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Repress!

James Brown. Who doesn't know about the godfather of soul Who doesn't know about the milestone anthem Cold Sweat' Maybe there is nobody, but we are sure that many of you don't know that hidden on that particular song, and in all of James Brown's productions, is one of the best kept secrets in soul music: Mrs. Martha High.

She is the one who sings that crazy soprano note at the very beginning of the song and she is the one who sang behind James Brown for about 35 years. She was with Brown and the Jb's in Boston on the infamous night after the Martin Luther King assassination, she flew with him in the dangerous Vietnam skies to entertain the US soldiers, and was also in Zaire celebrating the Rumble in the Jungle' between Ali and Foreman. Martha was truly a friend, confidant and supporter of the godfather of soul.

Maybe she was just too young and shy to jump over the other soul divas to ask for a solo record. Today is different.

singer of Maceo Parker's band but now she is on fire because finally, she has recorded the album she never made but always wanted to make.

11 killer original tunes produced and arranged by Luca Sapio, the Italian soul ambassador, in true analog super sound. The tunes evoke the best productions of the golden era of Southern soul as well as the sonic landscapes of the Italian soundtracks of the 60's. Here is the middle ground where these two unheralded musical traditions meet and Martha is the undisputed Queen.

Don't miss the chance to take a listen. This record is made of truth, soul, love, and pain - a full spectrum of emotions that only a Queen can deliver to your ears. She spent much time in the studio with Luca and his guys to make it happen. This is not a revival, this is not retro, this is NOW. She took it as a challenge and we are sure that she won.

Slave featuring Steve Arrington is being reissued on vinyl for the first time since it’s 1978 release. After the successful reception to Rhino's Zapp and Roger - All The Greatest Hits release for Black Music Month, Rhino has got another excellent and unexpected addition for any funk collector!

Arguably the hottest of the '70s Ohio funk bands, Slave had an incredible run in the late '70s and early '80s. Their best tracks were lyrically simple, but the arrangements and rhythms were intense and hypnotic. Some of their top hits include "Just a Touch of Love" in 1979, "Watching You" in 1980, and "Snap Shot" in 1981 – which you can expect to hear on this new reissue.

* Much celebrated and influential album from legendary UK-based producer The Rootsman, which effortlessly merges dub reggae, dancehall, Middle Eastern. Indian flavours with electronic dance music with astonishing and original results

* `Realms of the Unseen’ originally surfaced on the Third Eye Music label back in 1999 on CD and as a mini LP with a plain sleeve
* This welcome features the original artwork in all its glory

Following split EPs from DeFeKT and Rico Casazza, plus Tripeo and Cycloplex, Cultivated Electronics Ltd (CE's vinyl only sister label), returns with Volume 3 of their in demand 'For the Floor' series. As the name suggests all the tracks in the series are primed for the dance floor with Volume 3 featuring two more tracks apiece from two artists making waves in the Electro sphere. Electro heads should already be very familiar with Scand resident, Steve Allman who's also released stellar tracks on Soma's sister-label, Avoidant and A-Future's EON label. While Alex Jann is well known for being the man behind the excellent Censor Music as well as appearing on the likes of 20/20 Vision and brokntoys. Get ready for some no-holds-barred floor fillers to update your record box.

Hot off of the success of their multi-platinum self-titled debut, The Youngbloods shuffled their line-up (with the departure of co-founder Jerry Corbitt) and used their heightened caché to go big on their follow up, the Charlie Daniels-produced Elephant Mountain. Over multi-layered acoustic-folk and electric-rock instruments, Jesse Colin Young, Banana Levinger, and Joe Bauer create a free-feeling set of tunes that playfully careen between front-porch folk and stadium rock (best exemplified in the classic single "Darkness, Darkness"). That this diverse set of musical influences remained cohesive and artistically daring makes it an underground classic whose admiration continues to grow today. Impex is proud to bring it to you in pristine all-analogue glory!

With J Jazz volume 4, the BBE J Jazz Bullet Train continues its journey traversing the expansive landscape of modern Japanese jazz. Volume 4 is the latest in the universally praised compilation series exploring the best, rarest and most innovative jazz to emerge from the Far East. Please take your seats for a first-class ticket to J Jazz central. This latest station stop off is with the famed Nippon Columbia label, one of the biggest labels in Japan, whose jazz output embraces every possible style imaginable. Focussing on the key years 1968-1981, J Jazz volume 4 sees compilers Tony Higgins and Mike Peden dig even deeper into their record collections and pull-out tracks that span styles ranging from solo to big band, jazz classical interpretations and heavy jazz rock, to febrile post-bop, white hot samba fusion, and modal psychedelic wig-outs. J Jazz volume 4 features icons such as drum master Takeo Moriyama, keyboard magi Hiromasa Suzuki, Fumio Itabashi, and Masahiko Satoh, and guitar wizards Kazumi Watanabe and Kiyoshi Sugimoto, alongside big band maestros and innovators Nobuo Hara and his Sharps and Flats, and Toshiyuki Miyama’s New Herd. Thunderous basslines nestle alongside glistening runs of electric piano, bubbling synths and air-tight drumming as the heavy psychedelic modal blues of Jiro Inagaki flows with the infectious samba grooves of Takashi Mizuhashi featuring Herbie Hancock; Shigeharu Mukai’s fusion funk epics take the music to another level and Mikio Masuda’s driving keyboard rhythms brings the heat to an incendiary dancefloor zone.

Kastil, aka of the spanish Mario Castillo, is well known and especially for his role as a producer of furious and intricate techno works with a high industrial influence. But at 30D we like that our close people (and Kastil is very close, since he is responsible for the mastering of all our label's releases) have absolute freedom to release what they consider appropriate, here is a clear example: Mario leaves aside his usual four-to-the-floor vision to immerse himself -completely on purpose- into classic IDM and into the most beautiful, musical and even epic electronica. Only one of the four tracks that conform the EP ('Polymorphic') clearly looks to the dance floor although it shares, along with the three remaining tracks, the artist's passion for the timeless sound of the 90's. QuadroQuill EP will be released on 30D Records' sub-label ExoPlanets, in both, vinyl (strictly limited edition) and digital format.

Recorded during Christmas time 1986 in Holland together with Jon Burr on bass, Ben Riley on drums and Harold Danko on piano, this album will be released only in Japan the following year. It is a rare compilation of mostly standard songs reinterpreted by Chet with his personal decadent, intense and timeless taste.

Paul Anka, born in Canada of Syrian parents in 1941, carved out a
career that’s so far spanned six decades, metamorphosing on the
way from teen heart-throb to seasoned performer. He enjoyed
success both as a singer and a songwriter, penning Put Your Head
On My Shoulder, You Are My Destiny, Diana and Puppy Love
along with the English lyrics to My Way, the signature song of
Frank Sinatra, as well as Tom Jones’ classic She’s A Lady. Enjoy
a touch of ‘Puppy Love’ and more from this master balladeer.

Mystical and moving, Wish Queen (aka Cleveland-based singer/ songwriter Grace Sullivan) takes the intangible feelings of desire and yearning (wishing), and transforms them into gorgeous melodies, ranging from danceable pop to deliciously introspective ballads you'd love to sit alone and cry to Blending her rich classic vocals and long hidden poetry with layered reverb and synth-based production styles, Wish Queen transports her listeners to a myriad of times and places all at once. Drawing inspiration from various Queens that came before her, including Billie Holiday, Joni Mitchell, Fiona Apple, Lana Del Rey, Weyes Blood, and Ethel Cain, Wish Queen has created a unique sweet spot that is all her own, and invites you to immerse yourself in her dream world. A hypnotic blend of dream pop, art pop, and indie folk, Wish Queen's debut album, "SATURNALIA," explores earthly cycles, heartbreak, and coming of age via Saturn Return. Recorded mostly in a garage in the summer of 2022, "SATURNALIA" is a true diamond in the rough, complete with breathtaking layers of synths, powerfully intuitive vocal harmonies, and a meticulously crafted hidden narrative. If you're looking for a sound that's been compared to Stevie Nicks meets Beach House, this music is for you. Make a wish!!

Essence of Life was formed in 1973 in Charlotte North Carolina at Johnson C Smith University.

Towan Butler and Craig Young were basketball players on scholarship who were singing in the shower after practice, when a man named Jock Johnson who was a business major who had graduated heard Towan and Craig singing in the shower and asked if we would like to be in a singing group that he was putting together, if we did he asked us to meet him later that evening at a location on campus.

When we arrived we were introduced to Jerry Johnson, who is Jocks brother, Kenny Lock and Larry Graves and Essence Of Life was formed. Essence Of Life has performed with such groups as Blue Magic, The Whispers and The Barkays to name a few.

Essence Of Life sang and danced their way into the hearts of fans all over the United States spreading love through high impact performances.

Copenhagen punk rock/power pop band BIG MESS is a pile of hooks and energy. Taking their cues from the timeless masters of melody, loud guitars and high BPMs, their music packs an infectious punch. CLEANING UP WITH is the band's fourth full length and its first collaboration with UK-based label Specialist Subject. The album shows Big Mess at their most accomplished yet, and shows total dedication to reaching the ultimate in hit making. Imagine a singles compilation by your favourite band and you get the idea. Songwriting is key for Big Mess - as much Brill Building sparkle as hardcore punk economy, with no room for duds. Lyrically, the songs are heartfelt and occasionally stupid, with the dangers and difficulties of existence and the joys of rocking holding equal importance. Having been a band for nearly a decade, Big Mess’ playing is instinctive, effortless and relentless topped with vocals that combine a hooky sense of melody and rhythm with the right amount of desperation. This time the band adds a refreshingly shameless amount of backing vocals and harmonies that only add to the effective singalong quality Pink vinyl limited to 500 copies “BIG MESS is actually one big, relentless, overwhelming wall of hooks…non-stop, uptempo power pop/pop-punk with contagious riffs and choruses with their own choruses. This group is due a place on the shelf next to pop-punk’s catchiest tunesmiths, like JAY REATARD, the SPITS, MARKED MEN, SCREECHING WEASEL, etc. etc. Great!” - Maximum Rocknroll

The new 12” series on Ballyhoo Records is dedicated to what label owner ‘Thee J Johanz’ describes as ‘Triptech Journeys’. The series takes the listener on a journey traversing old school house to mystical acid and everything in-between.

On volume 1, titled ‘There Is Power In Love’, side a gives us ‘Afrobot and Steven Pieters’ who deliver the perfect message of love. The artist ‘Strange’ then provides us with his stunning Indian style Charanjit Singh rag reworks. We then have raving madness from Goa’s finest ‘Deka’ whose track ‘Dance with me’ was a secret weapon played at a number of major festivals over the summer.

Flip it over to side b, we have ‘Thee J Johanz’ providing us with the perfect intro/outro tool for DJs (lets face it, there is simply not enough good ones on vinyl!) We then have ‘Sintaro Fujita,’ Ballyhoo’s best Japanese friend, delivering sharp and mystical vibes with his track ‘Are We Still Friends.’ Last but by no means least, snake charmer ‘Sid Ua’ slows it all down leaving us in a trance like state with his stunning track ‘Feels Familiar.’ Weird and wonderful music from a fabulous bunch of weird and wonderful talented outsiders, this cannot be missed!

Native Soul Recordings has been around a long old time in dance music terms and now it looks back over some of its finest works with this first in a new series of Best Of comps.

Music writer Harold Heath is first up with 'Slipstream,' an effortless smooth late-night house cut with introspective chords and silky pads bringing real depth.

The Candy Dealers get more lithe and elastic with the spraying bass and jumbled percussive house of 'Train Of Thought' and last of all, Asad Rizvi remixes Jevne's 'Moderize' with a funky little bassline and chord vamps that keep you on edge. A tasteful package of timeless house grooves.

Make Your Own Meaning continues to convey its unique techno message with a new statement of intent from label head Lurka. The artist has been busy of late and continues to be on a roll with another fascinating four tracker that genuinely serves up some original sounds and rhythms. 'Trip' gets things underway with organic percussive patterns stacked up over drilling bass to make for a prickly groove. 'Airlock' is similar but darker and heavier and 'Sick Flips' keeps the nimble feel going with dancing perc, rigid synths and scratchy sound effects all coalescing over broken drum patterns. Last of all is another dense, busy and multi-layered melange of tiny percussive sounds, synths and clipped rhythms that will make any floor move.

The forever exploring electronical entity of a band, Gusgus, has opened yet a new era in their unique sonic multiverse. With their 12th album, the course is set to a strange mysterious place called DanceOrama. A Rave-Mall in a nostalgic future, DanceOrama is the place to be, where you can experience infinite freedom, genre and gender free. Moving from the pulsating new-wave influenced techno pop of the last album “Mobile Home” (2019), Gusgus emits the vibe of DanceOrama on their new album as an arousing, melody-rich hybrid of 80s/90s parties and raves. The 9- track album is slated for a November 10th release. The release is evenly split up in euphoric fusioned pop anthems and genre-free instrumental journeys.

Gusgus‘ last album “Mobile Home” was the later of twin albums that found the band exploring early 80’s new wave influences and reviving them in the iconic Gusgus soundscape. The highlight on the album was a pulsating techno reggae track called “Higher” that introduced a new member into the band, Margrét Rán, the lead singer of “VÖK”.

Whereas on “Mobile Home”, the concept was stationed in a rural environment of a dystopian side reality, Gusgus now moves to the city. In this city of strange discomforting future omens, DanceOrama stands out as the rave-mall of freedom. Leaving the new wave influences, this album is a strange hybrid of the 80’s and 90’s parties twisted into a genre-free blend of arousing experiences.

