producer Gene Page, whose musical career left an impressive and prolific legacy.

'I Love You More and More' received another lease of life when it was resurrected for a new audience after having been sampled by Jay-Z, Mos Def, C.L. Smooth, and others. The record is solid throughout, but the song 'There's Nothing in This World That Can Stop Me From Loving You’ proved to be an extra-bright star in the sky and it formed the base to Jay-Z's 2001 hit 'Girls, Girls, Girls'. The sampling of Tom’s work triggered the collectors, diggers and DJs to explore his record and to transfer their passion for it onto their followers too.

Tom Brock passed away in 2002, but left behind his sensational soulful voice on a handful of amazing dusty 7" singles, several assorted productions recorded by other artists, and this absolute winner of an album, which will be cherished for years to come.

• Half-speed vinyl cut at Abbey Road Studios

• Sampled by Jay-Z, Mos Def, C.L. Smooth…

• Produced by Barry White, arranged by Gene Page.

"Essential techno, essentially militant. A collection of pioneering electronic club hits and classic tech funk cuts with highly eco-political lyrics, produced by Michelle Grinser, DJ Naughty and featuring by Chicks On Speed. Chris Korda, is a transgender artist and tireless environmental activist who denounced 21 years ago the excess of capitalism and consumerism ("Buy", "Buy More"), exposed social inequalities and warned of the dangers of climate change".

The latest from Mr. K and Most Excellent Unlimited pairs lowdown and stomping disco from an unlikely source with a funked-out floorfiller from some very familiar voices.

Minnie Riperton’s 1977 single “Stick Together” was an outlier in her catalog of smooth modern soul, an intentional nod in the direction of the prevailing disco sound. Co-written with Stevie Wonder, “Stick Together” in its original single release was divided into two parts, the first a fairly conventional uptempo cut with all the catchy qualities you’d expect from Stevie and the husband and wife team of Richard Rudolph and Minnie. It was the second half of the song that caught the ears of DJs who played for funkier dancefloors, however. Freddie Perren, a former member of Motown’s legendary Corporation collective of songwriters and producers, and a man then red-hot off his success with Tavares’ “Heaven Must Be Missing An Angel” and the Sylvers’ “Boogie Fever,” was on production duties, and the song clearly benefits from his disco-friendly touch. In Mr. K’s epic edit we are treated to a lengthy exploration of the second part of “Stick Together,” featuring keyboardist Sonny Burke (veteran of Marvin Gaye’s band and fresh from playing on Candi Staton’s disco smash “Young Hearts Run Free”) working out an irresistible Jingo-esque piano part, Riperton’s sensual ad-libs, and, as if that wasn’t enough, a cameo appearance by Pam Grier on finger snaps! Krivit’s 8-minute-plus edit passes way too quickly to get enough of the hypnotic groove — rewinds are called for!

Our flip side, “Body Language,” originated as an album cut on the Jackson Five’s last album of original material for Motown, Moving Violation, recorded before Jermaine left to go solo and the remaining brothers joined Epic Records in a new incarnation as the Jacksons. For such an obvious heater it’s puzzling why the label never released it as a single; but regardless of that apparent misstep, “Body Language” has long been a sure shot in many DJs’ bags. With his new edit, Mr. K presents the track in its ultimate form, loud, remastered, stretched out and rippling with energy over a full six minutes. With an iconic bass line that just doesn’t quit, and Michael and the boys in fine form, it’s impossible to imagine a situation where this wouldn’t set the room on fire.

*Repress*

Jerome Hill revives his Itsu Uno guise for the first time in 7 years and starts 2021 with some much needed fun.
He serves up 2 Cut n Paste Party Rocking Funk Bombs for the B-Boys and B-Girls.

No prizes for guessing the inspiration for "Shooter (Super Sharp B-Boy) although you'll not have heard it like this before. Meanwhile in "Battle Of The Breaks", Itsu Uno goes to town and serves up all manner of funky-ass beats and samples culminating in a finale that will get you ‘jumpin'

Fat Hop was started by Jerome in 2009 to house B-Boy Break jams, Old Skool style Hip Hop and Britcore.

The first two EPs of rising French-Algerian singer-producer-songwriter Sabrina Bellaouel on InFiné are now available on a single 12" vinyl edition for the first time. At the crossroads of modern electronic production, alternative RnB & North African beats, Sabrina Bellaouel offers her listeners an unprecedented mix of grand emotion of the Pop stage and the cutting-edge underground flair of buzzing nightclubs

Textextext - (add your write up)

2020 saw Sabrina Bellaouel step out of her cocoon a fully formed artist. First, there was "We Don't Need To Be Enemies", a powerful and brave record - directing the limelight away from her talent as a singer and focusing on her honed, meticulous production skill and ingenuity in making demanding, forward thinking music. Bellaouel managed to tell stories of her identity and place in the world almost without a single vocal.

Then, there was "Libra" - fusing her own production with that gorgeous voice - showcasing a fully formed, trailblazing, independent artist. Sabrina jumps effortlessly between empowering trap on "Arab Liquor" to luscious RnB on "Float" and ends the record with "She Don't Care", a peak time house curveball that you can picture heating up the festival dance floors around Europe. The diverse and powerful EP united different sides of the press in its critical acclaim, receiving accolades from Resident Advisor, Mixmag, The Quietus, Metal Magazine and Pan African Music - just to name a few.

Both of these records then, represent a side of the coin - and are now available as a 12" Vinyl combining them to a singular listening experience. And when the clubs slowly open up again, you will surely see this secret weapon make it's way some well assorted DJ bags.

Proud to be annouce 3 cuts from Steve O Sullivan, 90s unreleased from his archives…

Melbourne born-and-raised musician, Jordan Brando, lands on Shall Not Fade's Killer Cuts imprint for his debut on the label, seven tracks that show impressive variety in his
production and include two vocalist features. "Moment in Time" is a versatile release with fully-fledged radio playable songs and a host of dancefloor heaters.

After hitting big with "Rockin'" in 2019 and touring Australia supporting the likes of Fisher, Brando now demonstrates the depth and breadth of his musical style in this full-length EP, opening out with the title track - a unique song featuring fellow Melbourne local Vincent Sole. From the glitchy intro the song hits a house beat to get you tapping along but then contrasts this with Sole's silky smooth vocals and disco guitar trills. Following on from this are two more classic dance tracks - "Elsewhere" chops up rnb vocals across a swirling bassline - day party gear - while "Broken Dub" shows Brando's abilities to draw from a range of genres, a pacey breaksy number that tempts a reload.

The record's B-side also contrasts club tracks with vocal features; "Conflict" is the most headsy track on the record, a harder beat and snarling bass for sweaty clubs. Brando returns to his house roots with "Let Me Be The Reason", centering on an earworm diva vocal sample. Sandwiching the record with two vocal features, "You Might Be Surprised" ft. China takes her enticing wordless vocalisations and lays them over a driving electro bassline, an adventurous pairing that fits perfectly. Digital bonus track "Breaking You" is a pure adrenaline floorfiller of deep techy inflections.

Dark, psychosexual electronics lurk between the teeth of Ester Kärkkäinen, the Las Vegas based artist also known as Himukalt. For the past six years, she has tirelessly pursued an avenue of bleak industrial productions that parallel the extremist works of Genocide Organ and Atrax Morgue. She has built a considerable reputation for uncompromising, full-frontal noise, releasing albums on Total Black, Malignant Records, Found Remains, and Foul Prey, amongst others. Between My Teeth was originally a cassette which came out in 2018 as a tiny edition on the Greek imprint Several Minor Promises and sold out immediately upon release. Himukalt returns to The Helen Scarsdale Agency with the necessary reissue of Between My Teeth as a vinyl edition with expanded artwork.

The album is a maelstrom of ill-tempered noise and blackened frequencies, sutured to a foundation of primitive, raw rhythms. Kärkkäinen cuts up her own voice with the digital equivalent of a rusted razor blade through her proclamations of misery, rage, and desire. The albums' opening track "Cataclysm" a turgid industrial production with Kärkkäinen adopting two distinct voices that, while they remain mostly indecipherable in content, the context presumes an inevitable, catastrophic and emotionally violent collapse in the relationship between two people. A tense rhythm clicks below the full spectrum bursts of harsh noise on "She Went Mad" followed by the smoldering power electronic moves of "I No Longer Belong" and "Not Proper." And the death disco groove of "Mine" is far more hellish than danceable through its scalded distortion and Kärkkäinen's vocal mantras about bodily self-loathing.

Another bold, declarative album in the ever impressive Himukalt discography. Remastered by James Plotkin and features a 12 page booklet of Kärkkäinen's signature collaged xerography.

Dream Violence, Michael Beach’s fourth full-length, is an epic album that explores the duality of the human condition. Or, as Beach himself puts it, the album is about “human futility, passion, desire, anger, frustration, and the struggle to maintain hope in a somewhat hopeless time.” Dream Violence, then, addresses the existential crisis of being an artist in 2020.

Known for his work touring with the Australian guitar pop band Thigh Master and the late, brilliantly eccentric Israeli guitarist Charlie Megira, currently the focus of a number of reissues by the Numero Group, Beach is the architect of a sound that is both well-built and ramshackle, straightforward and indeterminably complex, out of the norm yet familiar in all the best ways.

Dream Violence unfolds like a revelation, filled with sonic tumbleweeds that reference Neil Young’s On the Beach, Bruce Springsteen’s Nebraska, the Velvet Underground’s Loaded, and the Go Betweens’ Before Hollywood. Influences ranging from the enigmatic outlier Megira to Glenn Branca to the Oblivians are combined to create a new, exhilarating sound, part of the path that Beach has been on since 2008’s Blood Courses. A veteran of year-end indie rock round ups beginning with Golden Theft in 2013 and continuing with Gravity/Repulsion, released in 2017, Beach distills the best of those early albums and adds sharpened intent.

Dream Violence works beautifully as a start-to-finish album. There are magnificent stand-alone moments: “Spring,” a raggedly building ballad that perfectly captures the ennui attached to new beginnings; “De Facto Blues,” a born-to-lose anthem that, says Beach, “is the sound of people totally at their wits end;” “Curtain of Night,” a simultaneously derelict and bright tribute to the late Megira, which sounds like it could’ve been cut at Muscle Shoals Sound Studio after the Rolling Stones wrapped up sessions for Sticky Fingers; and the delicately vulnerable “You Found Me Out,” which evokes equal parts Lou Reed and Joni Mitchell. On the latter, the lyrics “You found me out, on a ship at sea, you pulled me in, made a wreck of me,” encapsulate “the aimless of a modern world view in a future without hope and the draw/dependence of love in those times,” Beach explains.

Through music, Beach strives to convey both passion and compassion, energy and action. “My hope is that something gets communicated that makes people think outside of themselves or their surroundings,” he says. “To ask questions, and consider the effects of their decisions. To communicate some essential part of the human spirit that understands intuitively how to feel connected to each other rather than divide, exploit, separate, ignore, and all the other heinous shit we have the ability to do with each other.”

Recorded on two continents, Dream Violence documents Beach’s move from Oakland, California to Melbourne, Australia as he navigated a new music scene, plenty of bureaucratic red tape, and, ultimately, citizenship. Parts of the album were recorded and mixed at Tiny Telephone Recording in Oakland, at the end of a 2019 tour with Kelley Stoltz producing. Other tracks were recorded at Beach’s new home in Melbourne, where he could be “relaxed and sloppy in all the right ways,” and partially remixed at Phaedra Studios.

At the Memphis-based Goner label, Beach joins an increasingly unique roster of international musicians that reaches far beyond garage or indie rock to encompass artists like gospel singer Rev. John Wilkins, Kentucky rockers Archaeas, New Orleans iconoclasts Quintron and Miss Pussycat, and no-wavers Optic Sink.