The album consists of 5 instrumental tracks and 4 vocal pop songs, ranging from 105-158 bpm and exploring various influences from the 80’s and 90’s and even the 70’s in a strange fusion of techno, trance, italo-disco, house and pop that emits the rawness and innocence of previous decades. The pop songs are quite strictly set as stories related to the mysteries and rumors of DanceOrama. One track in particular will be very exciting for our fans, as it has been a regular final track on our live show since the album “Arabian Horse” in 2011. This is the track “Breaking Down” that was recorded during the album “Mexico” in 2013 with “Earth” and “Högni” on vocals but, due to emotional turmoil, has never been released until now.

Repress!

In the last few years we’ve seen French DJ and producer Laroye delivering the goods time after time on respected labels such as Atjazz Recordings, Compost, Makin Moves and Foliage. His latest LP just released on Local Talk has been getting big support picking up plays on Radio 1, 6Music, Worldwide FM as well as spins from Natasha Diggs, Gilles Peterson, Craig Charles, Louie Vega, Honey Dijon to name a few. Freerange is proud to welcome him back for the follow up to 2020’s release Be The Change, presenting you with a killer 4 track EP entitled Uku Dance.

Leading the charge, Laroye is joined by influential Detroit artist, DJ, producer and vocalist Javonntte who has written and recorded a brilliant vocal for a track entitled First Sight. Laroye’s fat beats, jazzy chords and soulful touch make the perfect production for Javonntte’s vocals.

Up next we have the Percussive Dub mix of Uku Dance in which Laroye strips things back to the bare bones making for a serious percussion tool work out to spice up your sets.

On Uku Dance a bass-heavy groove is punctuated with vocal chops and deep Rhodes part which adds a moody, late night touch. Just the kind of soulful, dubby, afro track that will get the house dancers throwing down like their lives depended on it!

Closing out the release you’ll find an instrumental version of First Sight.

Next up on Toolroom’s 4-track vinyl sampler series, we welcome LA based DJ and producer Noizu to the label, debuting with his remix of Mark Knight, Green Velvet and Rene Amesz – ‘Live Stream’. Diving deep and pulling up a Toolroom classic from the 2016 archives, Noizu delivers a powerful rendition of ‘Live Stream’, ramping up the energy of the original to a whole new level, cutting it fresh for dance floors in 2023.

Next up and landing back on the firm during our 20th birthday celebrations is none other than Danny Howard, who returns to the label with a beefed up edit of a Toolroom classic – ‘Hear What They Hear’ by Adrian Hour. A secret weapon for DJs worldwide, released back in 2016 on Adrian Hour’s ‘Like This’ Ep, this B side became an unlikely hero that still gets hammered today by the likes of John Summit and Eats Everything. After doing the rounds at Glastonbury festival this year and beyond, Danny's update has turned one record with a solid dance floor reputation into a certified slammer!

Next up, we’ve got an absolute belter of a record from two renowned producers in the scene: Watermät And Raumakustik, with their debut collaboration ‘Out Of My Head’. Merging each artist’s signature sounds together, from Raumakustik’s solid production skills to Watermät’s penchant for locking in quirky and catchy vocal hooks, ‘Out Of My Head’ is a certified dancefloor weapon in the making.

Last but not least, is another label debut from London based DJ and producer, deeper purpose, who’s landing with a huge tech house roller, ‘The Stutter’. An artist creating shockwaves across the dance music spectrum, deeper purpose is fast becoming a familiar name in the dance sphere having earned a solid reputation as a producer with killer releases on highly regarded imprints such as off the grid, catch & release and repopulate mars. A staple record in all his performances, ‘The Stutter’ has shaken dancefloors all over the world, from EDC Vegas to Club Space Miami, to Ministry Of Sound London and beyond!

Countless Radio Plays on Radio 1 from Danny Howard, Sarah Story, Pete Tong

DJ Support:
Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, Gw Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone

On Side A, smile your way through two songs by The Teacher Haters — in fact, we challenge you to get through these tracks without smiling. Even the name of the band invokes a chuckle as it suggests what these guys are about — and that’s the P-A-R-T-Y. Straight out of the 60s comes a group that could have been played with Sam The Sham & The Pharaohs back in the day. These whimsical works are deceptively deep as they take us to a time when garage punk fused with R&B.

Big Pig Alley is uncomplicated, and that’s what makes it great — it sounds like a bunch of college guys having a good time, writing lyrics on the spot: “If you’re lookin’ for romance, take a train, take a plane...or a raft to France.” The guys have something other than romance on their minds as they chug along on acoustic guitar and trash can drums (and possibly other things). What really makes the track, though, is the witchy background voice — the performance is loose enough, while the witch is doing his own thing entirely.

The witch returns on the second track on Side 1 in the up-tempo, dance-ready Cut Loose. No obscure artistry here — these guys tell you exactly what the song is for in the title. In fact, just in case you missed it, they state their thesis in the opening lines: “I wanna shake all night, I wanna do it right, I wanna dance, dance, dance with you…” All of their collegiate effort is put toward getting you to move your hips in this groovy, rockabilly-flavored mix.

Let's talk about Side B...

We Got A Thing is up first — a crossover soul dancer that invites you to sing along with an infectious, call-and-response chorus. It pairs nicely with The Teacher Haters as fun, simple party music from the 60s — though this time from a female perspective.

Things go deeper with Guys Today. As the name suggests, the content is about the enduring tension between the sexes and the heartbreak it can lead to. It’s a deep soul beat ballad in the vein of Betty Wright or Helene Smith. A grand opening is followed by a clear, crisp female vocal that brings the singer’s lament into focus. The band is tight, and it all comes together to portray a woman who has made up her mind and is offering a warning about guys today: I know you love your man, but I know they will hurt you in every way they can.

At first glance, these artists seem to share only a few things in common — party-themed music conceived in the 60s with an R&B flavor. But between sides A and B, it feels like these groups are talking to each other — perhaps different perspectives of the same party. Perhaps the party itself and then the fallout. The result is a balanced EP release that feels whole and satisfying. We hope you feel the same as we proudly present these found recordings as an exclusive 12” on 180 gram vinyl. Please enjoy.

Auf fünf Alben als Frontmann von GUM, ganz zu schweigen von den neun Alben, die er als Co-Leader der Psych-Cosmonauten Pond aufgenommen hat, hat uns Watsons rege Fantasie einige der klanglich vielfältigsten Erkundungen des letzten Jahrzehnts beschert. Auf Saturnia haben sich diese Visionen jedoch zum reichhaltigsten, aber auch kohärentesten Werk von Watsons bisheriger Karriere zusammengefügt. Wenn man die Möglichkeit hat, jede beliebige Kombination von Klängen und Stimmungen zu kombinieren, die einem in den Sinn kommt, ist die Versuchung groß, alles, was man kann, in jede Sekunde des Bandes zu packen. Die Lektion, die Watson dieses Mal gelernt hat, war die Erkenntnis, dass man manchmal eine großartige Idee zugunsten des Songs weglassen muss. Der Opener "Race to the Air" bietet den perfekten Vorhang. Wie ein gigantisches interplanetarisches Raumschiff erhebt es sich in die Lüfte und bietet eine funkelnde Aussicht auf kosmische Disco - mit Robo-Grooves und bebenden Streichern, während "Would It Pain You to See?", vielleicht einer der überraschendsten Songs des Albums, ein glitzernder, sinnlicher R&B-Song ist. In der Tat ist eines der lohnendsten Dinge an Saturnia, wie sich die Songs im Laufe des Albums unerwartet drehen und wenden, als eine Sache beginnen und dann in eine völlig andere Stratosphäre abheben.

Reissue number seven for Heels & Souls Recordings sees them look back to the sounds of South Africa’s townships in 1991, cherry picking four of Tashif Kente’s finest cuts from his sought after album A Boy And A Dream, giving them space to breathe on a 12" pressing.

Clearly influenced by the flavours bubbling over from the UK and US in the late ‘80s and early ‘90s, from R&B through to boogie, proto house to new jack swing, Tashif’s productions are a melting pot of ideas and influences, laced with a distinctive South African flavour.

Born in Soweto, Mzwandile ‘Tashif’ Kente, cut his teeth with Harari for a brief period, a group that birthed greats like Condry Ziqubu, Sipho Mabuse and Alec Khaoli, before going solo in 1984 and releasing just one album as Tashif Kente, 1991’s ‘A Boy And A Dream’. An album that speaks of love, lust and longing, produced by Kente and Selwyn Shandel with Marc Rantseli also joining the fold, it has that signature South African synth bass, drum machine and killer keyboard combo of the Bubblegum and Kwaito scenes, topped with Kente’s buttery vocals.

Heels & Souls Recordings take four favourites from the LP and press them loud on either side of a 12”. On the A, the audacious new jack, dancefloor bubbler ‘Tell Him I Became Your Lover’ leads into the lovestruck, boogie-tinged grooves of ‘Somebody’s Got My Love’. Flip it over to find a jealousy jam of the highest order with the synthy soul number ‘Who’s That Boy’, before ‘I Like The Way You Love Me’, a lights down low, R&B flavoured lovesong rounds off the EP.

Licensed from Gallo, who transferred the original ¼ inch tapes for their archives, Heels & Souls have enlisted the expertise of Justin Drake to remaster these South African beauties for a new generation of listeners.

Trans-Millenia Consort is the near mythical debut album by the late West Coast composer, healer, and medium Pauline Anna Strom. First released in 1982, the album is a bold and beautiful evocation

of a life that exists between and beyond time. Evoking ancient rituals and primordial futures, the music of Trans-Millenia Consort glows with a strange iridescence; its pulsing embryonic waveforms flutter and drift, tones fall like raindrops of the long- ago, and melodies shimmer and dance across the ages like fireflies of a lost world. Restored and mixed from the original reels by Marta Salogni, and newly remastered, this is the album’s first ever official reissue, and the definitive edition of a visionary statement.

It might be his debut album, yet Peacey’s “Play It By Ear” is a body of work crafted as though by a scholar. And where better for this work to emerge from than Derby, UK’s Atjazz Record Company, a label with a rich heritage and many strings to its bow?

This eclectic sonic journal catalogues the evolution of Peacey, documenting his interactions with, and influences from, some of dance music’s notable players. It’s an album that will attract discerning ears and open minds; minds attuned to a multitude of genres as it visits Hip Hop, R&B, House, Garage and Fusion.

'Culture Bandit' is the 2nd single taken from this colossal album, and gives us a great understanding that Peacey really knows where to hit it! It’s a deep banger of course, with a hint of tech-house, deep-house and even the more percussive side of afro-latin house, but with the electrifying vocals of Vanessa Hidary atop, this will go down in history as “One of those tunes”. To say this song has life is an understatement. So we’ve covered that, did we mention that Osunlade & Atjazz have also remixed this killer slice? Ah, well they have, and they join Peacey on this pristine release to give alternative angles on this wild, spoken and edgy outing.

"Welcome to the first of the Masters Series, a cache of limited releases for people who understand that some things, no matter how hard you try, just can't be tamed. (Read: these are scratchier/rougher recordings that are cleaned up as best we can get them - if that's going to not work for you, don't order!)

Already championed by the likes of Michael Robinson (Dig Deeper, NY) and just entering the collective consciousness of the R&B scene worldwide, this release is a double-sided dancefloor destroyer. Both sides rip with tremendous energy.

Those who know will recognize the name Carl Holmes from well established winners like ""Soul Dance No. 3"" and ""Unchain My Heart"". Here he is with an unreleased song called ""Love With A Feeling"", featuring a raucous drum break with his soulful vocals throughout. Not that the tune needs a pedigree, but things like that never hurt.

On the flip is an unknown funky Soul R&B bomb ""Some Of These Days"". This female led tune is perfect for either a Northern Soul or R&B party.

The story behind The Masters Series

In our hunt for unreleased soul, we occasionally find some incredible gems that are just a bit too beaten to restore to the ears of the general public. Rather than return them to the dusty basements from whence they came, we press them in small batches to share with those who love to share."

Did you know that Judy Freeman and Blackrock cut more songs than the 4 that were put out in 1971? We know of at least one.

"I Know Where You're Coming From" is a 70s funky Northern Soul masterpiece. We've rescued a lost, never heard before, track by the group for the A-Side here. Fans of their music will immediately connect with this blistering anthemic Northern Soul monster. Go ahead and grab the talcum powder, and prepare to dance up a storm to this one.

We've selected the completely unrelated, previously unreleased Marshall Hooks "She Is All I Need" for the B-Side on this one. A relatively straight ahead Otis Redding-styled Soul original that thumps and a nice compliment to the A-Side. If you aren't familiar, Marshall released one LP on Blue Horizon and a monster R&B 7" in 1965 on the Muriel label.

As the warehouse-rave season approaches, it’s perfect timing for Shadow Child & Mark Archer to make their collaborative debut on Food Music with a special release that includes 2 vinyl only exclusives that saw a digital release on DJ Haus’ Dance Trax label earlier in 2023. Adding to these is a brand new slice of big-room Techno in the form of ‘Chinwah (Big DJs)’, which will no doubt be pounding its way out of the worlds cooler parties in the coming months with a controversial spoken-word message to boot.

DJ Support:

Horse Meat Disco, Doc Scott, Josh Wink, Pangaea, Joyce Muniz, Benjamin Damage, KE (Kid Enigma), Yung Singh, Anja Schneider (Club Room), Pinch, Tom Findlay (Groove Armada), Elle Clark, Joshua James, Monty Luke, Adam Beyer, Otik, Tom Ravenscroft, Nightwave + Martyn Bootyspoon, Violet, TEED, Addison Groove, Mad Miran, Emerald, Dusky

The architects of soul are back with “Big Time Lover”, a 12-track vinyl LP album with highlights from this year’s “Soul On The Real Side #15” CD collection Tracks here are the building blocks of modern soul with a play list of mid-tempo Northern and Crossover Soul – classics and rarities.
It's brought to you from the West Midlands – the stomping ground of Real Side Records founder member Mr Tee.
The LP is packed with modern soul gems all culled from the incredible Captipl Reords soul legacy. They need little introduction to the UK rare soul scene, but here is a snapshot of a few highlights.
Our show opens care of the million-selling group Cornelious Brothers & Sister Rose from Dania Beach, Florida. They shot to fame in 1971 with their hit “Treat Her Like A Lady” and the follow-up “Too Late To Turn Back Now”, both certified gold discs. Here we feature the title track of their 1973 album Big Time Lover.
Trk. 2, “The Game Is Over”, is by the short lived California girl group Brown Sugar featuring the one-hit-wonder Phyllis Nelson. The legendary Tavares Brothers perform trk. 3 while George Soule leads the way on trk. 4 with his #35 R&B hit “Get Involved”. Bettye Swann from Shreveport, Louisiana, delivers a heartrending performance on “My Heart Is Closed...” (trk. 5), her debut recording for Capitol in 1968.
The album closes with the fabulous C. M. Lord “Oh Mama
(Your Daughter’s A Woman Tonight)”

Milanese techno shaman MAIKE DEPAS travels from the dark to the dreamy side of the dance floor on his EP "Euphoria" (out 24 November on The Innovation Studio)

"Techno emissary Maike Depas storms back onto the scene with 'State of Techno', a bold fusion of past and present influences set to reshape dance floors in 2023." (Magnetic Mag)

"State of Techno is the Milanese producer's visionary work fusing 80's and 90's sounds through a modern lens creating an exhilarating release weaving through 30 years of underground club music." (The Brvtalist)

On the back of the breaky Grand Prix 2049 anthem "Midnight Ride", Milanese techno shaman MAIKE DEPAS (Michelangelo De Pasquale) travels from the dark ("We Move", "Inner Voices" and "Techno Appeal") to the dreamy side ("Midnight Ride" and "Green Hornet") of the dance floor on his EP "Euphoria", coming out on 24 November via The Innovation Studio. One foot in stoic Schranz techno of Chris Liebling"s CLR, the other one in eschatological goa trance of Dragonfly Records, never going under 134 BPM, Depas strikes the perfect balance between dystopia and utopia. "This is my idea of what the ravers want to listen inside the club's Depas reckons.

"Euphoria has two sonorities: the dark vibe, and the dreamy one. This is my idea of what the ravers want to listen inside the club's Maike Depas

With the complex arrangements of the past Depas-releases left out and the trusted workhorse a custom-made pitch black Roland TR-909 from 1983 responsible for doing the heavy lifting in the drum sections, "Euphoria" is a beat-heavy affair that draws its relentless drive and rhythmic richness from merging polyrhythmic patterns merged with streamlined melodies and nifty vocal samples such as the double entendre "quiero jugar una horas mas" (Engl. "I want to play one hour more") on the no-holds-barred hard trance number "Techno Appeal", and the riveting juxtaposition of mesmerizing female vocals and handclaps of roaring crowds in hypnotic "Inner Voices".

"These demoniac figures resemble human transformation and the idea of achieving euphoria through esotericism's Maike Depas

However, when it comes to Depas, there is always more to his music than merely being dead set on setting the dance floors on fire. The antler-wearing figures and witches" circles depicted in the artwork hint at Depas" invitation for the clubbers to let his music move them far beyond the physical world. "These demoniac figures resemble human transformation and the idea of achieving euphoria through esotericism's

Are you Looking for Love? Advice? Good Luck? Then you’ve come to the right place. The second release in the Psychic Readings catalog, Peach continues to explore her sound bringing us 3 tracks dedicated to the dance.

On one side, The Art of Casting Spells will bewitch you with its basslines. As they go from squelchy to stripped back, the track is an upfront yet ethereal ride in true peak time Peach style. Then, a track inspired by the sensation of butterflies in your sacrum - Flutter is a deeper cut for the heads down, introspective dancefloor moments. Both come complete with sassy stabs, moving pads & bouncy bongos - all of which are becoming a staple of her sonic palette.

On the flip, Gay Dreams brings us a starry-eyed escape into fantasies. Delicate synths flirt with the weighty bassline, as sentimental pads carry us into a slow surrender of emotion.

All the tracks are a testament to her many moods as a DJ. For club use or home listening, this is an EP dedicated to the dance.

How does one express the bone-chilling loneliness of having lost the love of his or her mate, even as the relationship continues in the present tense? We would venture to say that “Element Of Love”, the inaugural 45 on S’plat Records, and the record debut of vocalist Gervis Myles, pretty well answers the question. The song and the performances elevate this record well beyond many efforts which seem to get lost in the mannerisms of soul, but ultimately miss the point. Gervis Myles tears into the song, which has the feeling of a scorching King Records hard soul lament from, say, 1960. He moans, shouts, unleashes falsetto outbursts, and hits ever more impossibly high non-falsetto notes as the song goes on. Bootsy Collins commented: “Y’all takin’ me back while moving forward. I love the way you funkin’ with me!” The band, which we call “Suite Crude Revue”, consists in this instance of Andrew Spadofora on saxophone, whose solo work on the record contributes considerably to its searing intensity, John Paul Simons (upright bass), Bryan Rogers (piano), Dave Schoepke (drums) and Daniel Zelonky on guitar. The B side, “I’m Thirsty,” is a rhythm and blues stomp about drinking away “woman problems.” Standout piano work from Rogers and a blistering solo by Spadafora, in addition to the raw vocal performance, make one want to …. drink! Written, arranged, and produced by Daniel Zelonky (aka Low Res).

‘Demos/sketches/interludes from the hinterland between records. Drum machines and single take vocal sketches tied together with downtime synth experiments and recordings of local disappearing areas.’ True as it is, Jabu’s strap-line is a somewhat understated take on what also proved to be a transformative experience for them. The follow-up record to their 2020 sophomore LP ‘Sweet Company’ (and the ensuing ‘Versions’), ‘Boiling Wells’ weaves a smudged, group -mind spell. Originally released earlier this year without fanfare as a digital-only release, it now receives the proper release attention it deserves, issued in a neatly packaged vinyl edition of 300 copies. Dreamlike, woozy, raw and in dub, the album documents a blossoming process, and encapsulates a fragment in time - holed up in the country, soaking up the atmosphere in collective isolation, creatively embracing the limitations of a small recording set-up, and finding a new way to work as a band. “My mum had gone away so we’d decided to take the mixing desk and a couple of drum machines out to her house and set it up in the front room. We did it a couple of times to get the bulk of the tunes on 'Boiling Wells' done, one in summer and one boozy one around Christmas. I think we all immediately enjoyed working that way, sat around all together, more of an immediate thing. Jas started to play a lot more guitar, her and Al would write lyrics on the fly or be programming a drum beat in or something. We were all switching around and getting ideas down really quickly, not worrying too much if they were good or not. The music was limited by the stuff we had there, I didn’t bring a big desk so we only had six channels or so, and everything was basically just recorded in as a stereo take so we were more or less stuck with it after we’d laid it down - which was nice too. I don’t think we would’ve changed them anyway; it was the sound of the room and of us doing it together in the moment that was really important.” There has always been a collaborative heart to Jabu, though its nature has shifted and morphed over time. In their earliest incarnation, in after-school jams, Alex Rendall would rap over Amos Childs’ beats, but by the time they began releasing music in 2012, Al had found his singing voice – a sweet, soulful counterpoint to Amos’ increasingly dub-wise, experimental backing. Both are founder members of Bristol’s Young Echo, a collective of friends and musicians first operating loosely together on radio shows, artistic collaborations and events, and later on, running a record label. As expansive as their original remit was, Young Echo has steadily evolved since featuring in The Wire’s 2013 cover feature on Bristol’s new school of post-dubstep bass music. Of late, Seb (aka Vessel) has been working with violinist Rakhi Singh on string arrangements for Jabu, and the upcoming residency at Bermondsey’s MOT will showcase relative newcomers Birthmark and Intel Mercenary alongside the regular crew. Jabu’s debut album proper, ‘Sleep Heavy’, arrived in 2017 courtesy of Blackest Ever Black. A sublime, focused meditation on grief and loss written largely by Amos and Al, it marked the debut of Jasmine Butt (aka Guest), adding a further layer of vocal texture to their palette. ‘Sweet Company’, their first album written as a trio (released via their own do you have peace? label), drifted into lighter, more ethereal introspection. Featuring guest appearances by Sunun and Daniela Dyson, remixes by Equiknoxx’s Time Cow and Young Echo ‘s Ossia teased out the inherent pop and dub sensibilities respectively. Recent times have also seen remixes by kindred spirits Seekers International and Jay Glass Dubs, and a collaboration with the renowned T.S. Eliot Prize-winning dub Poet and musician Roger Robinson on a pair of plaintive, aching 7” singles. Jabu’s broad raft of inspirations can be experienced first -hand on their monthly NTS Radio show ‘Music 4 Lovers’, co -hosted by long-time friend and soul afficionado Andy Payback. A celebration of the endless tapestry of interrelated musical connections, it runs parallel to Jabu’s own reinterpretation of their influences. For ‘Boiling Wells’, Amos remembers a diet of “A.R. Kane, Cocteau Twins, DJ Screw, Southern/Memphis rap mixtapes, early 90’s jungle, Karen Dalton, Sybille Baier, Vashti Bunyan, Svitlana Nianio, a lot of soul, Armand Hammer & Alchemist, Grouper, Bobby Caldwell. Jazz was a constant, Japanese, Polish, Latin, American…”. And from those diverse strands, something new and singular has formed, to line up alongside them. ‘Boiling Wells (Demos ‘19-’22)’ is released by UK newcomer Six of Swords in a limited vinyl edition of 300 copies, pressed on black vinyl housed in full colour 270 gsm matt varnish sleeve and black paper inner, with full download coupon

Disco is back! From Paris to Melbourne, Berlin or Athens, a new blend of 70s inspired disco sound is currently taking the dancefloors by storm with artists like Monika, L'Impératrice or LeonxLeon, creating a stir on the international scene. Paying their dues to the pure form of Disco, these new artists, far from mimicking the clichés, are adding an unmistakable millennium twist to the genre. This is Disco 2.0

Minimal don Kepler strikes a balance between dancefloor utility and introspection on his latest record, and debut for X-Kalay. Big house and techno incursions straight out of Yorkshire – Leeds, to be precise. It’s a strong testament to the region’s long standing reputation as a hotbed for late-night minimalism.

Subtle flourishes and details stand out across all four tracks. Uncovering relics from ancient futures, ‘Lowlife’ stimulates the pineal gland with a mescaline-strength take on classic ‘90s tech house. While it dials the trippier elements down just a tad, ‘Control’, like its predecessor, recalls golden era Wiggle or Asad Rizvi under his Silverlining moniker.

No half measures on the next one. Bringing heft in spades, ‘Stranded’ comes hurtling in with swinging, jacking 4 AM NRG. It’s some serious gear, which makes the EP closer such an unexpected left-turn. ‘Need’ offers proper heads-down introspection, complete with widescreen, nebulous chords that ripple out into the vastness of space.

Parallel Minds’ fifth label release is a major landmark for the Toronto-based label. Not only is it their first full length LP, it is also the debut album from co-founder Ciel, who is also making her first solo appearance on the label since its inception.

In 2021, spurred on by a productive creative streak and the economic austerity of pandemic lockdowns, the Xi’an-born and Toronto-based DJ Ciel (real name Cindy Li) applied for grant funding from the government of Canada to write her debut album. Self-proclaimed “DJ first, producer second”, Ciel never thought she would have the self-confidence and desire to write an album. It wasn’t until after spending prolonged time away from clubs & festivals whilst dedicating herself to daily sessions in her studio that she gained the motivation and aspiration to make a musical statement that only an album could express.

Since the start of the covid19 outbreak, Ciel, like many other Chinese diaspora people in the West, had felt a great deal of anxiety and pain at the rise of anti-Chinese sentiment and racism in the media — even in her corner of the dance music industry. Tired of expressing her frustrations fruitlessly online, she felt inspired to channel that into her music, to turn something that was filled with hate into a thing of joy and beauty. It was within this context that Homesick began to take shape.

After researching the rich history of Chinese instruments, a concept began to form around the album in which she could marry her love of sampling and analogue instruments. Using the eight types of traditional Chinese instruments (silk, bamboo, wood, stone, metal, clay, gourd, and hide) as a guideline, Li began writing each track with a focus on one of the eight. She hired traditional Chinese instrumentalists to play the guzheng and the xiao, whilst purchasing and teaching herself the smaller hand drum instruments like the kuaiban (bamboo clappers), and muyu (temple blocks). With the news that she had successfully been granted funding from Canada Arts Council, she wrote, recorded, arranged, and mixed all nine tracks of her album over the first three months of 2022. More than just highlighting Chinese instruments, the music on this album encapsulates so many musical influences from Ciel’s childhood when she began her lifelong love affair with music. True to her style as a DJ, the LP incorporates a diversity of genres she loves, from drum & bass to house, electro to breaks - even downtempo.

What has come out of these sessions is a deeply personal dancefloor record, a true expression of love for Cindy’s culture that came out of a time of relentless chaos, negativity, and uncertainty. Ciel sees her compositions as a distillation of herself — her life experiences, her wide interests and passions, and her often-turbulent emotions. Immersing oneself in the LP feels like listening to the musical confessions of an artist heading towards the peak of their career, who is finally starting to make sense of her artistic identity. What a joy to witness it.
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While this may be the first release on Sheffield's Central Processing Unit from Global Goon, the one known to friends and family as Johnny Hawk brings a whole heap of experience to the Nanoclusters mini-LP.

Hawk started dropping Global Goon records on the legendary Rephlex Records back in the 1990s. The project's subsequent releases have taken in imprints as esteemed as WéMè and Balkan. Factor in a whole host of other aliases which have delivered missives via the likes of Planet Mu, and you know even before you press play on this witty, wily record that you're dealing with a master at work here.

The confidence with which Global Goon approaches Nanoclusters shines through in Hawk taking much of the mini-album at midtempo. Cuts like 'Khroxic Mould', 'Metallik' and 'Syntheseers' sound like Bochum Welt heading down a dark alleyway. The former in particular is a seasick lope, the tuned synths lurching around like sailors on deck in a storm as bass ebbs and flows underneath the mix.