Music For Soundtracks is an album of ten ambient, atmospheric pieces Richard Norris has recently created for film and TV.
They feature in BAFTA winning director Kieran Evans’ recent Sky Arts documentary ‘Cold War Steve Meets The Outside World’, as well as Marc Issacs’ latest film ‘The Filmmaker’s House’. The tracks range from widescreen electronic dance to immersive deep listening cuts, all with a marked sense of space and landscape. Dive in…

On 28th August, Nirvana's self-titled 7 x platinum-selling posthumous collection Nirvana makes its debut on Deluxe 45rpm double LP on heavyweight 180-gram vinyl with a digital download card for 24-bit 96kHz HD audio, as well as a standard 33rpm single LP 180-gram heavyweight vinyl edition which will feature a download card for 320kbps MP4 audio. Nirvana will also be released as a Blu-Ray Pure Audio in high resolution 24-bit 96kHz in three stereo audio formats: PCM, DTS-HD Master Audio and Dolby TrueHD stereo.

Originally released in 2002, Nirvana features the rare and previously unreleased studio version of You Know You're Right', the last song the band ever recorded, available exclusively on this compilation. Also among the 14 classics on Nirvana: 1991's breakthrough Smells Like Teen Spirit', and fellow Nevermind singles Come As You Are', and In Bloom', In Utero singles Heart-Shaped Box' and Pennyroyal Tea', as well as deep cuts including About A Girl' from first album Bleach, Been A Son' from the Blew EP, the non-LP single Sliver', and live acoustic versions of All Apologies' and David Bowie's The Man Who Sold The World' from the GRAMMY® winning MTV Unplugged In New York.

The mighty Channel One Studios,Kingston, Jamaica, has its place set in Reggae's Musical History.Its distinctive sound the studio created on opening its doors in 1972 to its closure in the early 1980's made it the Producers, Singers and Musicians studio of choice during this furtive period. Achieving that vibe and clarity, separated it from the other Kingston establishments.

Run by the Hookim Family's four sons, Jo Jo the eldest followed by Paulie, Ernest and Kenneth. Their father originally came from China and married a Chinese Jamaican lady and settled in the St Andrews district before moving to Kingston Town itself. The family business was built on jukeboxes and one armed bandit machines in and around Kingston. A lucrative venture until the gaming laws changed in 1970, outlawing the gaming machines. So the music side of the business would have to be expanded. So it was decided to open a studio to make the music to supply their already established Jukebox enterprise. The four brothers opened Channel One Recording Studios in 1972 at 29 Maxfield Avenue, Kingston 13. Initially as we stated the purpose of the studio was for the brothers use only, but this would soon change when the various Producers all looking for that Channel One sound came asking for studio time.

The brothers had used the services of Bill Garnet a renowned and well respected technical engineer on setting up the studio. They spent a lot of time laying out the space to get the right acoustics and picking the right quipment. They went with a four track API desk and the best quality microphones such as Neuman, Sony and AKG, vital in obtaining the quality sound and track separation that would prove so worthwhile after the music was recorded to give the best flexibility on the final mix downs. Jo Jo would take over the production duties after the initial hiring of Syd Bucknor a producer who had worked closely with Coxonne Dodds Studio 1 stable. The first release on the Channel One label would be 'Don't Give Up The Fight' by Stranger Cole and Gladstone 'Gladdy' Anderson.The initial two thousand run being swallowed up by their Jukebox interests and so the steady flow of hits would run up to the brake through hit of 1975 'Right Time' by  the Mighty Diamonds.

1977 saw Jo Jo extending his stays in New York to a semipermanent status, returning mainly to oversee recording sessions and then taking the results back to America for worldwide distribution. His brother Paulies senseless killing in that year also added to Jo Jo's decision to spend more time with his Hit Bound Manufacturing set up in New York. The Channel One studio would be upgraded in 1979 to sixteen tracks and although Jo Jo and Ernest still covered the mixing and engineering duties Kenneth would now supervise sessions. An often untold part of Channel Ones history is the involvement of Producer Niney The Observer. The mid to late 1970's were heavy times both musically and politically and Maxfield Avenue was in the heart of this crossfire. Some artists and musicians were weary of using the establishment especially when sessions ended late at night and exiting the studio at these times could be somewhat dangerous. But Niney’s fearlessness seen him over running and in many cases running the all night sessions with his trusted set of musicians loosely called The Soul Syndicate. Having the run of the mighty Channel One studio's allowed Niney to build up and work on a stockpile of rhythms that he still has yet to unleash on the world. We have been lucky to select a bunch of material from Niney's vaults for this release. Some great unreleased rhythms and some different cuts to some tracks you might already know. Niney's work with Dennis Brown and his own distinctive heavy roots style productions have been documented and indeed his work on Channel Ones Yellowman releases stand tall also. We hope this fine set of Niney Productions set inside the hollowed walls of Channel One will sit beside them as they so richly deserve.

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

Soft Cell’s 2002 reunion album ‘Cruelty Without Beauty’ is set for reissue in new expanded and remastered 2CD format, as well as being released on vinyl for the very first time.

Long regarded by many fans as an overlooked masterpiece, the album features a lyrical outlook that was as true to Soft Cell’s maturity and perspective back in 2002 as it is relevant and accurate to the world situation in 2020. Harshly honest, fatalistic and bleakly humorous, Cruelty Without Beauty also preserves the band’s highly distinctive and edgy sound, and stands alongside their greatest work.

The new 2020 version includes tracks originally destined for the album, but for various reasons not on the final cut. It also includes brand new 2020 versions of album highlights Monoculture, Together Alone, Darker Times and Last Chance, updated this year by Dave Ball. Also included are a number of unreleased live versions of album tracks, plus rare remixes.

Cruelty WithoutBeauty, Soft Cell’s fourth studio album, and the first since their original split in 1984, happened after Marc Almond and Dave Ball reunited in the studio after Dave’s ‘other’ band The Grid (with Richard Norris). They worked with Marc on some tracks from his 1991 Tenement Symphony album, which eventually opened the door for some live Soft Cell dates and areunion in 2001. As well as this album release in 2002, the band toured thealbum extensively in the UK, and across Europe and the US, including many festival appearances throughout 2002 and 2003.

The album includes the singles Monoculture and a cover of Frankie Valli & The Four Season’s classic The Night, which became the band’s first Top 40 hit since since 1984.

Most recently in 2018, Soft Cell sold out London’s O2 Arena and were the subject of a career retrospective BBC documentary. They have recently signed to BMG and are currently recording a brand-new album, set for release in 2021. Before then, all of their classic Phonogram-era albums will be reissued in new expanded editions via Universal Music.

Marc Almond commented at the time of the album release ‘I always felt it was an unfinished story, and I’m glad we’re able to write another chapter’.

Dave Ball also commented ‘As soon as we work together, we become Soft Cell, you know’. I don’t know what the magic element is, but it just seems to be there’.

The collaborative debut of American minimal techno pioneer Troy Pierce and Colombian audiovisual artist Natalia Escobar aka Poison Arrow was conceived in reverse: first they created a collection of shadowy surrealist videos, then wrote music inspired by them. This inverted process proved remarkably fruitful. Shatter is a simmering, slow-burn noir odyssey inspired by the Greek myth of Echo and Narcissus, traversing subtle shades of sleepwalker dub, metallic lament, broken beats, and erotic negative space. It's an effectively unsettling evocation of the legend's core theme: "There is nothing more complex than a shattered heart, or a heart that can't love." Considering their shared background trafficking in darkened dance floor modes, what's most striking about Pierce with Arrow's partnership is its rhythmic restraint. The album's 10 tracks seethe and shudder between glamor and gloom, with only occasional dread-steeped metronomes mapping the malaise to a grid. They speak of pursuing a "spatial approach" with this project, which manifests in the music's immersive design and patient execution, each mangled clang and rippling pool of bass allowed to reverberate its full flickering waveform. Guest appearances by austere techno producer Konrad Black ("Obsidian Glass") and drum n bass institution dBridge ("It's A Love Story, After All") flow seamlessly into the whole, subtle sculptural accents on a dimly lit descent through purgatories of longing and lust. But the shadows recede for the record's closing cut, "Narcissus," which swells elegiacally in a mass of devotional drones over a muted heartbeat, like Narcissus gazing upon his reflection in holy awe: elusive true beauty, finally beheld, by itself.

Cromby debuts on Radio Slave’s Rekids with ‘Twisted Future’ EP, showcasing his talent for tweaked out techno.

Following standout appearances on Feel My Bicep, Unknown To The Unknown, and E-MISSIONS, Irish-born DJ/producer Cromby hits Rekids with a four-track EP of crisp techno cuts. Heavily utilising the sound of hardware across the release, ‘Twisted Future EP’ sees Cromby explore the depths of these classic sound palettes over robust techno frameworks.

‘IXP-42’ brings crunching drums and wiggling synths together for over two minutes, building tension before eventually, the much-awaited bassline comes in thick and fast. ‘Follow The Bass’ brings a dose of the unusual to proceedings, with snaking FM leads modulating throughout a maze of sizzling percussion.

On the flip, Bleep meets Baltimore on ‘Relief’, with meaty acid lines, vocals and clattering drums sparring with each other across the track, while ‘Vortex’ rounds off the release, with bright shimmering stabs peppering the stomping drums and distinct squelch of the 303.

One of the most enjoyable parts of Dirtybird is to watch a talented artist grow. Nala started out in Miami cutting her teeth on the local DJ circuit and then moved to LA where she eventually signed with VonStroke and Aundy's Motherbird Management.

Her weekly Dirtybird "TV Party" on Twitch is one of the most popular shows on the network. Each week she features her unmistakeable punk & new wave-influenced DJ style while also hosting a special underground guest, as well as her long time friend and local LA rave legend, Richie Panic.

Nala’s debut on Dirtybird, “Psychic Attack”, is a gritty A-side with her own vocals shouting about the nervous the angst of 2020. The B-side, “Sun Is Hot” showcases her gentler side with a deep groove, a smooth vocal tone, and melodic vintage synth riffs throughout.

They Say: “New directions in contemporary scoring”.

We say: Contempo is one of the best full album listens in the KPM 1000 library. Succinct smoking soul, super tight breaks and string-drenched sleaze composed by the library master, Keith Mansfield.

The creator of the romping tunes that became the iconic themes to the BBC’s Grandstand programme and their televised Wimbledon Tennis Championship coverage, Keith Mansfield was perhaps KPM’s most prolific artist from the mid 1960s right the way through the 1980s. As well as the sort of pop orchestral sound that is all over these classic library records, he could also turn his hand to raw, edgy rock and funk. Quentin Tarantino is a big fan, going as far as including some of Keith’s work on the soundtracks to Kill Bill and Grindhouse.

Many library records are a game of two halves and Contempo is certainly one of those. The first side cooks on a high funk breaks flame whilst the flip is something altogether more tranquil, yet no less groovy. It lays back with dreamier, post-coital grooves.

Rugged funk opener “The Fix” confidently displays its low slung languid grooves with heavy drums, horns and bass. Smokin’ in slow motion. The punchy “What’s Cooking” follows and has a lighter, more whimsical touch. But the drums still roll and the clavs wiggle in fascinating opposition to those horns. The dark and moody intro to “Cut To Music” gives way to a more inclusive, relaxed funk that’s all irresistible bass and stabbing horns. The mid-tempo “Man Alive” signals the time to really get down. A percussive monster jam. If you can’t strut to this then we really can’t help you! Closing out the A side, fresh guitar licks drip all over the slick drums of “Funky Footage”, with a New Orleans piano vibe coming on to really light a fire.

Whilst the dramatic crime funk of the A side is enough on its own to have earned this record its place in the great library record canon, it’s undoubtedly the more smoothed out B side for which Contempo is rightfully adored and celebrated. It’s so chilled and mellow, with beautifully arranged, sweeping strings, sax solos aplenty and a real 70s soundtrack feel. Think Love Boat, CTI label, Bob James, Grover Washington Jr.-type jams.

The super sleek and sexy jazz funk of “Breezin’” is as light and magical as you’d hope. An open-air masterpiece, its indulgent sound is just a taster of the sophisticated funk to follow. The elegant, romantic feels of “Good Vibrations” (used brilliantly by Odd Future’s Mike G for “Swiss Army”) is a string-drenched, wah-wah fuelled ode to living your best life. Nonchalantly. Whilst it keeps a very West Coast feel, the blaxploitation strut is certainly more Blackbyrds than Brian Wilson. “Sun Goddess” will blow your mind with the sensuous sound of glorious horns and beautiful keys. The luxurious “Love De Luxe” and its horizontal grooves have been much sampled, but here it proves that it doesn’t need any help to get you in an intimate mood. Closer “Snake Hips” is a cool mid-pace slouch. Just divine.

Originally released in 1976 but, like the very best KPM records, wonderfully timeless, Contempo is also no mere LP-length collection of loosely related tracks. This is a rare example of a library record that is a genuinely great listen from start to finish.

As with all of our KPM re-issues, the audio for Contempo comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.
: Contempo (KPM) (LP)

Lydmor's new album 'Capacity' is a musical maze full of alluring mysteries. At the same time, it is part of a process of liberation, which is about opening oneself up and discovering one's capacity. For her previous album, Lydmor travelled to Shanghai. But on her new album, Lydmor has mostly travelled deep into herself. 'Capacity' is a contrasting musical work where fiction and reality merge into a multifaceted sound universe. It is the electronic pop artist's most personal, complex and conceptual album to date. There is almost a David Lynch'ish cut about 'Capacity'. The album is like a winding maze where it is difficult to decipher what is real and what is an illusion. Like a book with countless narratives. Without conclusions. Ambiguous. Full of alluring mysteries, dreams, reflections and messages about gender, identity, love, guilt and liberation. Rich in contrasts: Black/white. Silence/noise. Weakness/strength. Fiction/reality. Labyrinth/compass.
Multiple media has compared the quirky voice to the likes of Grimes, Kate Bush or Björk but inevitably the comparisons fall short. (Kaltblut Magazine) - With brutal honesty, unbelievable vulnerability and yet dreamy, she sings the soul out in her pulsating electronic pop songs. The soft, bright voice is deceptive. Denmark's "hidden gem" is a must-listen. (Flux FM) - She is every bit as innovative as Madonna ever was when she started out. Lydmor ticks all the boxes; the girl has everything. For my money she’s the most ground-breaking, inventive artist in Europe right now, possibly in the world. (God Is In The TV, UK) - A unique artist who somehow manages to combine sophisticated and subtle balladry with strident electronic pop, I’ve declared previously that I believe she is only one step away from becoming a big name. Perhaps the feelings are supposed to be mutually inclusive, as the song swings musically from simply cold to complexly hot. It is one that does try to combine both sides of her song writing persona, the introverted balladry and the more elaborate, extrovert electro-pop. (Nordic Music Review) - Revolting pop pathos, primed with pumped up beats. (Negative White, Switzerland)

Proudly presenting the inaugural release on A’s and Bees, a new label of heavyweight 12 inch pressings highlighting double sided delights, with 50% of the profits from each release being donated towards the British Beekeepers Association.

First up, Rare Pleasure’s ‘Superfine Feeling’. Only ever pressed as an almost unattainable acetate that’s rarely traded hands and when it does we’re talking £400 upwards. A 1977, modern-soul-tinged disco number from the New York troupe with soaring vocal harmonies, jamming guitars and big band section galore.

Who better to take on the Bee side than Ashley Beedle himself, offering up a signature NSW rejig - retweaking, dubbing and straight buzzin this cut out across those summer thermals for maximum dancefloor bedlam.

Buzz for life!

Cinthie’s we_r house returns with its eleventh release this December, courtesy of Elgo Blanco who delivers four stripped-back house cuts across the
EP.

Dynamite cuts 45s series is proud to release two Jazz gems by the wonderful Nanette Natal – she ain’t shy! What a voice!
“It’s Over” b/w “Love Signs both taken from the mega rare private press and incredibly hard to find LP “My song of something”. Both were part of the original Jazz dance vibe in the 90s.

Heady power pop trio Portable Radio announce the release of their debut eponymous LP on March 12th 2021 on Crimson Crow Records. Lead track and first single Hot Toddy, out in February, introduces the album with its ethereal brooding pop arrangement.
Some years ago, the world started to go weird – and that’s when the then duo, Portable Radio, decided it was as good a time as any, to start making first steps.
Phil … and Mof … shared some messages and a love of melodies, and as a gift to friends and those feeling the weight of everything, recorded a version of Brian Wilson’s gorgeous opus, ‘Love & Mercy’. The result was enough for them to start writing songs, and the blueprint for Portable Radio was born – hope, empathy, fun, love, and mercy.
Phil had cut his teeth in the Beep Seals and Mof was a DJ and student of pop, and in each other they both wanted to make music that was a tonic for the times; what transpired was a clutch of songs that were filled with uplifting, rich harmonies – stirring power pop inspired by Todd Rundgren, Wings, Carole King, Electric Light Orchestra, NRBQ, Emitt Rhodes, ‘70s West Coast AOR, The Zombies, and of course, The Beach Boys.
The duo released their Baroque Pop debut single with You Are The Cosmos recordings – the double A-Side of ‘Seven Hills’ and ‘Parades’. A cult following started and some shows and radio sessions ensued, joined by extended family – tap room-Mozart Jim Noir, shed-pop wizard Aidan Smith, and Phil’s previous bandmate, the supremely talented Ian Smith (Beep Seals/Alfie).
Soon, Robyn Gibson (The Junipers/Bob Of The Pops) joined the ranks for their star turn and appearance on the ‘12 String High’ compilation. The two becoming a trio, the output cranked up, seeing the release of the debut Portable Radio EP (produced by Jim Noir) and the Christmas Selection Box, all loaded with killer hooks, washes of dreamy harmonies, and just a sprinkling of cynicism because no-one is impervious to the all-encompassing weirdness of the last couple of years.
All of these things were the groundwork for the imminent full-length, self-titled debut, out in March 2021. The LP (vinyl/download/streaming) is full to bursting with big choruses, reflective popsike, FM ready pop, melancholic ballads, with each song is treated like it’s going to be a single.

Statistique Synthétique draws as much from the history of computer sound synthesis as from its latest developments. But well beyond developing simply as a proof of concept, this piece aims to transcend the abstract status of synthetic sound objects and lead them to a properly hallucinatory state, that is to say to a meeting point where the object and perception dissolve into each other, in a sort of transcendental field. Beyond, also, hylomorphism, to reach the world of matter-form fusions, where perception knows how to see "shoulders of hills", as Cézanne wrote.
Teum (the Silvery Slit) is, as the title suggests, an overture, an opening to the game of multiplications, fragmentations, duplications. But it is also the opening understood as the void that blossoms between two borders, a break from which escapes a double tension, both the pulling force of these two edges which move apart and the opposite force of reconciliation, of compression. Okkyung Lee invites us to a truly telluric moment, a rare moment of expression where tectonic movements and shear stresses become music. If the earthquakes were, as we thought in the 18th century, due to underground thunderstorms, there is no doubt that this piece of music, both celestial and continental, could have been their audible manifestation.
Text by François Bonnet


HeckerStatistique Synthétique2020 / 25'15Computer-generated sound with resynthesized situated texture recordingsWritten and produced by Florian Hecker, 2019 - 2020Texture analysis and resynthesis algorithm: Axel Röbel, Analysis/Synthesis Team, IRCAM, ParisMastered by Rashad BeckerPhoto by Mauricio Guillén, 2019
Thanks to Axel Röbel for his commitment to the project and special appreciation to GRM, Luke Fowler, Mauricio Guillén, Dirk Mayer and Porta33
Location Texture Recordings, using DPA 4060, DPA 4017B, DPA 4021 and DPA 4060 microphones to Sound Devices 702 recorder; except segment 04:31 - 05:37, recorded by Luke Fowler, April 2019 using Sony M10.
00:00 - 02:00 Lopud, Croatia, June 200802:00 - 03:12 Ponta do Sol, Madeira, ER 101, April 201903:12 - 04:14 Prentiss St, Cambridge, MA, February 201504:14 - 04:31 Anjos, Ponta do Sol, Madeira, ER 101, April 201904:31 - 05:37 Atelier Cézanne, Aix-en-Provence, April 201905:37 - 08:31 Anjos, Ponta do Sol, Madeira, ER 101, April 201908:31 - 09:46 Praia dos Anjos, Ponta do Sol, Madeira, ER 101, April 201909:46 - 10:39 Private garden, Kissing, September 200910:39 - 11:15 Praia dos Anjos, Ponta do Sol, Madeira, ER 101, April 201911:15 - 15:11 Porto do Paul do Mar, Calheta, Madeira, April 201915:11 - 16:53 Prinz Eugen Strasse, Vienna, June 200816:53 - 24:27 Risco, Rabaçal, Madeira, April 201924:27 - 25:15 Bois de Boulogne, Avenue du Mahatma Gandhi, Paris, September 2015
:::::::::::::::::::::::::::::
Okkyung LeeTeum (the Silvery Slit)2019 / 20'03Performed, recorded and composed by Okkyung Lee (ASCAP)Mixed by Lasse MarhaugMastered by Guuseppe IelasiPhoto by Lasse MarhaugPart of Re-Imagine Europe, co-funded by the Creative Europe Programme of the European Union.

Cut by Andreas Kauffelt at Schnittstelle, Berlin, September 2020Sleeve design by Stephen O'Malley

Originally released in 1980, ‘Amanita’ is an early approach of Canadian artist Sherine Cisco, formerly known as Stu Cisco, to the limitless world of synthesizers in music, through ambient, progressive rock and drone noise.

A unique combination of ambient, progressive rock and even drone noises and space-age that converged in ‘Amanita’, her first full album and a piece of music history. This LP marks a milestone in the investigation, experimentation and evolution of musical instruments, where the Mini Moog demonstrated its versatility and creative potential, opening Sherine a path of limitless possibilities.

By the time ‘Amanita’ was first released in 1980 (only 300 copies were pressed at the time), Sherine had been playing synths for seven years. But far from acknowledging how traditional instruments were played, she tried to do things her own way, creating moving landscapes and a unique language of sound. This DIY approach to music was, as well how the album was made, in her own studio, with synthesizers that were originally meant for live performances such as the Elka Rhapsody or the Elektro Harmonix, channeled through a Dokorder 4 Tape Recorder.

However, what Sherine Cisco was living in her personal life, a gender transition, was as important to the record as the instruments she used to create it. “Beginning in the early 1980's, I began experimenting with taking the female hormone, estrogen. I felt like I was gradually being re-born. It affected my music, the mood of the music, and me, physically and mentally”.

A spacey vibe surrounds each of the 12 cuts that compose ‘Amanita’, waving from ambient to experimental music, introducing drone noises that add mystery to the whole piece and creating epic moments, with the Mini Moog accompanied by Randy Gray’s drums. To close things off, a synth pop infused track works as a masterpiece ending to this story.