The influence of Kraftwerk comes through prominently at times here, particularly in the way 'Calcula' and 'Digit Six' play pensive, slightly sombre synth chords off some simple but effective forward motion in the drum programming. That is not to say that Nanoclusters is not full of invention, though. None of the productions are overly flash, but this approach allows the little details to shine through more clearly, from cleverly panned hi-hats to hissing synth counter-melodies which flit in and out of the mix. Enthralling and packed full of ear candy, they're further evidence that Nanoclusters is the work of an expert craftsman.

While the pulse of Nanoclusters remains relatively steady throughout, it's still a rather lively record. Plenty of these tracks will get the dancefloor moving if deployed correctly - though whether they're heard at home or in the dance, it's the attention to detail which makes them stand out.

'Snapterisk' is as perfect an example of machine-funk as you're likely to find - the drum programming is razor-sharp but rubbery with bongos, the bass a lithe burble, and those wobbly stabs of keys that put a bit of wiggle in the beat? Delightful stuff. Elsewhere the ever-looping arpeggio of 'Metro Esc' has hints of Frankie Knuckles' house classic 'Your Love', though an array of interesting sonic nuggets - snippets of vocal, radar-like bloops, a gently insistent low-end pulse - soften the track's clubbier elements with a pillowy sheen. And Hawk throws us a curveball right at the end of Nanoclusters, tapping back into that old Rephlex sound for the fizzy, braindancing 'Metal Glass'.

Global Goon doesn't need to show off on Nanoclusters - from brilliantly slick machine-funk to Kraftwerkian reveries, the CPU debutant lets the music do the talking here. It makes for a confident and vivacious mini-LP, one which wears its expertise lightly.

RIYL: Cardopusher, Bochum Welt, Cygnus, D'Arcangelo

The second serving of Grub is here from Swiss beatmaker - Andy Kas. His animated sound spread heavily across four thick cuts, an all you can eat buffet that packs a punch. Nostalgic gaming energy which the rising producer has built a reputation for, combining that with a fresh
and modern take for the dance floor. Sweet tasting sounds straight out of ”Decay Island GP”, built upon tight elastic grooves full of charming character.

For Fans Of The Nymphs, The Gits, Jeff Buckley, Babes In Toyland, Brandi Carlile, Grace Potter, The Hangmen, PJ Harvey. Originally introduced to music fans as the leader/frontwoman of the Nymphs, Inger Lorre’s following remain loyal. Since the Nymphs 1991 debut on Geffen Records, her releases have been cherished by a loyal fanbase. Josie Cotton has signed Lorre to her Kitten Robot label for her first solo studio album since Transcendental Medication. Gloryland is a collection of 10 new songs, taking Inger into uncharted musical territory but still imbued with the elements of loss, despair and redemption that echo her past recordings. With Gloryland Inger celebrates her unique voice with total freedom, crossing genres from singer-songwriter to Americana and gospel. Working with Nashville multi-instrumentalist Buddy Woodward, she creates gorgeous oceans of sound with esoteric string instruments, alongside Angelique Congleton (the Hangmen) on bass, Eric Contreras on drums, Matt Lee on electric guitar, Jordan Shapiro (Eddie Spaghetti) on pedal steel guitar and Paul Roessler (Screamers, 45 Grave, Nina Hagen, Twisted Roots) on keyboards. Gloryland is produced by Roessler (Lords of Altamont, TSOL, Richie Ramone), Woodward and Lorre. “Inger retains her strength as a songwriter and performer without losing any of her sensitivity, fragility and danger. I always look forward to what she does, it never disappoints” - Henry Rollins // “Inger Lorre is a magician, a shaman…that kind of witch-doctor ability for performing”

Mostly known for his work as founder, vocalist and main songwriter for The Legendary Pink Dots, Edward Ka- Spel has long forged an equally prolific career as a solo artist given to sometimes exploring similar sonic realms as his group but clearly working at such a pace the need to channel ideas and songs in this capacity must be enforced. And just as well too, because Edward Ka-Spel is one of those rare and exceptional artists whose high workrate doesn’t betray a keen sense of quality control. Long known as somebody unafraid to venture wherever he pleases, his work has for a few decades now long traversed the more outward-bound or so-called ‘fringe’ areas of electronic music, psychedelia, hypnotic rock, kosmische sounds and the avant-garde. Heartily sewn into all of this is Edward’s fantastic grasp of spinning a twilight tale or spiralling deep into the mind’s recesses to craft a song from comparatively nimble melodies and words of Kafka-esque proportions. It’s a strikingly rich blend that’s always deserved far more attention than the cult audience it thankfully at least has.'Tales from the Trenches' is the second release by Edward for Lumberton Trading Company. Following on from the abstract-flavoured ‘Permission to Leave the Temple’ 10” released at the start of 2023, this LP collects eight tracks of a personal nature mostly pinned into place by some refined electro rhythms, molten cosmic textures, plaintive strings, introspective keys and a late night hue that sways effortlessly between the beautiful, haunted and even, a couple of times, a steam-pumped and sweat-ravaged dancefloor. Limited to 500 only, 'Tales from the Trenches' delivers exactly as the title indicates. Everything may at first feel ominous or sombre in tone, but there’s also a glimmer of hope laid bare in all its sun-drenched glory poking between the cracks.

Gloam is the highly anticipated sophomore album from alternative folk band MAYBEL. Similar characteristics from their debut, Gathering, are carried forward: elegant harmonies, soft instrumentals and a shared optimism coupled with a wide open vulnerability. The songs still echo the intimacy, warmth and closeness of their relationships, yet the band has matured. MAYBEL's evolution shines through with ambitious compositions, thoughtful songwriting, and a deeper understanding of themselves as the album’s themes pierce with growing pains, anxieties and hopes for change. It’s a record about movement and stopping; the ongoing act of coming apart and coming together. Gloam is for listening in your bedroom or in transit, missing friends, on your way to see them. It holds an optimism that rings clear yet nestles and dwells in a brooding, muddy darkness - placing it firmly in the illustrious Canadian folk canon. This is the first album for which all four members (Fez Gielen, Ali Hendra, Loris Kecaj and Lauren Spear) wrote songs. For the most part, they were written during the pandemic separately and then shared in the upstairs living room where Lauren, Ali and Loris used to live together. The result is a shared diary on love, grief and moving on. The band's ability to effortlessly blend traditional folk elements with modern production techniques is reminiscent of the collaborations between Emmylou Harris and Daniel Lanois. Just as Harris and Lanois brought a fresh perspective to country music, MAYBEL embraces experimentation in their sound without compromising the warmth and intimacy inherent to folk music. As with their debut Gathering, MAYBEL recorded Gloam with producer/engineer Jonas Bonnetta at Port William Sound in Mountain Grove, Ontario. Resonating with a sound borne of the studio’s deeply intimate rural environs it is no wonder the band chose to return. Here they were joined by Eliza Niemi on bass/cello, Caylie Runciman on bass/drums with Jonas adding synths and percussion. Gloam is an old Scottish word for twilight. It appears like a fantasy between the day and night, a time seemingly frozen, drifting, or ignored all together. Gloam is the mood and time within which the album takes place. MAYBEL describes it as being: “In transition, between sleeping and waking—a quiet underworld where one is alone with their thoughts, in true presence with the in-between.” The final track on the album, “For Nothing”, captures something of the album’s twilight hope. It begins with lilting solos and gracefully builds in energy and color. MAYBEL sings to its listeners, “All that work for nothing” with a buoyancy and radiance that chimes against the lyrics. They repeat: “All that work for nothing”. For all of the band, the last few years have resulted in significant change and stress. Yet they continue to try, through their music, to will themselves towards optimism. They ask for you to marvel with them at the charming and terrifying possibility of life. They harmonize again, not despairingly, but almost ecstatically “All that work for nothing!”

Die-cut sleeve. In the fall of 2013 Bry Webb was putting the finishing touches on his second album Free Will. Released on May 20th 2014, Bry, with his newly assembled band The Providers, spent the following few years traversing North America playing clubs, festivals and storied stages such as Toronto’s Massey Hall. Nothing new for an artist who had spent the aughts in a constant state of motion with Constantines, a band who on average had performed one of every three nights on a stage somewhere in the world. In fact, running in parallel to Bry’s solo touring schedule was a reunion with his former Constantines’ bandmates to once again present their incendiary live show and celebrate the 11th anniversary reissue of the band’s Shine A Light. It is what happened as the decade wound down that seemed out of character for an artist who had spent close to 20 years immersed in the studio and on the stage: the music stopped altogether. Bry explains his feelings at that time, “I lost the musical plot about 5 years ago and stopped playing music entirely, sold instruments and recording equipment, and committed myself to the idea that I was absolutely done”. Webb dedicated himself to his ongoing work in community radio, months turned to years and musical life seemed to be all but gone from view. Now in an unexpected turnaround 10 years on from the recording of his last studio album, there is not only a return to the stage for Bry but also a new record. Primarily composed in a season of upheaval, Run With Me contains some of Bry’s rawest sentiments. Fresh and painfully present there is an immediacy one can hear as emotional walls collapse in real time. Bry explains the context of the album’s creation: “In early 2023 my personal life exploded. In the process of dealing with that, I started writing music again and started recording at home. Advised that I needed to figure out how to ask for, and accept, help from other people, I sent early recordings of songs to friends from twenty-five years of music making - many folks I hadn’t connected with in years - and asked if they’d contribute anything to the songs. People came through in ways that overwhelmed me to the point that I cried when I wrote out the list of players for the liner notes. I felt incredibly cared for. From Andy Magoffin, who recorded the first Constantines album in 1999, to members of the Cons, to my nieces Addy and Ella playing drums, and a doppler recording of my daughter’s heartbeat, the record is a document of my creative life, and the people who made it possible to make music again.” If the cover of Run With Me looks familiar, it is with full intent. The album’s technicolor marbling and die cut text serve to signal the inclusion of the album in a trilogy started with Bry’s first record Provider. Just as that album starts with the track Asa, this new one introduces itself with the instrumental Webb. The trilogy is now completed with his daughter's first, middle and last names represented as the first tracks on each of the three albums. While the LP’s package signals its place in the collection, and tracks such as Older Than The Dirt and What I Do revisit their predecessor’s familiar sonic starkness, Run With Me is the outlier of the trio. A number of new tracks forego the quietude of Provider and Free Will, clearly recalling the rallying rhythms of Constantines’ anthems. Thunder Bay (instrumental backing courtesy of The Harbourcoats circa 2009), with its insistent kick drum and wall of electrics, support one of Webb’s most indelible melodies, and the not so subtly psychedelic Modern Mind reveal an expansion of Webb’s palette. Perhaps the furthest afield is the contextual centerpiece of the album, Goodbye, where we not only hear a joyful voice that lay dormant for years, but hear it reclaim its power. Backed by Constantines’ Will Kidman, Doug MacGregor and Dallas Wehrle, Bry belts out “I’m through with all the rage, now watch the light pour out of me.” As with all of Bry’s work, Run With Me’s lyrics take their time to settle in. Songs of self-examination, reconfigured love ballads, and songs for those who work to help others. Songs of singing abound. It’s there in Older Than The Dirt’s second verse: "Logic to the last intention, logic in the way we kept holding on forever, singing as the floor- was swept”, ten thousand birds sing a warning song in Thunder Bay and again in Goodbye’s telling of a cathartic return to one’s true self with its celebration of those “Who sing - sing all joy - all joy of language, in a single word”. Joining Bry in singing Run With Me’s songs of “death, transition and hope,” are kindred spirits Jennifer Castle, Julie Doiron, Daniel Romano and Steph Yates. All of these singers elevate the album’s healing sentiments and help express the album’s central plea; a prayer of sorts wrapped in the traditional Scottish Gaelic melody of She Is Here’s second verse: “Let the sun rise in the morning and any witness bring. Let all the blooming cosmos teach us to sing”.

New Zealander via Berlin Philippa is a producer and DJ whose passion for house music, tireless commitment to her craft and ear for what makes a dance floor tick is slowly and surely starting to pay off. With her recent release Rainy Nights on Slothboogie and Things I’d Like To Be for Razor n Tape getting a lot of love Philippa continues to deliver the goods and has led to remixes for Fat Freddy’s Drop (The Drop) and Roach Motel (Faith).

Here on the Latent Magic EP we’re treated to three new tracks which highlight Philippa’s deft touch and musical approach to making interesting and left field house music. Opener Hold sets the tone with lush orchestral strings, crunchy drums and a bouncing analogue synth bassline which drives the track along perfectly.

Latent Magic uses a similarly wide-ranging sound palette, mixing up the electronic and organic, but goes heavier on the epic, arpeggiating synths for a spacious and uplifting genre-defying track to lift the spirits.

Closing out we have There It Is which has hints of Mr Scruff with looping horn stabs, live drum groove and rolling electric bassline. All in all another mighty fine Philippa release which reminds us of the early days of Freerange when artists such as Square One, Shur-i-kan and Jimpster were melding live musicians with electronics to make a refreshing, UK-centric take on house music.

Smile your way through two songs by The Teacher Haters — in fact, we challenge you to get through these tracks without smiling. Even the name of the band invokes a chuckle as it suggests what these guys are about — and that’s the P-A-R-T-Y. Straight out of the 60s comes a group that could have been played with Sam The Sham & The Pharaohs back in the day. These whimsical works are deceptively deep as they take us to a time when garage punk fused with R&B.

Big Pig Alley is uncomplicated, and that’s what makes it great — it sounds like a bunch of college guys having a good time, writing lyrics on the spot: “If you’re lookin’ for romance, take a train, take a plane...or a raft to France.” The guys have something other than romance on their minds as they chug along on acoustic guitar and trash can drums (and possibly other things). What really makes the track, though, is the witchy background voice — the performance is loose enough, while the witch is doing his own thing entirely.