When Molly Nilsson began recording her second album Europa in 2009 the world seemed to be at a turning point and
she along with it. In the aftermath of a global financial crash, at the dawn of a new decade, the Stockholm-born, Berlinbased
singer was busy moulding her songwriting into an idiocyncratic, personal mythology that would take her to every
continent, speaking directly to hearts in every corner of the globe. The first album on her own Dark Skies Association
imprint, the first recorded in her home studio The Lighthouse, Europa broke new ground for Molly Nilsson at the time. But
also it spoke earnestly to the world about an idealism, an openness and hope that has not dimmed in the 11 years since
its release. Europa contains the songs of a young, idealistic songwriter coming to terms with her genius for cutting to the
chase, saying it as it is and, most importantly, as it should be. Over 10 years on the artists’ vim and urge for... more
credits

 At the start of 2020, before the world turned to ash, several US publications began running glowing reviews of ‘Speed Kills’, the breakneck debut album from Chubby & The Gang, a West London punk troupe comprised of members of various bands associated with The New Wave of British Hardcore, among them Violent Reaction, Abolition, Big Cheese and more.

 At the time, the band - helmed by local electrician Charlie Manning - had developed a cult following in the UK, largely rooted in the cross-pollinating nature of the punk scene, select shows including dates with Sheer Mag and an impending, lastminute US run with Royal Hounds.

 ‘Speed Kills’, produced by Jonah Falco of Fucked Up, would go on to be called “the best punk-pop LP in recent memory” by Paste Magazine, a debut that “comes alive with liberating energy” in an 8.0 review from Pitchfork and full of “massive barroom gang choruses, power chords at breakneck tempos,
rock spelled R-A-W-K and visceral gratification” as Stereogum put it. Impressive going for a band at the time with no publicist, no big budget label backing and no industry clout, per se, beyond increasingly fervent underground support.

 Following the quietly blossoming success of ‘Speed Kills’, Chubby & The Gang now find a new home on Partisan Records (IDLES, Fontaines D.C., Laura Marling, Fela Kuti) who have reissued the album in remastered form with the unreleased cut ‘Union Dues’ included to boot and with new music on the horizon.

Lingering at the remains of a campfire before dawn, with the politics of the personal burnt into ash, running his stick through what’s left, Wand singer/guitarist Cory Hanson is reflecting on a series of moments in which he steps farther into himself, finding the ultimate big sky country on the inside of his skull. It’s a combination of songs and sounds that journey
through bleak and broken territory and places of sweet, lush remove and it adds up to the best record he’s been involved in yet: his second solo album, ‘Pale Horse Rider’.

 Cory’s first solo, ‘The Unborn Capitalist From Limbo’, was an intense affair, a grand experiment that produced inspiring,
nconventional music - but this time around, he wanted to breathe a bit easier, to feel that breath in the music as well. So he and his band drove out to the desert to record in a lowstress environment: Brian Harris’ Cactopia, a house surrounded by 6ft tall sculptural psychotropic cacti. They built a studio inside and then they made music and lived off pots of coffee and chili and cases of Miller High Life as they played guitars, bass, keyboards and drums in what seemed increasingly like a living biomech, their tech made out of fungal networks and cacti needles.

 It was loose and flowed onto tape well. Recorded by Robbie Cody and Zac Hernandez (who assisted on Wand’s ‘Laughing Matter’), the sounds were great from the get-go. First takes were mostly best takes. Fuelled with DNA lifted from country-rock cut with native psych and prog strands, Cory guided his craft toward the cosmic side of the highway, a benevolent alien in ambient fields hazy with heat and synths, early morning fog and space echo spreading the harmonies wide.

 ‘Pale Horse Rider’’s got a lot to get out of its mind, looking around and seeing that, on the surface, things don’t always look like much. A lifelong Californian, Cory’s naturally found himself standing to the left of most of the
country. The west may be only what you make it; these days, the roadside view looks exceptionally sunbleached and left behind. ‘Pale Horse Rider’ eyes the city, the country and the fragile environment that holds them both in its hands - a record as much about Los Angeles as it can be with its back to the town and the sun in its eyes; as much about
ostalgia as new music can be with the apocalypse over the next rise.

 On ‘Pale Horse Rider’, Cory Hanson moves ceaselessly forward. The old myths weave and waft, the shadows of tombstones flickering in the mirages and the light that lies dead ahead.

Lingering at the remains of a campfire before dawn, with the politics of the personal burnt into ash, running his stick through what’s left, Wand singer/guitarist Cory Hanson is reflecting on a series of moments in which he steps farther into himself, finding the ultimate big sky country on the inside of his skull. It’s a combination of songs and sounds that journey
through bleak and broken territory and places of sweet, lush remove and it adds up to the best record he’s been involved in yet: his second solo album, ‘Pale Horse Rider’.

 Cory’s first solo, ‘The Unborn Capitalist From Limbo’, was an intense affair, a grand experiment that produced inspiring,
nconventional music - but this time around, he wanted to breathe a bit easier, to feel that breath in the music as well. So he and his band drove out to the desert to record in a lowstress environment: Brian Harris’ Cactopia, a house surrounded by 6ft tall sculptural psychotropic cacti. They built a studio inside and then they made music and lived off pots of coffee and chili and cases of Miller High Life as they played guitars, bass, keyboards and drums in what seemed increasingly like a living biomech, their tech made out of fungal networks and cacti needles.

 It was loose and flowed onto tape well. Recorded by Robbie Cody and Zac Hernandez (who assisted on Wand’s ‘Laughing Matter’), the sounds were great from the get-go. First takes were mostly best takes. Fuelled with DNA lifted from country-rock cut with native psych and prog strands, Cory guided his craft toward the cosmic side of the highway, a benevolent alien in ambient fields hazy with heat and synths, early morning fog and space echo spreading the harmonies wide.

 ‘Pale Horse Rider’’s got a lot to get out of its mind, looking around and seeing that, on the surface, things don’t always look like much. A lifelong Californian, Cory’s naturally found himself standing to the left of most of the
country. The west may be only what you make it; these days, the roadside view looks exceptionally sunbleached and left behind. ‘Pale Horse Rider’ eyes the city, the country and the fragile environment that holds them both in its hands - a record as much about Los Angeles as it can be with its back to the town and the sun in its eyes; as much about
ostalgia as new music can be with the apocalypse over the next rise.

 On ‘Pale Horse Rider’, Cory Hanson moves ceaselessly forward. The old myths weave and waft, the shadows of tombstones flickering in the mirages and the light that lies dead ahead.

Starring Tom Cruise and Nicole Kidman, Stanley Kubrick's final film is an incredibly dense and highly stylized psychological thriller.

As is typical of a Kubrick score, it features previously existing tracks and classical pieces but also contains four original pieces recorded especially for the film by composer Jocelyn Pook. These pieces are the centerpiece of the film and are incredibly unsettling and experimental, perfectly complementing the disturbing and ominous visuals.

The artwork was created by Alan Hynes and fully approved by the Kubrick Estate, Tom Cruise, and Nicole Kidman. The package is as dark and mysterious as the film itself: two beautiful printed inner sleeves are housed inside a bespoke die-cut jacket printed by Stoughton Press.

Leif Elggren and Kent Tankred, 3 September 1999, Fylkingen, Stockholm – a small chamber play where The Sons put the small animals on pasture and let them live their own lives, but under strict supervision and with a fixed eye so that no accidents may happen, so that no one is injured, so that no one is ill-informed, or how it might be if not everything is organized and supervised in a well-structured society. You can't just let things be without direction, then there would be nothing at all (or death !!!). No, The Sons give a taste of a well-balanced diet in this presentation, which is expected to take four hours, which will be beautiful and moist and will be able to give a much-needed sense of well-being in these difficult times. Maybe we need another clarification: The animals, here at the service of The Sons, give away their little sounds, The Sons, however, direct them with firm hands (and sometimes a little with force) to follow their wishes. The Sons simply get the cute little fellows to produce sound and together form a musical structure that is not of this world. We'll see how it goes.

British artist Robin Rimbaud (Scanner) traverses the experimental terrain between sound and space connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics innovative and inspirational works of contemporary electronic music. Committed to working with cutting edge practitioners he has collaborated with Bryan Ferry, Wayne McGregor, Mike Kelley, Carsten Nicolai, Michael Nyman, Steve McQueen, Laurie Anderson and Hussein Chalayan, amongst many others.

Rimbaud first met Belgian artist Hans Op de Beeck at Le Fresnoy Studio national des Arts Contemporains when they were both Visiting Professors in 2012. Op de Beeck lives and works in Brussels, Belgium and creates sculpture, installations, video, photography, animated films, drawing, painting, and writing. His various works show the viewer non-existent, but identifiable places, moments and characters that appear to have been taken from everyday life.

The artists found an immediate creative connection, and a year after meeting Staging Silence (2) was completed. In 2019, they returned to the theme and created Staging Silence (3).

Each of the films is realised through the same principles, as two pairs of anonymous hands construct and deconstruct fictional interiors and landscapes on a mini film set of just three-square metres in size. The films take the viewer on a visual journey through depopulated, enigmatic and often melancholic, but nonetheless playful, small-scaled places, which are built up and taken down before the eye of the camera.

Ranging from hyper-realistic fictional land and cityscapes to absurd, almost surreal, dreamscapes, the various locations are connected by the sense of mystery and melancholy that pervades them. And at every moment Rimbaud's score is amplifying and illustrating these moments, from tragedy to nostalgia, witty to optimistic.

Introspective and lyrical, Staging Silence offers us a world of mystery and intrigue, held together by nature and time. This is a very humane works experienced at a time when many of us feel disconnected from the world around us. The peculiar silence that permeates this hauntingly beautiful work is very much an illustration of our times, anticipating a future in the past. Staging Silence is an exquisite study in dreamlike abstract ambience, a kaleidoscope of sounds and tones that engage the head and the heart.

In this, his inaugural release, LAW334 welcomes the listener to his musical language through four tracks.

Arco and Wire Hangers are two synth dominated techno cuts that bookend a more experimental offering in Veils; an abstracted exercise in audio processing bassoon samples. In the closing track Panspermia, Choronzon takes the wheel to LAW334's engines in an ecstatic trance through a distorted desert landscape.

Back in October 2009, Strut’s Inspiration Information series was in full swing. Following an acclaimed collaboration between Mulatu Astatke and The Heliocentrics, Finnish maverick Jimi Tenor hit the studio for a mouth-watering head to head with Afrobeat drumming legend, Tony Allen.

Tenor had already built a reputation as a fascinating enigma in modern day music. Consistently one of the most inspired and unpredictable live artists around, his work since his breakthrough album ‘Intervision’ (Warp, 1997) had involved open-minded projects ranging from live film soundtracks and orchestral pieces to a series of Afro-based albums with his band Kabu Kabu. Enjoying a burgeoning revival, Tony Allen had continued to attract new fans. Celebrated as the creator of the Afrobeat rhythm and a lynchpin of Fela Kuti’s Africa 70 band, his work at the time of this recording had included the first album as The Good, The Bad & The Queen with Damon Albarn and his debut recording for World Circuit Records, ‘Secret Agent’.

Recorded at Lovelite Studios in Berlin during November 2008 ith further sessions in Finland and Paris, the Tenor / Allen collaboration whipped up a raw, heavy analogue sound mixing the full range of Allen’s Afrobeat repertoire with Tenor’s off-kilter brew of dark humour, tongue-in-cheek lyrics and tight, firing musicianship. The sessions involved key members of Tenor’s Kabu Kabu band and Berlin-based guest MC Allonymous with tracks evolving naturally from jamming ideas together over five intense days of recording, fuelled by plenty of African food and whisky. Tenor’s trademark range of home-made instruments rubbed shoulders with vintage keyboards and traditional African percussion.

The resulting set became one of the best recordings that both artists produced during this period. Tracks range from Jimi’s S&M tableau, ‘Darker Side of Night’ to the apocalyptic commentary on our times, ‘Path To Wisdom’ and the hilarious lampooning of the UK immigration system, ‘Mama England’, composed on the Tenor tour bus. The album also featured fusions based around more traditional low-slung Afrobeat structures (‘Sinuhe’, ‘Got My Egusi’) and ended with the epic freestyle juggernaut, ‘Three Continents’, a life affirming, mesmeric groove built around another rough-as-nails Allenko rhythm base. 'Inspiration Information: Jimi Tenor / Tony Allen' is re-released on 22nd February 2021 and is dedicated to the memory of the great, incomparable Tony Allen.