The witch returns on side B in the up-tempo, dance-ready Cut Loose. No obscure artistry here — these guys tell you exactly what the song is for in the title. In fact, just in case you missed it, they state their thesis in the opening lines: “I wanna shake all night, I wanna do it right, I wanna dance, dance, dance with you…” All of their collegiate effort is put toward getting you to move your hips in this groovy, rockabilly-flavored mix.

Snap up the mid-century college party in a box that is PP006 — and hope your tables don’t get too scuffed up from people dancing on them. The fun that The Teacher Haters had in making these tracks is all here and available to you — whether you want to go on a nostalgic trip through a 60s coed party, or host your own shindig where dancing is mandatory. Get your hands on this disc before the regents show up.

28. September 2023 – Als Tina Turner im Mai dieses Jahres verstarb, hinterließ sie das Erbe eines gewaltigen Lebenswerkes. Eine neue Anthologie blickt zurück auf ihre legendäre Solokarriere, die vor fast 50 Jahren ihren Anfang nahm. „Queen of Rock ‘n‘ Roll“ ist eine Zusammenstellung von 55 Tracks, die uns anhand ihrer Singles durch ihre einzigartige Solokarriere führt, angefangen bei ihrer Coverversion von „Whole Lotta Love“ (1975) bis hin zum Kygo-Remix von „What's Love Got to Do With It“ aus dem Jahr 2020. Es ist das erste Mal, dass ihre gesamte Single-Sammlung in einem Set veröffentlicht wird.

„Queen of Rock ‘n‘ Roll“ ist ab dem 24. November erhältlich und kann ab jetzt vorbestellt werden. Die Anthologie erscheint als 3-CD und 5LP-Set sowie als abgespeckte Vinyl-Version mit 12 Tracks. Alle physischen Varianten enthalten ein Vorwort von Bryan Adams, langjähriger Freund und Kreativpartner Turners.

Tinas erste Veröffentlichung als Solokünstlerin erfolgte zu einer Zeit, als sie mit dem Duo Ike & Tina Turner Revue tourte und Alben herausbrachte. „Tina Turns The Country On!“ – so der Titel des 1974 veröffentlichten Solo-Debüts – brachte keine Singles hervor, weshalb diese Anthologie erst 1975 einsetzt. Da nämlich wurde ihre Coverversion von Led Zeppelins „Whole Lotta Love“ vom zweiten Album „Acid Queen“ offiziell als Single veröffentlicht. Im weiteren Verlauf hält die Sammlung Duette mit anderen legendären Künstlern wie David Bowie, Bryan Adams, Eric Clapton und Rod Stewart sowie einige der unvergesslichsten und berühmtesten Pop- und Rock-Singles aller Zeiten bereit, darunter „What's Love Got To Do With It“, „Private Dancer“, „We Don't Need Another Hero“, „The Best“, „Steamy Windows“, „I Don't Wanna Lose You“ und „Disco Inferno“, um nur einige zu nennen.

Um das Vermächtnis der Queen of Rock ‘n’ Roll zu feiern, enthält die Sammlung auch eine neue Version von „Something Beautiful Remains“, nunmehr schlicht betitelt „Something Beautiful“. Der ursprünglich 1996 veröffentlichte Track wurde von Turners legendärem Produzenten und langjährigen Mitstreiter Terry Britten überarbeitet und ist ein gefühlvoller und angemessener letzter Tribut an das kraftvolle Vermächtnis, das sie hinterlässt. Britten, der das Rework nicht lange nach ihrem Tod anfertigte, kommentiert: „Liebe Tina, die Zusammenarbeit mit dir war eine Erfahrung, die sich niemals wiederholen wird. Und doch bleibt in meinem Herzen ‚Something Beautiful‘ zurück.“

Tina wird auf der ganzen Welt verehrt. Mit ihrer persönlichen Geschichte, ihrem Gesang und ihrer Art des Tanzens war und ist sie eine Inspiration für Millionen von Menschen rund um den Globus. Und nicht zuletzt hat sie ein musikalisches Vermächtnis hinterlassen, das einige der bekanntesten Songs aller Zeiten umfasst.

Tina Turner ist zweifellos eine der bedeutendsten Künstlerinnen der modernen Musikgeschichte. Um es mit den Worten Beyoncés bei der Verleihung Kennedy Center Honours 2005 an Tina Turner zu sagen: „Ich werde nie den Moment vergessen, als ich den ersten Auftritt von dir Tina Turner sah. Ich hatte noch nie in meinem Leben eine Frau gesehen, die so kraftvoll, so furchtlos und so fantastisch war." (Hier kann man Beyoncés Laudatio samt darauffolgender Live-Performance ansehen.) 2008 traten die beiden dann gemeinsam bei den Grammy Awards auf und performten „Proud Mary“, ein Song von Ike & Tina Turner aus dem Jahr 1971. Diese Performance – anzusehen hier – gilt heute als einer der ikonischsten Momente in der Geschichte des weltweit wichtigsten Musikpreises.

Tina Turner hat über 200 Millionen Tonträger verkauft und hatte in Deutschland acht Top-10-Singles und ebenso viele Top-10-Alben (bzw. fünf, wenn man die Compilations/Livealben nicht dazuzählt), darunter die #1-Single „We Don’t Need Another Hero“ und die #1-Alben „Break Every Rule“ und „Foreign Affair“. Im UK war sie die erste weibliche Künstlerin, die in sechs aufeinanderfolgenden Jahrzehnten einen Top-40-Hit im Vereinigten Königreich hatte. Dort sind ihre Alben heute mit 20-fachem Platin dekoriert, in den USA mit 9-fachem Platin und in Deutschland mit 11-fachem Platin. Auch im Rest der Welt erzielte Turner gewaltige Verkaufszahlen. Bei den Grammy Awards wurde sie achtmal ausgezeichnet und insgesamt 25-mal nominiert. 1991 wurde Turner in die Rock & Roll Hall of Fame aufgenommen, außerdem hat sie Sterne auf dem Hollywood Walk of Fame und dem St. Louis Walk of Fame. Das Konzert im Maracanã in Rio de Janeiro im Rahmen ihrer „Break Every Rule“-Tournee 1988 stellte mit 184.000 Zuschauer:innen im Maracanã in Rio de Janeiro einen neuen Weltrekord für das größte zahlende Publikum bei einem Solokonzert auf. Das Rolling Stone Magazine führt Tina Turner auf #17 der 100 größten Sänger:innen aller Zeiten und auf #63 der 100 größten Künstler:innen aller Zeiten.

Trotz all dieser Erfolge und ihres gewaltigen Ruhms verschwand die Person Tina Turner nie hinter der Persona Tina Turner. Sie blieb ihre gesamte Karriere über nahbar und authentisch – ein weiterer Grund, wieso sie bis heute weltweit so geliebt wird. Bryan Adams dürfte in seinem wunderschönen und persönlichen Vorwort vielen Menschen aus dem Herzen sprechen, wenn er über die Wirkung schreibt, die Tina auf ihn hatte:

„Tina hat den Lauf meines Lebens verändert, denn ihr schreibe ich zu, dass ich es aus der Bedeutungslosigkeit auf die Bühnen des Vereinigten Königreiches und Europas gebracht habe. Ich bin so dankbar, dass sie etwas von ihrer kostbaren Zeit mit mir teilte. Sie war eine Naturgewalt, niemand hatte ihre Energie oder ihre Stimme“, so Adams, der dann mit Bezug auf seinen 1985er-Song mit Tina Turner anfügt: „It’s only love, and that's all.“

28. September 2023 – Als Tina Turner im Mai dieses Jahres verstarb, hinterließ sie das Erbe eines gewaltigen Lebenswerkes. Eine neue Anthologie blickt zurück auf ihre legendäre Solokarriere, die vor fast 50 Jahren ihren Anfang nahm. „Queen of Rock ‘n‘ Roll“ ist eine Zusammenstellung von 55 Tracks, die uns anhand ihrer Singles durch ihre einzigartige Solokarriere führt, angefangen bei ihrer Coverversion von „Whole Lotta Love“ (1975) bis hin zum Kygo-Remix von „What's Love Got to Do With It“ aus dem Jahr 2020. Es ist das erste Mal, dass ihre gesamte Single-Sammlung in einem Set veröffentlicht wird.

„Queen of Rock ‘n‘ Roll“ ist ab dem 24. November erhältlich und kann ab jetzt vorbestellt werden. Die Anthologie erscheint als 3-CD und 5LP-Set sowie als abgespeckte Vinyl-Version mit 12 Tracks. Alle physischen Varianten enthalten ein Vorwort von Bryan Adams, langjähriger Freund und Kreativpartner Turners.

Tinas erste Veröffentlichung als Solokünstlerin erfolgte zu einer Zeit, als sie mit dem Duo Ike & Tina Turner Revue tourte und Alben herausbrachte. „Tina Turns The Country On!“ – so der Titel des 1974 veröffentlichten Solo-Debüts – brachte keine Singles hervor, weshalb diese Anthologie erst 1975 einsetzt. Da nämlich wurde ihre Coverversion von Led Zeppelins „Whole Lotta Love“ vom zweiten Album „Acid Queen“ offiziell als Single veröffentlicht. Im weiteren Verlauf hält die Sammlung Duette mit anderen legendären Künstlern wie David Bowie, Bryan Adams, Eric Clapton und Rod Stewart sowie einige der unvergesslichsten und berühmtesten Pop- und Rock-Singles aller Zeiten bereit, darunter „What's Love Got To Do With It“, „Private Dancer“, „We Don't Need Another Hero“, „The Best“, „Steamy Windows“, „I Don't Wanna Lose You“ und „Disco Inferno“, um nur einige zu nennen.

Um das Vermächtnis der Queen of Rock ‘n’ Roll zu feiern, enthält die Sammlung auch eine neue Version von „Something Beautiful Remains“, nunmehr schlicht betitelt „Something Beautiful“. Der ursprünglich 1996 veröffentlichte Track wurde von Turners legendärem Produzenten und langjährigen Mitstreiter Terry Britten überarbeitet und ist ein gefühlvoller und angemessener letzter Tribut an das kraftvolle Vermächtnis, das sie hinterlässt. Britten, der das Rework nicht lange nach ihrem Tod anfertigte, kommentiert: „Liebe Tina, die Zusammenarbeit mit dir war eine Erfahrung, die sich niemals wiederholen wird. Und doch bleibt in meinem Herzen ‚Something Beautiful‘ zurück.“

Tina wird auf der ganzen Welt verehrt. Mit ihrer persönlichen Geschichte, ihrem Gesang und ihrer Art des Tanzens war und ist sie eine Inspiration für Millionen von Menschen rund um den Globus. Und nicht zuletzt hat sie ein musikalisches Vermächtnis hinterlassen, das einige der bekanntesten Songs aller Zeiten umfasst.

Tina Turner ist zweifellos eine der bedeutendsten Künstlerinnen der modernen Musikgeschichte. Um es mit den Worten Beyoncés bei der Verleihung Kennedy Center Honours 2005 an Tina Turner zu sagen: „Ich werde nie den Moment vergessen, als ich den ersten Auftritt von dir Tina Turner sah. Ich hatte noch nie in meinem Leben eine Frau gesehen, die so kraftvoll, so furchtlos und so fantastisch war." (Hier kann man Beyoncés Laudatio samt darauffolgender Live-Performance ansehen.) 2008 traten die beiden dann gemeinsam bei den Grammy Awards auf und performten „Proud Mary“, ein Song von Ike & Tina Turner aus dem Jahr 1971. Diese Performance – anzusehen hier – gilt heute als einer der ikonischsten Momente in der Geschichte des weltweit wichtigsten Musikpreises.

Tina Turner hat über 200 Millionen Tonträger verkauft und hatte in Deutschland acht Top-10-Singles und ebenso viele Top-10-Alben (bzw. fünf, wenn man die Compilations/Livealben nicht dazuzählt), darunter die #1-Single „We Don’t Need Another Hero“ und die #1-Alben „Break Every Rule“ und „Foreign Affair“. Im UK war sie die erste weibliche Künstlerin, die in sechs aufeinanderfolgenden Jahrzehnten einen Top-40-Hit im Vereinigten Königreich hatte. Dort sind ihre Alben heute mit 20-fachem Platin dekoriert, in den USA mit 9-fachem Platin und in Deutschland mit 11-fachem Platin. Auch im Rest der Welt erzielte Turner gewaltige Verkaufszahlen. Bei den Grammy Awards wurde sie achtmal ausgezeichnet und insgesamt 25-mal nominiert. 1991 wurde Turner in die Rock & Roll Hall of Fame aufgenommen, außerdem hat sie Sterne auf dem Hollywood Walk of Fame und dem St. Louis Walk of Fame. Das Konzert im Maracanã in Rio de Janeiro im Rahmen ihrer „Break Every Rule“-Tournee 1988 stellte mit 184.000 Zuschauer:innen im Maracanã in Rio de Janeiro einen neuen Weltrekord für das größte zahlende Publikum bei einem Solokonzert auf. Das Rolling Stone Magazine führt Tina Turner auf #17 der 100 größten Sänger:innen aller Zeiten und auf #63 der 100 größten Künstler:innen aller Zeiten.

Trotz all dieser Erfolge und ihres gewaltigen Ruhms verschwand die Person Tina Turner nie hinter der Persona Tina Turner. Sie blieb ihre gesamte Karriere über nahbar und authentisch – ein weiterer Grund, wieso sie bis heute weltweit so geliebt wird. Bryan Adams dürfte in seinem wunderschönen und persönlichen Vorwort vielen Menschen aus dem Herzen sprechen, wenn er über die Wirkung schreibt, die Tina auf ihn hatte:

„Tina hat den Lauf meines Lebens verändert, denn ihr schreibe ich zu, dass ich es aus der Bedeutungslosigkeit auf die Bühnen des Vereinigten Königreiches und Europas gebracht habe. Ich bin so dankbar, dass sie etwas von ihrer kostbaren Zeit mit mir teilte. Sie war eine Naturgewalt, niemand hatte ihre Energie oder ihre Stimme“, so Adams, der dann mit Bezug auf seinen 1985er-Song mit Tina Turner anfügt: „It’s only love, and that's all.“

Seminal rare groove funk and deep soul album originally released in 1973 on GRC Records now released 50 years later on Soul Jazz Records in this fully remastered edition of this CLASSIC album. The album "Ripple" contains the all-time classic "I Don"t know What It Is, But It Sure Is Funky", one of the most memorable funk tunes of all time and sampled many times over. Ripple"s unique blend of funk, soul, rock, proto-disco and more stood them alongside groups like Funkadelic, Brass Construction, Mandrill, Pleasure, Kool and the Gang and The Blackbyrds, who were all blending these styles while remaining firmly focussed on the dancefloor. Like the group Funkadelic, Ripple hailed from Michigan and in 1976 opened for the group on their Parliament/Funkadelic Mothership Connection tour. This classic album has been out of print for nearly 30 years on vinyl and is now fully remastered and presented here in its original artwork.

• Following on from the highly successful first two editions
of Dance Masters featuring the classics mixes from
maestros Shep Pettibone and Arthur Baker the spotlight
turns to another remix legend, John Luongo.
• Boston born, John is one of the truly legendary DJ's and
remixers of the Disco era. John got his break at Epic by
overdubbing percussion from salt shakers and spoons
onto a promo and then passing them back the tape. This
resulted in him being flown to New York, and put in a
studio (of his choice) to mix and produce Melba Moore`s
“You Stepped Into My Life”. From this point everything he
touched was a hit. He went onto remix Disco classics by
Jackie Moore – “This Time Baby”, Dan Hartman “Vertigo
/ Relight My Fire” and Patti Labelle “Music Is My Way Of
Life”.

• John, however was not afraid of remixing artists that
didn’t fit into the disco genre and this attitude is borne out
by the tracklisting of this compilation on which Gladys
Knight and The Pips rub shoulders with ZZ Top and Billy
Idol, and Baltimora appears alongside Bill Nelson and ILevel.
• “…if you played this whole thing, just put it on and
didn’t tell anyone it was me, they’d say ‘boy, what a great
group of songs this is!’” - John Luongo
• The collection is housed in a beautiful lift-off-lid box, with
a 16 page booklet featuring foreword by Arthur Baker, an
in-depth essay written by Alexis Petridis (Rock and Pop
reviewer for The Guardian) and complete with rare photos
from John’s personal collection plus a limited signed insert.

• All tracks remastered by Nick Robbins at Sound
Mastering.
• A 43-track 4CD edition is also available, along with a 2LP
vinyl edition featuring 16 highlights.

After almost 25 years a new studio album of the German prog rock legend in original lineup! Agitation Free was one of the leading representatives of German experimental rock
music in the early 1970s. The Berlin band developed long, for that time unusual, free
instrumental improvisations from the end of 1967. They achieved cult status as early as
1972 with an independent mixture of improvised rock paired with electro, ethno, jazz and
trance elements.
Extensive live activities gave the band a steadily increasing level of recognition throughout
Europe. For example, the group performed in the cultural program of the Olympic Games
in Munich in the summer of 1972, toured France for two months in early 1973, performed
at the "German Rock Super Concert" in Frankfurt in May, produced the second album "2nd"
and then went on tour through France and major German cities. In 1974, the band began
to show signs of fatigue, which led to their temporary breakup at the end of the year after
a farewell concert.
Although a number of albums (with recordings from 1972 to 1974) were released after the
group's breakup and the studio album "River of Return" was released in 1999, it took
almost 35 years for the original band to reunite for concerts. In February 2007, Agitation
Free, with the original lineup from 1974, gave a series of concerts at Tokyo's "Shibuya
O'West."
In retrospect, it became clear that the experimental circle Agitation Free was one of the
important bands of the "Berlin School" and furthermore a career springboard for several
German musicians. Christopher Franke, for example, helped the band Tangerine Dream
achieve worldwide recognition. Michael Hoenig worked with Klaus Schulze and Tangerine
Dream before he became known as a film composer in Hollywood after a solo album
(among other things, the film music for the blockbuster "9 1/2 Weeks" with Kim Basinger
and Mickey Rourke). Axel Genrich moved to Guru Guru, Burghard Rausch became a
founding member of Bel Ami. Gustl Lütjens, toured with Shirley Bassey and Nena and later
found a large audience with his new age band Living Mirrors, especially in the USA. Lutz
"Lüül" Ulbrich joined Ashra, worked with ex-Velvet Underground singer Nico, produced
solo records in addition to theater music, and has enjoyed success with the 17 Hippies since
the late 1990s.
In the line-up Michael Hoenig (keyb, syn, el. perc), Burghard Rausch (dr, el. per), Lutz GrafUlbrich ((git, acc. git, bj), Gustl Lütjens (git acc. git, vocals) and Daniel Cordes (b, syn) the
new studio album "Momentum" was recorded.

After almost 25 years a new studio album of the German prog rock legend in original lineup! Agitation Free was one of the leading representatives of German experimental rock
music in the early 1970s. The Berlin band developed long, for that time unusual, free
instrumental improvisations from the end of 1967. They achieved cult status as early as
1972 with an independent mixture of improvised rock paired with electro, ethno, jazz and
trance elements.
Extensive live activities gave the band a steadily increasing level of recognition throughout
Europe. For example, the group performed in the cultural program of the Olympic Games
in Munich in the summer of 1972, toured France for two months in early 1973, performed
at the "German Rock Super Concert" in Frankfurt in May, produced the second album "2nd"
and then went on tour through France and major German cities. In 1974, the band began
to show signs of fatigue, which led to their temporary breakup at the end of the year after
a farewell concert.
Although a number of albums (with recordings from 1972 to 1974) were released after the
group's breakup and the studio album "River of Return" was released in 1999, it took
almost 35 years for the original band to reunite for concerts. In February 2007, Agitation
Free, with the original lineup from 1974, gave a series of concerts at Tokyo's "Shibuya
O'West."
In retrospect, it became clear that the experimental circle Agitation Free was one of the
important bands of the "Berlin School" and furthermore a career springboard for several
German musicians. Christopher Franke, for example, helped the band Tangerine Dream
achieve worldwide recognition. Michael Hoenig worked with Klaus Schulze and Tangerine
Dream before he became known as a film composer in Hollywood after a solo album
(among other things, the film music for the blockbuster "9 1/2 Weeks" with Kim Basinger
and Mickey Rourke). Axel Genrich moved to Guru Guru, Burghard Rausch became a
founding member of Bel Ami. Gustl Lütjens, toured with Shirley Bassey and Nena and later
found a large audience with his new age band Living Mirrors, especially in the USA. Lutz
"Lüül" Ulbrich joined Ashra, worked with ex-Velvet Underground singer Nico, produced
solo records in addition to theater music, and has enjoyed success with the 17 Hippies since
the late 1990s.
In the line-up Michael Hoenig (keyb, syn, el. perc), Burghard Rausch (dr, el. per), Lutz GrafUlbrich ((git, acc. git, bj), Gustl Lütjens (git acc. git, vocals) and Daniel Cordes (b, syn) the
new studio album "Momentum" was recorded.

2023 Repress

Only released in October 2006, Anders Trentemøller's stunning debut-album - The Last Resort' already evolved into one of the most successful independent albums of the year. Raving reviews all over the place, various elections as - album of the year' and solid playlists at the radios express the huge interest in the fantastic album. While 2006 has been topped of with a tour through Australia, the first Trentemøller highlight in 2007 will be the release of - Moan', the second single from the album. For the a-side Trentemøller himself created a brilliant remix of the - Moan'-Vocal Version, which has been released on the Bonus-CD of the limited edition album only. Trentemøller managed to keep the mystic melancholic vibe of the track featuring the vocals of danish talent Ane Trolle, but adds punshy drums, screaming synths and some more guitars to guarantee serious dancefloor-action. Radioslave aka Matt Edwards aka Rekid aka Quite Village, on of the most in demand remix artists at the moment (Moby, Booka Shade, Justice, Peace Division, Pet Shop Boys, Joakim etc) contributed a great remix on the flipside. Slowly building over reduced drumpatterns their mix culminates into a manic wall of sound. While Poker Flat 81 features the vocal versions of both Trentemøller's and Radioslve's remixes, the instrumental and dub versions will be released simultaneously

Agitation Free zählte in den frühen 70er Jahren zu den führenden Vertretern der deutschen experimentellen Rockmusik. Die Berliner Band entwickelte ab Ende 1967 lange, für diese Zeit ungewöhnlich freie instrumentale Improvisationen. Kult-Status erlangte sie bereits 1972 mit einer eigenständigen Mischung aus improvisiertem Rock gepaart mit Elektro-, Ethno-, Jazz- und Trance-Elementen. Umfangreiche Live-Aktivitäten verschafften der Band in ganz Europa einen stetig ansteigenden Bekanntheitsgrad. So trat die Gruppe im Sommer 1972 im kulturellen Programm der Olympischen Spiele in München auf, tourte Anfang 1973 zwei Monate durch Frankreich, trat im Mai beim "German Rock Super Concert" in Frankfurt auf, produzierte das zweite Album "2nd" und ging anschließend auf Tournee durch Frankreich und deutsche Großstädte. 1974 machten sich bei der Band Ermüdungserscheinungen breit, die Ende des Jahres nach einem Abschiedskonzert zur vorläufigen Auflösung führten. Obwohl eine Reihe von Alben (mit Aufnahmen von 1972 bis 1974) nach der Auflösung der Gruppe erschienen und das Studio-Album "River of Return" 1999 herauskam, dauerte es fast 35 Jahre, bis sich die ursprüngliche Band wieder für Konzerte zusammenfand. Im Februar 2007 gab Agitation Free in der Originalbesetzung von 1974 eine Serie von Konzerten in Tokio"s "Shibuya O"West". Im Rückblick zeigte sich, dass der Experimentier-Zirkel Agitation Free eine der wichtigen Bands der "Berliner Schule" und darüber hinaus Karriere-Sprungbrett für einige Deutsche Musiker war. So verhalf Christopher Franke der Band Tangerine Dream zu weltweiter Anerkennung. Michael Hoenig arbeitete mit Klaus Schulze und Tangerine Dream, ehe er nach einem Soloalbum in Hollywood als Filmkomponist bekannt wurde (unter anderem die Filmmusik für den Blockbuster "9 1/2 Wochen" mit Kim Basinger und Mickey Rourke). Axel Genrich wechselte zu Guru Guru, Burghard Rausch wurde Gründungs-Mitglied bei Bel Ami. Gustl Lütjens, tourte mit Shirley Bassey und Nena und fand später mit seiner New-Age-Band Living Mirrors vor allem in den USA ein großes Publikum. Lutz "Lüül" Ulbrich schloss sich Ashra an, arbeitete mit Ex-Velvet Underground-Sängerin Nico, produzierte neben Theatermusik Soloplatten und feiert seit Ende der 90er Jahre mit den 17 Hippies Erfolge. In der Besetzung Michael Hoenig (keyb, syn, el. perc), Burghard Rausch (dr, el. per), Lutz Graf-Ulbrich ((git, acc. git, bj), Gustl Lütjens (git acc. git, vocals) und Daniel Cordes (b, syn) wurde das vorliegende Studioalbum "Momentum" eingespielt.

Agitation Free zählte in den frühen 70er Jahren zu den führenden Vertretern der deutschen experimentellen Rockmusik. Die Berliner Band entwickelte ab Ende 1967 lange, für diese Zeit ungewöhnlich freie instrumentale Improvisationen. Kult-Status erlangte sie bereits 1972 mit einer eigenständigen Mischung aus improvisiertem Rock gepaart mit Elektro-, Ethno-, Jazz- und Trance-Elementen. Umfangreiche Live-Aktivitäten verschafften der Band in ganz Europa einen stetig ansteigenden Bekanntheitsgrad. So trat die Gruppe im Sommer 1972 im kulturellen Programm der Olympischen Spiele in München auf, tourte Anfang 1973 zwei Monate durch Frankreich, trat im Mai beim "German Rock Super Concert" in Frankfurt auf, produzierte das zweite Album "2nd" und ging anschließend auf Tournee durch Frankreich und deutsche Großstädte. 1974 machten sich bei der Band Ermüdungserscheinungen breit, die Ende des Jahres nach einem Abschiedskonzert zur vorläufigen Auflösung führten. Obwohl eine Reihe von Alben (mit Aufnahmen von 1972 bis 1974) nach der Auflösung der Gruppe erschienen und das Studio-Album "River of Return" 1999 herauskam, dauerte es fast 35 Jahre, bis sich die ursprüngliche Band wieder für Konzerte zusammenfand. Im Februar 2007 gab Agitation Free in der Originalbesetzung von 1974 eine Serie von Konzerten in Tokio"s "Shibuya O"West". Im Rückblick zeigte sich, dass der Experimentier-Zirkel Agitation Free eine der wichtigen Bands der "Berliner Schule" und darüber hinaus Karriere-Sprungbrett für einige Deutsche Musiker war. So verhalf Christopher Franke der Band Tangerine Dream zu weltweiter Anerkennung. Michael Hoenig arbeitete mit Klaus Schulze und Tangerine Dream, ehe er nach einem Soloalbum in Hollywood als Filmkomponist bekannt wurde (unter anderem die Filmmusik für den Blockbuster "9 1/2 Wochen" mit Kim Basinger und Mickey Rourke). Axel Genrich wechselte zu Guru Guru, Burghard Rausch wurde Gründungs-Mitglied bei Bel Ami. Gustl Lütjens, tourte mit Shirley Bassey und Nena und fand später mit seiner New-Age-Band Living Mirrors vor allem in den USA ein großes Publikum. Lutz "Lüül" Ulbrich schloss sich Ashra an, arbeitete mit Ex-Velvet Underground-Sängerin Nico, produzierte neben Theatermusik Soloplatten und feiert seit Ende der 90er Jahre mit den 17 Hippies Erfolge. In der Besetzung Michael Hoenig (keyb, syn, el. perc), Burghard Rausch (dr, el. per), Lutz Graf-Ulbrich ((git, acc. git, bj), Gustl Lütjens (git acc. git, vocals) und Daniel Cordes (b, syn) wurde das vorliegende Studioalbum "Momentum" eingespielt.