First reissue of long out-of-print and sought after release from 2009
Unique fusion of Afrobeat drumming and psychedelic Jazz
Vinyl cut from original sessions

Dynamite cuts 45s series is proud to be able to repress these two gems from the Perception label both First time on 7” vinyl. One killer track by the legendary Fatback band – “Fatbackin” is a rare groove classic and a b-boy special. Part of the original breaks and dj tools from back in the early days. On the flip is the monster “Matrix” by Dizzy Gillespie, a massive hip hop sample and club dancer. two bangers on one 7” – What, more do you need!!

Brain Dance is the debut EP from Sydney artist and Velodrome’s resident dancefloor darling, Posture. Following on from his single ‘Zoom Dates’ released on Velodrome Recordings in 2020, this EP affirms Posture’s ability in creating heavy-hitting techno with heart.

A bold and refined body of work, Brain Dance is a masterclass in brooding high-energy dance music. Blending sombre tonal palettes with intricate driving percussion, Posture has crafted a suite of 4 peak-set techno cuts that retain a delicate, fluid energy throughout.

Written in isolation, Brain Dance is pensive in its mood while remaining wholly inspired by dance floor energies from past and future - a record that invites introspection in the peak of dance floor hypnosis.

This record also comes packaged with a limited edition 250gsm A4 print designed by Bradley Pinkerton.

“ABBEY ROAD’S world-renowned engineers have been cutting grooves into discs since the studios first opened their doors in 1931. This record was pressed from a master cut using a precision technique known as half-speed mastering. The procedure requires the source master and the cutting lathe to run at half speed on a specially adapted Neumann VMS-80 lathe.

This rare and specialised technique transforms difficult to cut highend frequencies into relatively easy to cut mid-range frequencies. The result is a cut with excellent high frequency response and very solid and stable stereo images. In short, half-speed mastering produces a master of the highest quality that enables the pressing plant to produce a superlative record.”

Due to the Covid-19 pandemic, De Nor had no choice but to free all its prisoners - even the jazz ones - and shut its gates. But the red beacon shall shine again! Until such a time, we asked some of the artists who were booked to play there this summer to submit a piece for this new publication in lieu of their cancelled performance. This compilation lp contains tracks by Lori Goldston, Hiele, Agnes Hvizdalek, Nubots, Justine Grillet, Thurston Moore, Sami Bergold, Possessed Factory, Stacks, David Edren, Aaron Dilloway & Lucrecia Dalt, Ka Baird, Ben Bertrand, Miaux, Lorie Bevins, and C.O.P. and is housed in a deluxe dye cut linnen sleeve and comes with an insert and a mini Nor cut out made by Gerard Herman. De Nor is a sculpture-pavillion in the grounds of the Middelheim Museum conceived and designed by Dennis Tyfus and FVWW Architecten. In peace time it hosts concerts, lectures, and various presentations throughoutthe summer.

In early 2018, Nathan Jenkins returned from the coast of Arrábida to his new home studio in a cottage tucked behind the grand hotel setting of Wim Wenders’ Lisbon Story. Breaking for lunches under a Datura tree in the garden and a far cry from the Finsbury Park basement flat he rented the previous year, a set of recordings followed that galvanised into an EP - ‘We Had A Good Time’. Music informed by out-of-town trips in a 1987 Renault 9 Super, Pitchfork attributed “remarkable healing powers” to lead song ‘Hula’.

After leaving London for a spell in Portugal, Nathan lost his taste for the night life and drew a line under a long-running NTS radio show. Much of the time spent abroad was dedicated to a longstanding collaboration with Westerman, whose album they recorded in a remote part of the Algarve countryside in 2019. Nathan’s own discography opened in 2007 with ‘Pet Sounds: In The Key Of Dee’, before pivoting in a more electronic direction via ‘Get Familiar’ and ‘Young Heartache’. From the sampledelia of 2011’s ‘Too Right’, the new wave and rave of ‘Say Arr Ee’ to the Robert Wyatt-influenced ‘Love Me Oh Please Love Me’, he’s mapped a deliberately peculiar path. 2015’s ‘Rooster’ was Eno & Byrne’s ‘Bush Of Ghosts’ given a shangaan-electro lick and clip. While Nathan’s partnership with fellow out-there pop auteur Jesse Hackett, as Blludd Relations, staggered like a half-cut Prince.

Collaged, rhythmic alternatives. Syncopated avant-garde sambas. Off kilter Sci-Fi jazz. Think Asha Putli in the spot at the Star Wars cantina. Arty, angular. Rich, but uncluttered. Frenetic, electric, blurring the boundaries between what is sampled, what is played. Nathan’s is a wilfully weird Pop, showcased in 2016 on his album ‘Loop The Loop’. Wayward but woven with hooks that come out of nowhere. Lyrical, often beautiful, solos on violin, oboe and desiccated guitars. Songs that demonstrate a nose-thumbing playfulness, a refusal to sit still. Where there’s always the urge to interrupt a carnival beat with a burst of galloping horse hooves. Or juxtapose ambient chords with a kazoo.

A roll call of Nathan’s broader musical adventures encompasses work with Paul Epworth, Sampha, Westerman and Nilüfer Yanya. Commissioned remixes reach from Dita Von Teese to Model 500, Tricky, Todd Terje and Lee “Scratch” Perry. Solo efforts gracing labels Honest Jon’s, R&S, Young Turks, Whities and The Trilogy Tapes. ‘Blue Pedro’, on the latter, making it into Crack Mag’s Top 100 Tracks Of The Decade.

In 2012 Nathan started his own label, DEEK Recordings, assuming the role of inhouse producer to collaborators. The imprint’s tagline and aesthetic - Pop, not slop! - is illustrated by an ongoing playlist of the same name and further explored in a series of compilations where Nathan and friends cover and reinterpret unsung ‘unclassics’ from alt. country to obscure 80s European arthouse scores, bouncing between Captain Beefheart, The Pixies, Sade and Mazzy Starr. DEEK’s roster is equally eccentric, non-linear and pop-literate. Laura Groves and Nautic - the realization and crystallization of a shared love for the Cocteau Twins.

12” pressed on crystal clear vinyl.

Following the release of the single of the same name, Dutch duo Tunnelvisions return to Disco Halal with new EP ‘Gold Teeth’, out on Friday 27th November.

A three-track release, ‘Gold Teeth’ opens with an extended version of the title track, an infectiously feelgood house number, characterised by driving synths, busy percussion and catchy vocals. Next up, ‘Hyperfocus’ is a slow-burning progressive house cut that unfurls steadily across its six minutes. Closing things out, ‘Heat Wave’ harnesses an old school house vibe, characterised by deep bass and fluttering percussive elements.

Speaking about the EP, Tunnelvisions says: “We’re proud to present you our next EP called ‘Gold Teeth’. Three tracks combining our percussional and synthpop influences into something we’re very excited about.”

With an unmistakable ear for imaginative, melodic themes and entrancing rhythms, Tunnelvisions hit the sweet spot by seamlessly fusing worldly influences with analog synthesisers.

A diverse collection of tracks, ‘Gold Teeth’ sees Tunnelvisions skilfully explore various shades and tones on the house music spectrum.

The first EP from Nottingham’s like-minded music collective, Plates.
Originally established as a record shop and now a record cutting studio and music community, this EP showcases sounds close to its core and original supporters.

A1 is a track salvaged from a box of long-lost cassette tapes dating back to the mid-90s, bursting with raw and uplifting grooves, a soundtrack to moody city nights in Nottingham. Facehugger a long-time friend and supporter of Plates, alongside musical partner, Mark Warden aka DeviantRIP brings a tearing live analogue jam mashed together on a Roland 202, 808, 909 and JD800 - ave it!

A2 offers a completely different take on the typical ‘jungle’ style. Citizen Griot, an already prolific local beatmaker, better known for his hip-hop grooves and collaborations with local rappers, brings moody and enchanting jazz club vibes over subtle but constantly moving breakbeats.

B1 is the first ever ‘finished’ track from Plates founder, DJ Squid who has spent the last 10 years focusing on DJing and wasting precious time. This tune dedicates his love for early 90s jungle, and hardcore with the roots of soul, rare groove, weird library music and the simplicity of hand-picked samples, an MPC 2000XL and a dust-covered Mackie mixing desk.

B2 brings you back down to earth in a smoky spaced-out back room courtesy of long-time crate digger and local hero Mr Wilson. Head-nodding beats cushioned by a soothing bassline and hypnotic chords that surround you and carry you away to another dimension that is neither new or funky.

This record is dedicated in memory of Rita, Philpotts, Pete Woosh, Adam XTC and Harry McCormick.

Though Club Band's "Club is My Passion" was written as a radio jingle, it is nonetheless a dancefloor bomb. As was the case in 1987, Best Record Italy presents the track as a vocal and instrumental version, and in the vocal cut, marimbas dance aside swinging funk guitars as claps fire over pianos and hard hitting disco drums. Brass leads mesmerize the mind before the the track drops into a minimal verse, where electro rhythms and slap basslines flow beneath a cool masculine croon, which is at times supported by backing vocal and whispers of funk guitar. During ascendant choruses, erotic screams and diva dreams coalesce as computronic tracers spread out in every direction. And in excising most of the vocals, the accompanying instrumental version pushes ever closer towards dancelfoor detonation.

Live At Robert Johnson kicks off 2021 with a new cut above the rest thanks to Benjamin Fröhlich, who dons a cosmic Acid-to-Italo four-track EP. Whether „Club Fantasy“ insinuates the phantasy of clubbing in times of a pandemic shutdown in global club cultures, or a club by the name of it, lies within the ears of the listeners. Either way, Benjamin’s ties with the Robert Johnson club can be heard resonating throughout this fantastic EP.

Club Fantasy (Club Version) introduces a a happy 303 reminiscent bouncy bassline, supported by relentless rim shots, fast-forwards the Club Version of the title track directly into the uplifting domains of well-established sounds. Sparse echoing vocal snippets, encouraging us to dance, and by the time the piano stabs finally kick in, it’s all hands up for your very own club phantasies. Club Fantasy (Fantasy Version) boasts a less peaky signature, while working a more playful and driving treatment of the title track, supported by mellow strings, a harder kick and subtle room reverberation. On the flip-side, Escape presents a warm, emotional and cinematic Italo soundscape, featuring floating arpeggios, which flash like coloured strobes in the dark. Benjamin’s final track, Dream Machine, is a beautiful kaleidoscope of sounds, slightly more energetic yet moody, that is sure to catch everyone's ears on the dancefloor.

As a co-founder to Munich based record label Permanent Vacation, but also as a DJ and producer, Benjamin Fröhlich’s musical involvement traces back many years in the Cosmic Disco and Balearic scene, and into the networks of both Robert Johnson club and its label.

The first Prestige release for 2021 is delivered by London-based, Italian bred HLZ! Emilio has been on the map for a min, and we are more than thrilled to finally lock in a project in the form of a versatile 3-track EP offering. As his talents have been revered with all the top labels and DJs across circuit, Prestige is chuffed to deliver this unquestionable slapper of a 12".

As the Lead track, 'IN BETWEEN' takes listeners on a journey thru a deeper palette, HLZ is able to turn out with casual grace. Liquid gold best describes such a superb composition. Rolled out drums + classic bassline hook = sure fire integrity.

Riiing the alarm! 'DUB SUNRISE' hits different and not what you'd typically expect from mans. Only meant to be heard on a proper rig, HLZ channels the natty spirit and nails this iteration of the dub wise vibrations.