Step into the captivating world of Melody Fields as they release their transformative albums, "1901" and "1991." With a marbled musical background, these albums are crafted with the precision of a brushstroke by the likes of Pablo Picasso or Gustav Klimt. Each track is carefully composed, drawing inspiration from manic behavior, fixated obsessions, and the pursuit of something greater. Melody Fields explores themes of spirituality, faith, trust, and conviction in various forms, often leading to addiction or madness. During the pandemic, Melody Fields accumulated hours of material, embracing the freedom to experiment with drum machines and synthesizers in one session, and exploring oriental instruments in another. The result is a sonic tapestry that defies conventions and pushes boundaries. The primary album, "1901," can be described as a rock album with psychedelic influences. It features repetitive guitar riffs, distorted soundscapes, and mesmerizing three-part harmony vocals. As they traverse these musical landscapes, Melody Fields is joined by guest musicians from esteemed bands such as Goat and Holy Wave, adding an extra layer of sonic brilliance. The album culminates with the captivating track "Mayday," a haunting composition written by the legendary Klaus Dinger from Neu! In contrast, "1991" is a concept album that evolved from late-night jam sessions, experimental sounds, and danceable music. It presents four remixes, including contributions from Goat and Al Lover, breathing new life into the original composition “Jesus” from “1901”. Notably, "1991" includes the thought-provoking composition "Diary of a Young Man," written by Daniel Treacy from Television Personalities, which invites introspection and reflection. Melody Fields' "1901-1991" presents a sonic journey through time, combining elements of rock, psychedelia, and experimentalism. These albums showcase the band's dedication to musical craftsmanship and their willingness to embrace diverse influences. Prepare to be immersed in their sonic universe, where boundaries are shattered, and creativity knows no limits.

Step into the captivating world of Melody Fields as they release their transformative albums, "1901" and "1991." With a marbled musical background, these albums are crafted with the precision of a brushstroke by the likes of Pablo Picasso or Gustav Klimt. Each track is carefully composed, drawing inspiration from manic behavior, fixated obsessions, and the pursuit of something greater. Melody Fields explores themes of spirituality, faith, trust, and conviction in various forms, often leading to addiction or madness. During the pandemic, Melody Fields accumulated hours of material, embracing the freedom to experiment with drum machines and synthesizers in one session, and exploring oriental instruments in another. The result is a sonic tapestry that defies conventions and pushes boundaries. The primary album, "1901," can be described as a rock album with psychedelic influences. It features repetitive guitar riffs, distorted soundscapes, and mesmerizing three-part harmony vocals. As they traverse these musical landscapes, Melody Fields is joined by guest musicians from esteemed bands such as Goat and Holy Wave, adding an extra layer of sonic brilliance. The album culminates with the captivating track "Mayday," a haunting composition written by the legendary Klaus Dinger from Neu! In contrast, "1991" is a concept album that evolved from late-night jam sessions, experimental sounds, and danceable music. It presents four remixes, including contributions from Goat and Al Lover, breathing new life into the original composition “Jesus” from “1901”. Notably, "1991" includes the thought-provoking composition "Diary of a Young Man," written by Daniel Treacy from Television Personalities, which invites introspection and reflection. Melody Fields' "1901-1991" presents a sonic journey through time, combining elements of rock, psychedelia, and experimentalism. These albums showcase the band's dedication to musical craftsmanship and their willingness to embrace diverse influences. Prepare to be immersed in their sonic universe, where boundaries are shattered, and creativity knows no limits.

“Incident At a Free Festival” is a tribute to the mid-afternoon slots at Deeply Vale, Bickershaw, Krumlin, Weeley, and Plumpton – early 70s festivals that don’t get the column inches afforded the Isle of Wight or Glastonbury Fayre, but which would have been rites of passage for thousands of kids. Bands lower down the bill would have been charged with waking up the gentle hippies and appealing to both the greasy bikers and the girls in knee-high boots who wanted to wiggle their hips. And the best way to do that was with volume, riffs and percussion.

Compiled by the venerated Bob Stanley and Pete Wiggs of Saint Etienne, this is the heavier side of the early 70s they summarised on the acclaimed “English Weather” collection. There’s an air of menace and illicit thrills among tracks by Andwella, Stack Waddy and Leaf Hound (whose “Growers of Mushroom” album is worth well over £1,000). Bigger names include the rabble-rousing Edgar Broughton Band and kings of the festival freakout, Hawkwind. They are represented by their rare version of ‘Ejection’

For every mystical Tyrannosaurus Rex performance there was something like Atomic Rooster’s Tomorrow Night or Curved Air’s Back Street Luv to capture the spirit of the day and stir the loins of festival goers; the tracks on “Incident At a Free Festival” were inspired by both Chicago’s percussive wig-outs and the Pink Fairies’ anarchic spirit. The sounds were heavy and frequently funky, with a definite scent of danger. Their message was clear and simple: clap your hands, stamp your feet, hold on to your mind.

So, put on your wellies in your living room, drop the needle and enjoy...

Featuring exclusive performances by Donnie Emerson and Noah Jupe, score selections by Leopold Ross, plus vintage classics from Donnie & Joe Emerson -Includes the original version of the cult-classic hit, "Baby" -LP release housed in a gatefold jacket -Mastered by John Baldwin at Infrasonic Sound -Directed by Bill Pohlad, Dreamin' Wild, stars Casey Affleck, Zooey Deschanel, Beau Bridges, Noah Jupe, Walton Goggins, and Chris Messina // Acclaimed label Light in the Attic proudly partners with River Road, Zurich Avenue, and Roadside Attractions to release Dreamin' Wild Original Motion Picture Soundtrack. The film follows the real-life story of brothers Donnie & Joe Emerson, whose teenage dreams of rock stardom suddenly came true 30 years later. The soundtrack blends vintage recordings by Donnie & Joe (including the cult favorite "Baby") with exclusive new performances by Donnie Emerson, Nancy Sophia Emerson, and actor Noah Jupe, plus original score selections by composer Leopold Ross (Black Mirror, A Million Little Pieces). Jupe, who portrays a young Donnie Emerson, re-recorded several of the duo's classic songs for the film, including their debut single, "Thoughts in My Mind." The wistful ballad, which was written and recorded while the brothers were still in high school, was originally released in 1977 on their own Enterprise & Co. label. The soundtrack also includes "When A Dream Is Beautiful," a new song by husband-and-wife duo Donnie Emerson and Nancy Sophia Emerson, and recorded in Nashville by the film's music producer and multi-GRAMMYr winner Dave Cobb. Also available are Donnie & Joe's 1979 album, Dreamin' Wild, as well as the acclaimed 2014 collection Still Dreamin' Wild: The Lost Recordings 1979-81, which culls highlights from the brothers' prolific collection of songs. Additionally, fans can find exclusive Donnie & Joe merch at DonnieAndJoe . Adapted from a profile by journalist Steven Kurutz and written, directed, and produced by Oscarr and Emmyr-nominee Bill Pohlad (whose extensive credits include Brokeback Mountain, 12 Years a Slave, and the Brian Wilson biopic Love & Mercy), Dreamin' Wild stars Academy Awardr winner Casey Affleck, Emmyr-nominee Zooey Deschanel, Emmyr-nominee Walton Goggins, Chris Messina, Noah Jupe, Jack Dylan Grazer, plus Emmyr and Grammy Awardr-winner Beau Bridges. A true story of love and redemption, Dreamin' Wild centers around Donnie Emerson (Affleck/Jupe), a middle-aged singer-songwriter who learns that a record label is interested in reissuing the album that he and his brother recorded as teens in rural Washington State. Suddenly, the Emerson brothers find themselves thrust into the spotlight, as their 30-year-old album is hailed as a lost masterpiece. While the album's rediscovery brings hopes of second chances, it also unearths long-buried emotions as Donnie, his wife Nancy (Deschanel), brother Joe (Goggins/Grazer), and father Don Sr. (Bridges) come to terms with the past and their newly found fame. Named for the brothers' 1979 debut album, Dreamin' Wild is a River Road - Innisfree Production, produced by Academy Awardr-winner Jim Burke, Academyr and Emmyr-nominee Pohlad, Kim Roth, Viviana Vezzani, and Karl Spoerri. Casey Affleck served as executive producer, alongside Emmyr-nominee Christa Workman, Dan Clifton, Steven Snyder, and Tobias Gutzwiller. More about Donnie & Joe Emerson: Brothers Donnie and Joe Emerson grew up on a 1600-acre farm in Fruitland, WA with dreams of musical stardom. Far removed from the punk and disco scenes of the late '70s, the boys' inspiration primarily came from a tractor radio, which they listened to for hours on end while working the fields. In between farm duties and high school, the brothers spent their remaining time on music, with Donnie serving as the primary songwriter, vocalist, guitarist, and keyboardist, and Joe holding down the beat on drums. Donnie & Joe's parents encouraged their sons' talents - so much so that they leveraged the family farm in order to build a state-of-the-art recording studio, where the brothers self-produced their debut album, Dreamin' Wild. Released in 1979 on their own Enterprise & Co. label, the album offered a lo-fi blend of FM rock, pop, soul, and funk - evoking such contemporaries as Marvin Gaye, Hall & Oates, and the Brothers Johnson in songs like "Good Time," "Dream Full of Dreams," and "Baby." Despite the Emersons' passions, however, Dreamin' Wild wasn't the bestseller that they envisioned. In fact, it tanked, nearly bankrupting the family in the process. Donnie and Joe's dreams did actually come true though. It just took three decades and a heavy dose of kismet. Around 2008, record collector, actor, and Out of the Bubbling Desk blogger Jack Fleischer discovered a copy of the LP at a Spokane antique shop. Initially intrigued by the jacket image (which features the boys in flashy, Elvis-style jumpsuits), Fleischer was blown away by what he heard. Before long, word began to spread about the Emerson brothers, while their soulful ballad "Baby" became a viral hit, eliciting multiple cover versions (most popularly by Ariel Pink & Dâm-Funk). Since its digital release, the track has been streamed over 30 million times on Spotify. In 2012, Light in the Attic brought Dreamin' Wild to the masses, giving the Emerson brothers a second chance at stardom and an outpouring of long-overdue accolades, including features in the New York Times, Los Angeles Times, and The Guardian, a shout-out from Jimmy Fallon, and praise from the likes of Pitchfork, which called the 1979 album "A godlike symphony to teen-hood." The Emersons' inspiring story caught the ears of writer, director, and producer Bill Pohlad, who recently told PEOPLE, "Being able to go deep to explore this amazing family was the real reason that I was drawn to this material. Dreamin' Wild ultimately became a story about family, faith and forgiveness for me."

Im Jahr 1997 läutete "Solid" ein neues Kapitel in der Geschichte von U.D.O. ein. In den darauf folgenden Jahren sollte eine Vielzahl weiterer Heavy Metal-Meilensteine folgen. Nach nun über 25 Jahren werden diese Klassiker endlich neu aufgelegt. Am 24.11.2023 erscheinen die ersten vier Alben der Reihe - teilweise zum ersten Mal - auf Vinyl. "Holy", aus dem Jahr 1999, wird dabei als limitierte Lila-Vinyl erhältlich sein.

Im Jahr 1997 läutete "Solid" ein neues Kapitel in der Geschichte von U.D.O. ein. In den darauf folgenden Jahren sollte eine Vielzahl weiterer Heavy Metal-Meilensteine folgen. Nach nun über 25 Jahren werden diese Klassiker endlich neu aufgelegt. Am 24.11.2023 erscheinen die ersten vier Alben der Reihe - teilweise zum ersten Mal - auf Vinyl. "Man and Machine", aus dem Jahr 2002, wird dabei als limitierte weiße Vinyl erhältlich sein.

I can say that the album It's not too late has been created by chance.
Few years ago together with Lisa Gerrard we visited synagogue in a small town hundred kilometres from Cracow, Bobowa. When we entered the synagogue Lisa started to sing. It appeared that the place had spine-tingling acoustics. I said then to Lisa: " let's try to record something here".
The rule was simple: I prepared themes and we recorded live performance. Lisa heard what I was playing for the first time during the recording and she improvised. We recorded nine compositions in 45 minutes. It supposed to be a holiday joy.

Six years later I returned to the material we recorded and decided to finish it. What is left from the original recording is the voice of Lisa. I composed and recorded everything else in my studio. Dominik Wania played piano, Magdalena Pluta - cello and Jerzy G?owczewski- saxophone.
That's the way the album It's not too late came in to being.

We live in the most dangerous time since the Second World War.
Lisa Gerrard and I want to tell you about the world we share. Our weapon is music. It doesn't kill, it resurrects, and it brings hope to life.
It's not too late.