Third tune might as well be a title cut, 'NEON UNDERWATER' is simply pure rudeness. The track perfectly fits its title, as you instantly catch that murky, immersed feeling upon first listen. Another sound you may not be accustomed to hearing from HLZ off rip, from a label that frequents the roads less traveled.

PMG017 will be a vinyl feature with full color sleeve on March 5th, digital to follow suit 1 week after release. The heaviest of players showing full support; likes of Doc Scott, Craze, Flight, Ulterior Motive, and more. We're very excited to finally share with you all, such an astounding drop from the renowned Prestige Music Group.

A guitarry hybrid of AZITA’s edgy rock / soul / R&B sound. Grooving good times, acerbic exchanges overheard in the street, shifts in community, the losses you will carry always, dark recesses late at night that echo with a wonder you've never felt before. Life.
All instruments played by AZITA; the wackest, most AZITA-harmonious sounding pop album yet.
For those who find the passage of time a one-way process of attrition, here’s good news for you. In the eight years since AZITA’s last long-player her fevered brain has barely rested and the proof is a new album of unbounded physical and mental activity, music and entertainment, entitled ‘Glen Echo’.
The worlds of the previous AZITAs have left their unmistakable essence. Her singular conception of pop music - the idiosyncratic songs, singing and playing that have graced seven acclaimed releases - is in verdant recurrence on ‘Glen Echo’, blossoming anew, cutting sharply in the spirit and image of her everevolving, always questioning style.
Writing and arranging on keyboards since the time of her solo debut, AZITA focused on guitars for this set of songs. Not simply for swagger or a fresh approach to soloing but as part of a way to elide expected singer-songwriter tropes, to democratically populate the sound-stage in equal partnership instead.
This is a key aspect of the ‘Glen Echo’ sound, one that determined another new choice - AZITA playing everything on the album herself.
Previous long-players ‘Enantiodromia’, ‘Life On the Fly’ and ‘How Will You?’ were achieved via close work with players and engineers who took the compositions from the demo to a finished form. Invariably though, something would get lost in the transmigration somewhere. With ‘Glen Echo’, AZITA comes through fully, jaggedly, most vividly, owning her intention entirely in the dialogue of singing and playing her rock and rhythm and blues.
The lyric sheet is riddled with language that circles, through the many moments of life, aspects of the passage of time, the pre-empted dreams and strangeness of the present and the way we invent an idealized past in response to the changes, guiding the narrative... where? It’s all banded together by AZITA’s wit, equal parts droll and dire, her dispassionate view of fates and outcomes for all of us here together on the planet, textured with unique, cinematic details and sudden dives into a deeply felt, utterly OG sense of soul.
In ‘Glen Echo’ are a multitude of sounds - all the moments in a life: the good time grooves, acerbic exchanges in the street, shifts in community and generosity, moments of loss you know you will carry forever, reflection upon unknown futures and pasts, the dark recesses late at night that echo with a wonder you’ve never felt before. You name it, AZITA’s got some sweet and sour theme music for it.

William The Conqueror have paid their damn dues.
Like the sportsman cutting chipped teeth in the
lower leagues before shooting to the very top, this
band have lugged all the amps, placated the inhouse sound guy for an easier life, their nails dirty,
their hair unkempt. Enough.
Except it’s never enough, because despite their
slinky, swampy, razor-sharp, blues-drenched, guitar
thrashed alt. rock songs that form new album
‘Maverick Thinker’ and suggest that the door is
opening for bigger rooms and broader audiences,
it’s those sticky basement bar stages where the
songs have always shed a skin and come alive.
The record put the three piece behind the glass at
Sound City Studios in LA, treading the same carpet
as the likes of Nirvana, Johnny Cash, Neil Young,
and Fleetwood Mac and they might well have
inhaled the spirit of them all.
William The Conqueror’s protagonist is Ruarri
Joseph who knows his way around a melody and a
verse. Joseph’s wryness suggests life just ain’t
plain sailin’ and he fizzes that sigh and lament into
something that breathes heavy with heart and with
soul.
Vinyl format comes in a gatefold sleeve with
printed inner sleeve and digital download card.

“A weird trip of a band…the second this was playing I was
immediately hooked. I initially dove in because their name
was attached to Mikey Young for mastering (I have a rule
with Mikey…if he had his hands on it, it’s probably worth
a listen). This band exceeds in all my trials.
“Esoteric nature, but oddly poppy and ready to prick up
any ears out there. Deconstructed, but full of hooks. If I
were a lazy man, and I am, I would say its for fans of PiL,
but they transcend that pigeon-hole.
“Wonderful production lends its self to this unique LP.
It seems as if the room expands and contracts throughout
songs. Pulling away, then blocking your field of vision entirely.
Wasteland funk. Dub from the depths. Punk from
the pit.
“Even the instrumentation is worth mentioning:
saxophone, drums (and cut-up drums), guitar, synthesizer,
vocals (poetry) and general fuckery all combine to make
this a very interesting and worthwhile escape from the
average. And thank the Gods for that right now. Inspired
and desired by the active mind. A job well done by EXEK,
and there’s new stuff brewing too...
“For fans of BEAK>, Phantom Band, PIL and general
Jah Wobbleness, Magazine, short-wave radio, ESG and
underground Kraut”. —John Dwyer

In between acting as Producer on all of the Black Jazz label releases, keyboardist Gene Russell also cut two fine albums for the imprint, of which this is the second, released in 1973. Judging by the quality of their respective solo outings for the label, the fact that Russell’s band includes bassist Henry Franklin and guitarist Calvin Keys bodes very, very well for the quality of this record. And indeed, Talk to My Lady represents a sterling stylistic leap for Russell from his New Direction album, which was the first release issued on Black Jazz; here, he’s leading an electric band instead of the basic piano trio format found on the former record, and playing a number of original, soul jazz compositions like “Get Down” and the title tune. As for the covers, both “Me and Mrs. Jones” and “You Are the Sunshine of My Life” are heartfelt renditions given a little extra bounce by Russell’s ivory tickling and Franklin’s expressive bass playing in particular, while the version of “My Favorite Things” goes way out beyond what John Coltrane played on his original Atlantic studio version. It’s hard to go wrong with a Black Jazz album and you won’t on this one from the label’s creative helm. First-ever LP reissue!

Next cut to "Institutionalized Racism" with Triston Palma on the vocals and a different dub. Produced by Ossie Thomas

"Sassy" Sarah Vaughan was a singer whose respect from fellow
artistes was as great as her popularity with fans. No less a
personage than Frank Sinatra once said, with tongue firmly in
famous cheek, that "Sassy is so good that when I listen to her I
want to cut my wrists with a dull razor." Vaughan certainly had
the smoothest voice of her generation. She could swoop from
the highest of notes down to the depths. The material
showcased here ranges from 1945 to 1959 and majors on
excerpts from the Great American Songbook like Nice Work If
You Can Get It, tackled here in 1950 with George Treadwell
and his All-Stars.

Legendary Welsh anarchist punk band Icons of Filth was formed in Cardiff at the end of the 70s, having been known as Mock Death and Atomic Filth in earlier line-ups. This blistering debut, culled from demos laid in September 1982, was a cassette-only release—the first issue on the Mortorhate label, run by fellow political punks, Conflict. Over clamorous drumrolls, jagged guitar and super-charged bass, frontman Stiggy Smeg spits lyrics fighting against the system, championing animal welfare and a vegetarian lifestyle. This is the band at their rawest and most unfiltered—required listening for punk diehards. Limited vinyl reissue, comes with folded poster with exclusive unpublished photo by Robert Revill.

Thumbing Thru Foliage is a blunted journey through YUNGMORPHEUS’ mind where personal lyrics intertwine with socio-political themes and tongue in cheek humour. Produced entirely by ewonee. Lead single ‘Fistfulofgreens’ grooves on a g-funk-esque plain and is an assured mission statement - “original man who got the game plan, I aint switching my hands inside these strange lands” whilst also sharing some intimate insight “I don’t ever answer questions that the feds askin, they were cuffin’ my mama, you know I had to blast them”. Second single ‘Sovereignty’ takes a more soulful turn with ceremonial strings and r&b samples ringing under braggadocious bars. Third single ‘Middle Passage’ is a more introspective cut - sombre vocal and piano loops are juxtaposed with neck snappin’ energetic drums. Describing the project in his own words, YUNGMORPHEUS says, “Peace peace, I consider this album a call to action of sorts. The world is rife with distractions and oppressive tactics but niggas move through it nonetheless ! Respect to ewonee for providing a beautiful backdrop for me to get some much needed shit off my chest. Maneuver through the foliage yall... Power to all black people ! Salute to those who listen”. ewonee adds, “Growing up like we did in this corporation Neegas deal with a lot. Usually gotta go through the mud to get to the greens. Good comes with the bad and vice versa, learning how to adjust is a must. Hope y’all get that from this. Roll up count up and mount up. PEACE”. YUNGMORPHEUS is an American rapper and record producer, originally from Miami but now based in LA. He has released music on Leaving Records and Rap Vacation as well as collaborating with Pink Siifu, Fly Anakin, Koncept Jack$on and Ohbliv. Previously supported by Okayplayer, XLR8R, Bandcamp, DJ Booth, Tiny Mix Tapes, Earmilk, BBC6 Music, Dublab, NTS and Worldwide FM. ewonee is an American Multi-instrumentalist, Producer, Beat-maker & Audio engineer from New York. Part of the Mutant Academy crew and also involved with the Beat Haus Show, ewonee has previously produced & collaborated with the likes of Your Old Droog, Fly Anakin, Reginald Chapman and Koncept Jack$on.

Honolulu producer FRNT BZNZZ continues his saga through space, time, and funk with AGS-049, featuring boogie/house cut “Hand Signs” and a mesmerizing Balearic beauty “Parks”.

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* Deep Seven No.10, the infamous final 12” from Deep Seven that never reached a full release. Only a short promo run hit the shops in 1993 before the label closed for good. ‘Release’ brought to the series a continuation of the huge tracks that graced local label ‘Contagious’ in the early 90’s. As time passed, ‘The Jungle’ / ‘Musical Movements’ reached cult status, exchanging hands for hundreds of pounds when a copy surfaced on the market. The rarest of all the Deep Seven releases, with an additional version of ‘The Jungle’ that was not included on the original press. Remastered from the original DAT and presented on our 180g vinyl, this final 12” completes the entire Deep Seven back catalogue.

Promotion across chosen internet websites and Hardcore 12” vinyl communities.

EAT MORE HOUSE welcomes The Mechanical Man to the label family!
4 Superb house cuts not to be missed!

Rebuke returns to Drumcode with a trio of timeless dancefloor weapons.
The Irishman’s ‘Rattle’ was a standout of 2019, judged by DJ Mag as their no.22 top track of the year and is etched in the Drumcode discography as one of the most original releases to date. A valued part of Adam Beyer’s extended collective; he would have made his Drumcode event debut at WMC in Miami this March. Without a doubt, a sophomore EP was always on the cards.

‘Instatik’ kicks the work into gear, a rugged, reverb-heavy cut with industrial drums that pump like pistons and an undulating synth effect that makes you feel like you’re on a turbo-charged rollercoaster. ‘Livewire’ has the trademark Rebuke brain-scrambling stamp on it, a flurry of steelyard percussion bring the track to life, before a low-end melody swells to attention, rubbing shoulders deliciously with driving drumlines, for an uplifting second half. The title track ‘Obscurity’ is a dark slice of techno funk, filled with synapse-tickling arpeggios, before a rollicking groove takes hold and launches the track home at full-flight. Another thrilling and innovative release to add to the Rebuke canon.

“I think 2020 will go down in history as the craziest year of our lifetime. The future is still pretty unknown right now and things are drastically changing week to week. With that in mind, I felt ‘Obscurity’ would be a fitting title for my second Drumcode EP. It represents the state of being unknown, unclear or difficult to understand – feelings I’m sure most of us are going through right now. Most the tracks aside from ‘Livewire’ were written in quarantine; ‘Livewire’ was written right before the virus shut the world down, in a hotel room in Lima, Peru in January. This EP is my favourite to date as I think it shows a different side to my musical palette, whilst still developing the signature sound heard in all my music.” – Rebuke

Following the reissue of Marta Ren "Stop Look Listen" album, Record Kicks is proud to present the reissue of another mega rare and super in-demand vinyl from its vaults: Sydney soul/funk outfit DOJO CUTS' second legendary album "Take From Me". The second studio album from the Aussie band will be finally back available on vinyl on a classy limited edition clear LP on March 12th.

"Take From Me" was originally released in 2012 and once again features the sizzling, smoky vocals of Miss Roxie Ray. This much anticipated follow-up to their 2009 debut on Record Kicks, has rapidly became a "classic" in the deep funk and soul scene with millions of streamings on the digital platforms. The originally LP has never been repressed and the few available copies change hands for crazy money on Discogs.


This is the album where all of Dojo Cuts' experience and hard work reaches its deeply soulful zenith, with tracks such as in "Easy to come home", "Sometimes it hurts" and title track "Take From Me". With the liner notes written by dj and collector Russ Dewbury (Jazz Rooms) and the support of the entire Daptone Records family aka Gabriel Roth, Neal Sugarman and Homer Steinwess, this is a must have for all the funk & soul lovers. Watch out the repress is limited to 500 copies worldwide.

It's 2020, it's virus season. For our first release on Kommerz Records we asked seven techno and house producers, we admire, to contribute six songs to listen to at home, rather than on the dance floor (as those are closed down up to this day). The result are six jazzy downtempo songs by DJ Piper of techno's most hyped live act Fjaak, Glenn Astro & Hodini, Cuthead, O-Wells aka Orson Wells, Manuel Fischer and Qnete. Holla @ our first compilation "Kommerz Season 1: Anti-Virus". "Kommerz Season" will be an ongoing compilation series, which we consider as one core of the label. We will use each season to showcase a new and unexpected take on beat making and instrumental music. "Kommerz Season" pays respect to the producers behind the music.

"Kommerz Season 1: Anti-Virus" was a spontaneous idea (as we didn't expect any of this Corona madness). Since we knew many techno and house producers share our love for instrumental hip-hop and downtempo music (while being stuck at home, too) we started to ask around friends and friends of friends. The tracks contributed by this deluxe cast speak for themselves. on our label's very first release.

Being aware this record features an all male and all white line-up we acknowledge our responsibility as a record label to work towards diversity in music. Our future discography can be held proof for that. Right now we're working on "Kommerz Season 2" featuring a diverse, 100% womxn line-up. Additionally, we're donating 10% of our benefits from "Season 1" to "No Shade", a Berlin-based collective running club nights and DJ training programs for female, non-binary and trans DJs with a strong focus on racial diversity.

When the film ‘White Men Can’t Jump’ was released in 1992, an EP of music from the film was dropped almost simultaneously. That EP, cheekily titled ‘White Men Can’t Rap’, featured a couple of exclusive gems, notably Gang Starr’s ‘Now You’re Mine’ and a cut from Main Source called ‘Fakin’ the Funk’.

The only single borne of that six-track EP was the Main Source track, released in remixed form on Wild Pitch records the same year. No surprise, it was head and shoulders above the rest.

Opening with those unmistakable harmonies from Main Ingredient’s ‘Magic Shoes’, the intro segues into a crisp beat borrowed from Grady Tate’s frequently sampled ‘Be Black Baby’ from 1969. Throw in a sprinkle of Kool & The Gang and you’ve got a track that would fit seamlessly onto Main Source’s masterpiece of an album, ‘Breaking Atoms’.

Instead, it’s the group’s last hurrah, the final collaboration between K-Cut, Sir Scratch and Large Professor before the latter departed the trio. It’s fitting that he saves one of his best vocal performances for last, railing at sell-outs with the assistance of his long-term collaborator Neek the Exotic.

Never released before on an official 7”, it’s a track that has lost none of its appeal, and the remix is the definitive version of this classic.

• Samples Main Ingredient’s ‘Magic Shoes’ and Grady Tate’s frequently sampled ‘Be Black Baby’

• First ever 7” release of the Remix

• Also available on Limited Edition Neon Green vinyl

pink vinyl limited to 500
Insides’s music shimmers and tingles with the tantalising promise of a different direction that UK pop could’ve gone: future-facing and fresh, rather than nostalgic regurgitation.” Simon Reynolds, author and music critic, writing in  Euphoria re-issue liner-notes in 2019

“A sound still as dew fresh, dawn dazzled and shot through with luscious darkness as it was nigh on three decades ago.” Neil Kulkarni, The Wire, 2019

Insides are Julian Tardo and Kirsty Yates. They first recorded together in the early 90s as Earwig, and released an album, 'Under My Skin I am Laughing', which brought them to the attention of 4AD. Earwig morphed into Insides and  two further albums were released on 4AD’s Guernica imprint: ‘Euphoria' (1993) and 'Clear Skin' (1994). In 2019 ‘Euphoria' was reissued for US Record Store Day by Beacon Sound, and was hailed as a lost treasure by discerning outlets. 

'Soft Bonds' is Insides’ first release for 20 years. It’s the sound of heart-stopping slow motion, blood rushes, fingers digging into bruised flesh, and sleeping with clenched fists.

“We found some things that were recorded a long time ago. We added some things that have been haunting us for for years and recorded some other ideas that we’d just thought of. Recording started at home in 2012, and continued every now and then in our studio, on trains, in the Greek island of Naxos and while wandering around Cissbury Ring, Chanctonbury Ring and Devil’s Dyke in the South Downs. We finally walked away from the recordings in late 2019 and decided to release a small run of CDs and LPs on our own Further Distractions label.

'Soft Bonds' is about the past haunting the present, and gripping onto your crumbling sense of self. It’s informed by the spirit of This Heat/This Is Not This Heat, Patty Waters, Annette Peacock, Eartheater, Mhysa, Hailu Mergia, Scott Walker and Arca.”

The first track to be released, 'Ghost Music', was also the first to be finished and came about by scrapping the original structure, leaving only the trace elements. Working in the negative space that’s left behind, where rhythms are pulses and heartbeats and melodies are memories, it’s insistent, staring, but not shouting. Almost absent, or heard from another room. The video uses footage of Kirsty and Julian filmed and used in live shows in 1993 and cut with more recent footage from 2016. The past haunts the present.

“Pop loving the sound of itself to death. And hating the fact that it can’t stop loving.” Rob Young, The Wire, 1993

“...they seemed to be creating an entirely new version of pop. Their hooks were unmistakable, in that they triggered movement like perpetual-motion clockwork. Their grooves were sparse and spectral and nagged at you like breakbeats but made your heart and hair-follicles dance more than your feet. Their music was amniotic, ebbing and alive with iridescent melodic detail and lyrics that turned the turmoils and trauma of love into the sweetest searing honesty you’d been privy to since you first heard the Supremes.” Neil Kulkarni, The Quietus, 2011

Reissue on vinyl of the fifth PJ Harvey studio album Stories From The City, Stories From The Sea. Produced by PJ Harvey with Rob Ellis and Mick Harvey, and originally released in November 2000, Stories From The City, Stories From The Sea features the singles ‘Good Fortune’, ‘A Place Called Home’ and ‘This Is Love’ and includes a duet with Radiohead’s Thom Yorke on ‘This Mess We’re In’. The album won the Mercury Music Prize in 2001. Reissue is faithful to the original recording and package, cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey producer Head.

Main Source’s paean to the simple pleasures of relaxing with friends is built over two tried-and-tested samples. The dreamy, swoony sounds of Vanessa Kendrick’s timeless ‘90% of Me is You’ is ever-present during this stone-cold classic, while Sister Nancy’s unmistakeable ‘Bam Bam’ lends several elements to the mix. Throw in some Skull Snaps and Sweet Charles and you’ve got the perfect soundtrack for a roll call of Large Professor’s nearest and dearest.

There are plenty of reasons why so many regard ‘Breaking Atoms’ as an all-time classic album, and the sheer variety of singles lifted from it is chief among them. Large Professor was happy to roam over varied topics at a time when many rappers had a manic focus on one thing.

And where better to hang out with friends than at a barbecue? ‘Live at the Barbecue’ is rightly regarded as one of the best posse cuts of all time, and famous for showcasing the debut of one Nasty Nas. While he delivers a dope verse full of quotables over drums from Bob James’ oft-plundered ‘Nautilus’, credit is also due to the other guests. Fatal and Akinyele aren’t disgraced in this company, and Large Professor tops it off with a rare verse of pure brag-rap.

An undisputed entry in the pantheon of head-nod hip-hop, this is its first official UK release, and another debut on 7”.

• Samples Sister Nancy’s unmistakeable ‘Bam Bam’

• Taken from the all-time classic album ‘Breaking Atoms’

• Features the debut of Nas

Introducing the first 7" single from bassist & composer Shay Hazan and his quintet from Tel-Aviv, Israel.

Dedicated to saxophonist Albert Beger, a mainstay of Israeli jazz and Hazan mentor, 'Berber's Cha Cha' is an uptempo piano-led waltz, redolent of classic Prestige Records soul-jazz, especially when some urgent horn charts turn up the heat. It's a corker!

While on the underbelly, 'Old Tart' sounds like nothing less than a lost gem from the Brecht/Weil songbook. Lugubrious and magnificent, this world-weary vocal cut is more than a match for the nominal A-side.

Destined for the hippest jukeboxes in the hippest joints in the country, this milestone tenth release in Jazzman's estimable JAZZ45 series keeps standards impossibly high.

Our JAZZ45 label features original artwork and original music on each and every release, and are limited to just 600 copies worldwide!

To celebrate their first decade of existence, Sunderland’s ironic punk trio, Toy Dolls, issued
retrospective Ten Years Of Toys, but rather than using the standard-issue “Greatest Hits”
formula, the group chose to re-cut nuggets from their career so far, using the then-current
line-up of frontman Olga, bassist Dean Robson and drummer Martin Yule. Thus, tracks like
“Dougy Giro,” “Fiery Jack” and “Glenda And The Test Tube Baby” are given new leases of
life with a brighter, fuller sound and the inclusion of hard-to-find tracks such as “I’ve Got
Asthma” and “Tommy Kowey’s Car” add to the appeal.

Breaks 'N' Pieces returns with another cut of bass driven dance music from rising producer DJ Sunroof.

Australian DJ // producer DJ Sunroof has had a killer year with notable dance discs on imprints such as Nerang, 3 Feet Deep and contributing to the recent Breaks 'N' Pieces Vol.3 various artists release to top. His debut full vinyl EP via rising UK label Breaks 'N' Pieces hits the stop, weighty breaks meet chest rattling bass on this 2-step laden cut.

LIMITED BLACK VINYL VERSION + 24”x36” Poster!

"Flight of the Behemoth" is the third album by sunn O))).

The band collaborated with legendary Japanese noise artist Merzbow, who mixed tracks 3 and 4. The first ever use of a drum machine on a sunn O))) track is heard on "F.W.T.B.T.", a deconstructive interpretation of Metallica's "For Whom the Bell Tolls”.

This punisher also features the first ever vocals heard as evoked from the band themselves.

Contains full color 24”x36” folded poster and all this grimness is housed in a glorious case-wrapped gatefold jacket. Also contains the vinyl only bonus track: "Grimm & Bear It”.

Vinyl/metal cut by Matt Colton (Alchemy Mastering) who also cut the vinyl for the bands 2019 releases: “Life Metal” & “Pyroclasts.

The term 'tourbillon' has two meanings - it is the French word for "whirlwind" and also a device used in watchmaking to improve the accuracy of a timepiece. Both definitions feel apt when listening to Tourbillon, the latest release on Central Processing Unit from Australian producer Tim Koch. Following on from Koch's CPU debut Spinifex back in 2018 - an album that initially emerged via minidisc - Tourbillon is a four-track EP which dazzles with its perpetual-motion post-IDM productions.

These tracks draw you into their webs by forming dense interlocking sonic patterns over the course of several minutes. While the rhythmic programming and lattice of alien percussion tones can appear discombobulating at first, Koch also bewitches the listener with the slyly melodic synth work that he laces throughout Tourbillon.

Opening track 'Estranger' is a fine example of this combination. The first section here is a blend of blown-out drum sounds which comes off like an industrial electro tune run through a meat grinder. However, the track soon blossoms with the introduction of some amazingly atmospheric synth pads, and the two contrasting elements come together for a strange and rather beautiful whole.

'Estranger' finds a mirror-image in Tourbillon's final cut 'Hankert', a track in which more of those gurgling percussive tones play off the rich chord progressions that chirrup away in the background. Between 'Estranger' and 'Hankert' we get two propulsive grooves in the form of 'Disfugue' and 'Dreitark'.

How, then, to contextualize such unique material? Calum Gunn's recent outing for CPU is a good point of comparison, and the electronics here bang and whirr in a manner which nods to the post-IDM innovations of artists like μ-Ziq. One can also see Tourbillon as descended from acts like Cabaret Voltaire, the industrial electronics innovators from CPU's home city of Sheffield. However, Tourbillon is ultimately an EP which exists in its own lane, an open-minded and open-hearted set which runs with the futurist spirit of CPU and Koch's previous home of Merck Records.

Australian producer Tim Koch returns to Sheffield's Central Processing Unit with Tourbillon, an EP of otherworldly post-IDM productions.

RIYL: μ-Ziq, Calum Gunn, Proswell, Modeselektor

Lancaster had initially cut his musical teeth with the avant-garde on New York’s Lower East Side in the 1960s (famously on sessions with pianist Dave Burrell and drummer Sunny Murray) and in Paris during the ‘70s after an appearance at the Actuel festival but, throughout his career, his path was built around community engagement, positivity and “the Philly jazz sound, Germantown style.” He became an ambassador for the music of the City Of Brotherly Love, starting his own Dogtown label, helping launch the Philly Jazz imprint and campaigning tirelessly to improve the circumstances of the city’s street musicians. Lancaster’s sessions for Black Fire were planned following a gig at Caverns Jazz Club in Washington DC. “Jimmy Gray of Black Fire and I originally met during the ‘riotous blisters’ of the late Sixties there,” explained Lancaster. “We became the best of friends.” Backed by a band of Philly musicians including percussionist Keno Speller and Baba Robert Crowder (drummer for Olatunji and Art Blakey), the album also featured the Drummers From Ibadan led by Tunde Kuboye, another influential figure dedicated to community jazz with whom Lancaster had bonded while teaching in Lagos. The result was a free-flowing set of spirituality and positivity, built around full band groove workouts, solo pieces and heavy African roots. “We had big fun documenting this music,” remembered Lancaster. The message of the album remains as relevant today as ever, “I dedicate this album to all African Americans in the USA. To the youth, I ask ‘What does it profit a man to gain the whole world and lose his soul?’”

Bristol's Jurango kicks off 2021 in fine style with the 'Retreat Ites' EP for the Livity Sound Reverse series.

From the paranoid echo of the title track to the dark mutant dancehall of 'Theeves', Jurango crafts heavyweight ice cold drum and bass rhythms exploring the outer reaches of soundsystem music in true school Bristol fashion, placing him amongst peers such as Laksa, Batu and Lurka.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Arthur Alexander’s mid-60s releases for Monument and Sound Stage 7 under the supervision of Fred Foster in Nashville failed to register on the charts but are highly regarded, none more so than these sides cut on his first session for the company. The released tracks from the session, ‘(Baby) For You’ and ‘The Other Woman (In My Life)’, were more country-sounding.

These two wonderful soul songs remained in the vaults until an Ace CD in 2001 and have picked up admirers ever since. To own them on vinyl will be a vintage soul lover’s thrill.

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

Founded by childhood friends Evan Stephens Hall and Zack
Levine, Pinegrove have already crafted three fantastic albums
- ‘Everything So Far’ (2015), ‘Cardinal’ (2016) and ‘Skylight’
(2018) - and achieved massive critical acclaim and a
widespread and devoted listenership. The band’s latest
album (and first for Rough Trade), ‘Marigold’, arrived in
January of 2020 and its themes of reflection and resilience
have resonated through an especially tumultuous year. Now
with tours cancelled and time on their hands, the band have
decided to put together something special for their fans.
‘Amperland, NY’ is yet another full album, this time
accompanying a feature film of the same name. The
collection features 21 brand new studio recordings spanning
Pinegrove’s career and catalogue, captured upstate in the
house where the band lived and recorded for 4 years - a
place they lovingly referred to as ‘Amperland’. But all good
things (and leases) come to an end and, before they bid
adieu to the space permanently, they gathered together for
one last performance with friends and family.
Featuring original member and keyboardist / vocalist Nandi
Rose (Half Waif) on many tracks - this collection will thrill old
and new listeners alike - with the band breathing new life
into fan favourites and deep cuts. From acoustic versions to
unique arrangements featuring piano, pedal steel and organ,
‘Amperland, NY’ touches on notes of folk and progressive
rock previously unheard on their studio albums. This will be
an essential addition to the Pinegrove catalogue and
encompasses all of the earnest and ecstatic live energy the
band is known for.
Double vinyl format housed in a heavyweight matte gatefold
package and comes with a fully annotated script and behind
the scenes photos from the film.

The ultimate pressings of the Beach Boys discography from Analogue Productions!
Original mono mix produced by Brian Wilson
One of 10 titles featuring 33 1/3 mono and stereo remastered editions: Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Today!, Summer Days (And Summer Nights!!), Beach Boys Party!, Pet Sounds and Smiley Smile
Mastered by Kevin Gray at Cohearent Audio, most from the original master tapes or best sources available
Lacquer plating by Gary Salstrom and 180-gram vinyl pressing by Quality Record Pressings!

"It was Pet Sounds that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album." – Paul McCartney

"All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one." – Eric Clapton

"For those in search of an original mono in pursuit of sonic quality, search no more. This Analogue Productions pressing is now the definitive pressing and the one we chose to feature at our Classic Album Sundays events to honour the 50th anniversary of Pet Sounds, an album that helped change the course of pop music." — Colleen ‘Cosmo' Murphy, Classic Album Sundays

"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have." — Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet Read the whole review here.

"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition

To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson — famed co-founder, songwriter and arranger — intended. Mono mixes created under Wilson’s supervision were how the surf rockin’ California crew rose to fame! And we’ve got ‘em!

For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format — they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. In fact, for their first 13 albums, Wilson originally turned in all the final mixed Beach Boy albums to Capitol Records only in mono. The mono mixes were where Wilson paid intense attention, and the dedication paid off!

We’ve taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!

But there’s no disputing that the close harmonies and one-of-a-kind rhythms of hits like “Surfer Girl,” “In My Room,” “Little Deuce Coupe” and more lend themselves naturally to stereo. So we’ve got your 2-channel needs covered with prime stereo mix versions as well.

Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on jackets, these time honoured favourites shine brighter than the originals!

Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound.

Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best).

VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. It's been ranked No. 1 in several music magazines' lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone's 500 Greatest Albums of All Time list.

A deluxe vinyl reissue of Demigod's 2002 album Shadow Mechanics. This version comes with a gatefold sleeve and is limited to 500 hand-numbered copies on violet splatter vinyl. Demigod’s criminally underrated second album of cult Finnish Death Metal from 2002 released on vinyl for the first time! Melodic, brooding and doom-laden death metal, punctuated with full-fledged scorchers such as the fierce and blasting "Gates of Lamentation", makes Shadow Mechanics an unpredictable treat, way ahead of its time. This seven-Finn act's potent, driving obscure death metal dispenses pure surges of metal-laced adrenaline thanks to the gruesome vocals and a monstrous Finnvox production. Layering the album with more solemn and atmospheric cuts, Shadow Mechanics shows Demigod pushing at the boundaries of their sound and the conventions of the scene at the time. Pressed in a limited quantity of 500 hand-numbered copies on violet splatter vinyl, with a gatefold sleeve and old-school classic Demigod logo replacing the typeface of the original CD issue, this highly collectible new Svart Records pressing is a treasure for any self-respecting Finnish Death Metal connoisseur to complete their collection.

Polydans“, Roosevelts drittes Album, erscheint am 26.02.2021 und ist ein Liebesbrief an die Clubmusik als Ganzes, ein Blick zurück auf seine eigene musikalische Sozialisation und Faszination für die facettenreiche Natur des Genres aber auch ein Blick nach vorne. Inspiriert und begeistert von Musik, egal ob Yacht-Rock, Balearic, House-Euphorie oder unterkühltem Techno, setzt Marius Lauber seine Fähigkeiten und sein musikalisches Wissen ein, um als Roosevelt elektronische Musik zu schaffen, die Menschen weltweit bewegt, sowohl emotional als auch physisch. Und das ist auch das Geheimnis all seiner Veröffentlichungen, seit den ersten Singles, später dann auf dem Debütalbum „Roosevelt" (2016) und dem Nachfolger "Young Romance" (2018) ist es immer diese warme Emotionalität, die seine Musik antreibt und die Menschen auf aller Welt in seine Melodien verlieben lässt.

“Balances '80s-inspired synth, disco, driving beats and cinematic textures into a musical amalgamation that simultaneously manages effervescence and heft.” - Billboard on “Sign”

“Strobe-lit and expansive cut that locks into an insistent groove and periodically explodes into bright colors.” - Stereogum on “Echoes”

LTD Transparent Red LP

Polydans“, Roosevelts drittes Album, erscheint am 26.02.2021 und ist ein Liebesbrief an die Clubmusik als Ganzes, ein Blick zurück auf seine eigene musikalische Sozialisation und Faszination für die facettenreiche Natur des Genres aber auch ein Blick nach vorne. Inspiriert und begeistert von Musik, egal ob Yacht-Rock, Balearic, House-Euphorie oder unterkühltem Techno, setzt Marius Lauber seine Fähigkeiten und sein musikalisches Wissen ein, um als Roosevelt elektronische Musik zu schaffen, die Menschen weltweit bewegt, sowohl emotional als auch physisch. Und das ist auch das Geheimnis all seiner Veröffentlichungen, seit den ersten Singles, später dann auf dem Debütalbum „Roosevelt" (2016) und dem Nachfolger "Young Romance" (2018) ist es immer diese warme Emotionalität, die seine Musik antreibt und die Menschen auf aller Welt in seine Melodien verlieben lässt.

“Balances '80s-inspired synth, disco, driving beats and cinematic textures into a musical amalgamation that simultaneously manages effervescence and heft.” - Billboard on “Sign”

“Strobe-lit and expansive cut that locks into an insistent groove and periodically explodes into bright colors.” - Stereogum on “Echoes”

LTD Edition!

As one of the early pioneers of NYC’s unground dance movement Victor Simonelli channelled that New York house sound via range of labels he oversaw in the ‘90s. One such outlet was Big Big Trax and to provide a little light in these testing times, Victor has provided the keys to some of the label’s most treasured cuts, remastered for a new generation of listeners.

Classic’s from Afrimerican Coalition, Fibre Foundation and Insatiable featuring Mone with mixes from the man himself, all under one, conveniently 12 inch sized roof.