Zbigniew Preisner

Mit einer Mischung aus klassischen Popmelodien, Dancefloor-Beats und einem einzigartigen Reggae-Touch, serviert mit einer Beilage nordischer Melancholie, wurden Schwedens Ace Of Base in den 1990er-Jahren zu einem globalen Phänomen. Und die Hits bewähren sich auch dreißig Jahre später noch immer. Das Debütalbum 'Happy Nation' enthält fünf Hitsingles, darunter 'All That She Wants' (UK Nr. 1, US Nr. 2), 'The Sign' (UK Nr. 2, US Nr. 1) und 'Don't Turn Around' (UK Nr. 5, US Nr. 4). Das Album stieg im Juni 1993 in die britischen Album-Charts ein, und erreichte schließlich ein Jahr später Platz 1. Eine Position, die es auch in den US-Album-Charts erreichte. Nun erscheint 'Happy Nation' erstmals als limitierte Picture-LP im Die-Cut-Sleeve.

mule musiq welcomes british producer jimmy wallace, presenting his debut album “red, yellow, black” - a nine track strong record that partly leaves the dancefloor behind.

since childhood, music has been a strong influence on the 33-year-old artist. his mother, a music teacher, exposed him to classical sounds from an early age.

but it was hearing the electronic tones of the french touch movement, which really ignited his mu-sical journey. a year later he started to dj, acting out his love for four-to-the-floor grooves in local clubs. today you'll find him on the bill with artists like ruf dug, mr scruff, or bradley zero, heating up the dance floors.

as a producer he has already released a handful of stunning eps, including one for sweden’s finest house label studio barnhus, and one for london’s revered rhythm section international imprint.

both feature house tunes with an edge, house tunes with a love for the roots of the genre along-side more reflective, ambient moments. he also runs the label tartan records, where he publishes dancefloor focused white labels.

his music has been championed by titans of the scene such as palms trax, ryan elliott, dj tennis, gilles peterson, dixon, and hunee. axel boman even coined his debut ep as “one of the very best demo emails ever received at label studio barhnus hq”.

an advance praise, that wallace now acknowledges with an album full of deeply crafted music. some tracks lean towards the dancefloor, like the swung sounds of “bubbles”, the hypnotic mael-strom of “good morning”, or the epic, jazzy moments of “labyrinth”.

the theme of nature is evident throughout, with field recordings and environmental sounds he rec-orded on the road, being fused with his own musical ideas.

tracks like “waterfall” and “tokyo street”, draw influence on time spent in asia, whereas "dhq", "by the river", and "by the lake" are inspired by his childhood and hometown in the shropshire country-side. “i’ve been writing ambient and more nature focused material for a few years now without really having a plan for it.

finally, this year after writing the tune “labyrinth” i felt i had a body of work which was both diverse and cohesive enough to bring together on a record. so, the album represents moments of time i have spent in various outdoor spaces around the world, using sound to try and turn these experi-ences into musical format.” wallace discloses.

the result is a mesmerizing long player featuring an evocative, emotional story arc that avoids ste-reotypes and straight party orientated narration. “having written plenty of club music for the past few years, i wanted to show a different side to my sound.

something more intimate, private, experimental which can be listened to away from the party.” he reveals on the meditative, blissful “red, yellow, black” - an album, which has the power to transport listeners to places and spaces new – for inspiration, relaxation, and dancefloor moments off the beaten path

Der wahre Blues ist lange keine Neuigkeit mehr. Hier finden sich nun 16 elektrifizierte Post-War Kracher, aufgenommen zwischen Chicago und New Orleans, die oft nur ein kurzes Leben als 7"-Single fristeten und heute begehrte Sammlerobjekte sind. Diese Musik wurde in verschwitzten Clubs und bei House Rent Parties der 50er und frühen 60er Jahre gespielt bzw. aufgelegt. Und noch heute kann man exzellent dazu tanzen, denn alle Tunes sind schnell, rauh und dafür gemacht, die Meute in Bewegung zu bringen. Volle fünf Sterne für die fünfte Veröffentlichung der Rockinitis-Reihe! Diese Zusammenstellungen zeigen die rauen und wilden Klänge des rockigen Electric Blues aus den 1950er und frühen 1960er Jahren. Auf der A-Seite ist R-Man, Chef des Stag-O-Lee-Labels, mit weiteren acht Dirty-Blues-Dancetracks zurück, zu denen die Tailfeather zwingend geshaket werden muss. Jeweils zwei Tunes von Killerlabels wie Excello, Groove, Herald und Chess/Checker. In diversen Clubs auf Tauglichkeit getestet. Die Rückseite bestreitet Donna Driscoll, langjährige Kennerin und Sammlerin zwischen Northern Soul und R&B aus London. Donna legt regelmäßig in Blues- und Soul-Clubs sowie bei Mod-Events im Vereinigten Königreich und im Ausland auf. Egal in welcher Stimmung man ist, ihre Auswahl wird jeden in Bewegung und zum Grooven bringen. Hear me now!

Detroit producer Apollo Brown has made a name for himself as one of Hip-Hop’s most legendary new producers while maintaining a golden era sound. His production credits are a who’s who of Hip-hop greats from Danny Brown to Ghostface Killah, Ras Kass to Westside Gunn. Even Chance the Rapper used a pair of Apollo beats on his debut mixtapes. Known for bringing the best out of musicians, Apollo has a knack for making timeless classics. Brooklyn’s Joell Ortiz started on none other than Dr. Dre’s Aftermath label and built a huge buzz in the industry. He’s worked with legends like Just Blaze among others. He then signed to Shady Records as ¼ of the supergroup Slaughterhouse. He’s worked with Hip-Hop titans Eminem, Busta Rhymes, Jadakiss, Akon, and Big Daddy Kane. Now the pair of Hip-hop luminaries are celebrating the 5 year anniversary of their first collaborative album on Mello Music Group with a deluxe edition including 2 new songs. It’s nothing short of a masterpiece: Mona Lisa.

Street/OI-Punkrocker LOIKAEMIE kehren auf die Bühnen und in die Ohren unserer Zeit zurück! Und sie haben immer noch und auch wieder was zu sagen! Nachdem die Band 2014 ihr 20-jähriges Bestehen feierte, legte sie eine Pause ein, kehrte aber bereits 2019 erstmals live zurück und ist mit den diesjährigen Gigs enorm erfolgreich und gefeiert. Nun mit der brandneuen Single "Lumpenmann" am Start, welches der erste neue Song seit 2007 ist, aber nicht der letzte sein wird. Versprochen! Denn ab dem 16.09.2022 gibt's den Song als Single Digital und zugleich geht diese Doppel-A-Seite-7"-Vinyl-Single mit dem weiteren neuen Stück "Tief Im Herzen" (ebenfalls Single Digital am 04.11.2022) in den Vorverkauf! Und danach geht's in 2023 mit noch mehr neuen Stücken und in der zweiten Jahreshälfte mit Album Nummer 5 weiter... Der LUMPENMANN ist Feuerwehr und Müllabfuhr zugleich. Man braucht ihn vielleicht, aber man mag ihn nicht in der Nähe haben, und wenn er kommt, soll er baldmöglichst wieder verschwinden. In dem Song steht der Lumpensammler für all jene Mitmenschen, die ihre Meinung nicht sagen können oder wollen, wo es zweifelsohne angebracht und notwendig wäre. Wenn alles schief gelaufen ist, alles gegen die Wand gefahren ist, dann kommt der Lumpenmann und muss mit brachialer Gewalt Erfolg erzwingen und die Geschichte wieder in Ordnung bringen. Der Song spiegelt zum Teil persönliche Erfahrungen der Band wider und soll die Notwendigkeit ausdrücken, sich selbst treu zu bleiben, um nicht zu einem reinem Lumpen zu werden. Denn wenn man das nicht tut, wird der Weg durchs Leben Aufgenommen und produziert von KURT EBELHÄUSER mit MICHEL WERN in den OFF THE ROAD STUDIOS /Leipzig , September 2021.- Abgemischt von KURT EBELHÄUSER im TONSTUDIO 45/Koblenz- Gemastert von ANDY "DOG YOUNG" JUNG im KENNER MASTERING STUDIO Berlin. Produzent Kurt Ebelhäuser ist Gitarrist/Sänger von SCUMBUCKET und BLACKMAIL sowie Produzent von u.a. DONOTS, PASCOW, KMPFSPRT, ACHT EIMER HÜHNERHERZER und ADAM ANGST. Schwarze Doppel-A-Seiten-Single mit zweiseitigem Poster und Beilage (limitiert auf 700 Stück weltweit)!

“Murderock - Uccide a passi di danza” (internationally released as “Murder Rock”) is a thriller/horror 1984 film directed by legendary

Lucio Fulci about a dance school in which a mysterious murderer kills female students with a long pin.

Its soundtrack was entrusted by the producers to Keith Emerson, In those early 1980s,

having temporarily shelved the prog-rock experience of Emerson, Lake & Palmer,

Keith Emerson launched a solo career that led him to compose a number of soundtracks

“Murderock”: an energetic mix of 80s pop/rock anthems, perfectly in line with the sounds of the time,dressed up with typically extravagant Keith Emerson arrangements.

“Murderock” has become a cult title among genre film fans over the years, and is here reissued on the occasion of

Black Friday 2023 in a new clear blue vinyl version with gatefold sleeve and audio remastered by Claudio Fuiano.

The last four tracks - Murderock (Part 1-4) - are released on vinyl for the first time ever. Artwork by Eric Adrian Lee.

Santaka is truly the sound of a culture. The name means “confluence” in Lithuanian, and the project has been exactly that from the moment DJ/producer Manfredas and drummer/producer Marijus Aleksa resolved to work together in the early days of 2020.

Not only does it bring together the talents that Manfredas and Marijus have individually honed over their own illustrious international careers in the club underground and young jazz worlds – but their recordings have drawn on talents from across styles and generations within Lithuania, creating a fusion of experimental sounds that represents the living nation. The highest common factors of post rock, jazz, dancefloor and abstract electronics, classical and more all flow together. Now, they are deepening this further, by reworking recordings by composer Rytis Mažulis and the avant-garde choir Melos Collective.

Over two tracks, they create haunting but hopeful, weird but truly wonderful atmospheres that look back to the deep history of their home nation’s music and culture but also forward to sonic science fictions of their own. In “Autoportretas”, disembodied voices emerge from the air around Marijus’s percussion subtly at first but becoming more and more corporeal as the ritual takes shape.

The eight-minute “Ramybė” is less linear, more dreamlike, with orchestral drones, free jazz fluttering and retro electronics joining the voices and drums. But for all their eeriness and oddness, both are built on the pleasure principle too: this exploratory music joining past and future is thrilling and sustaining in the moment.

This is a presentation of Xexa's different sensibilities as a composer, musician and sound designer, mapping what are in effect her initial explorations with voice, rhythms, synths, ambience, ever searching for an organic final result. As a student at the Guildhall School of Music and Drama (London) between 2019 and a still fresh 2023, she presented in her third year a portfolio that included what we can now listen as "Clarinet Mood", the final track on "Vibrações De Prata". Her intention was to «study the feeling of listening to music as an environment one inhabits and not as a sound that follows you throughout the day. Walk into, instead of listening to, an ambience». With no previous clarinet training, Xexa explores its palpable sound as a physical doorway to this realm.

Four other tracks ("Assim", "Nha Dêdê", "Fragmented Breath" and "Prendes Nh'Alma") formed part of what she named the 2021 Sound Calendar. Out of a (natural) total of 12 compositions, these four connect with other intimate moments to tell a broader story, one of fragility, «like a flower about to bloom, we can detect first glimpses of colour and form but can't yet divine its final form».

This sort of imaginative sonic micro-management can also be found on "Libelula", where the synth attempts to recreate the beating of a dragonfly's wings. Minute details are a major feature in jewelry, an art Xexa studied in her native Lisbon's António Arroio school. Free spirited as she is, Lisbon is merely a geographical location where she was born, no particular feeling of being Portuguese attached to her position in the world. So far, Xexa's origins in São Tomé and Príncipe and a prolonged stint in London (it feels prolonged, at such a young age) are the two other major environments that form her experience as a human being but also as an artist. We are extremely proud to have been able to access truly special creative, intimate moments and help bring out into the world this physical manifestation of beautiful contemporary music.

Collecting orders for repress!

Afro Dub Funk & Punk Of Recreational Records '81-‘82

Emotional Rescue returns to what it does best by unearthing musical gems of the British post punk scene with a double pack compilation of Bristol's short lived Recreational Records.

Teaming up with Bristol Archive Records, 10 songs are remastered, reissued and cut loud for DJs and collectors. What is most striking is, although created in the space of just two years, with a disparate collection of artists, musicians and producers coming together, the music holds a considerable cohesive sound.

Set up in 1981 by Bristol based shop, Revolver Records, Recreational was formed as an independent label with its own distribution, as part of the co-operative, Cartel. The label was a natural progression from the shop's punk's DIY aesthetic, acting as a hang out and inspiration for local artists from Mark Stewart to later staff member, Daddy G.

'Get It Right' starts with a one-off project in Scream + Dance, who similarly, alongside local bands Glaxo Babies, Maximum Joy and Rip Rig & Panic, explored post-punk with funk and jazz all underpinned with heavy tribal and dub influenced rhythms. 'In Rhythm', with its infectious groove, acts as a call to arms for the compilation, coming in two parts, the latter dropping away to explore the links with dub.

Next is possibly the label's biggest band in Talisman, going on to be active up to today, their release 'Run Come Girl / Wicked Dem' are both featured in long 12" mixes that explore the classic 'discomix' of vocal and dub in longform.

Animal Magic lead with the pack's title, 'Get It Right' a short-driven punk funk burst that captures the label's sound to perfection. However, much of the compilation is given over to the more experimental side of the bands, with a high percentage the B sides where they headed to the mixing desk for echo chambered dub inspired versions.

X-Certs' 'Untogether; Electric Guitars' 'Don't Wake The Baby' and Animal Magic's 'Trash The Blad' are culled from the flips of various 7" singles and all are a fusion of percussive rhythms, studio trickery and dub inspired techniques, played out against the "Do it Yourself" aesthetic of the time.

To complete is London based, soukous, kwela and afrobeat inspired collective, Ivory Coasters' 'Mungaka Makossa' and two rhythmic curveballs by Scream + Dance in 'Giocometti (Wicked Mix)' and their riotous (and short) closer, 'In Pink & Black'. "Get it right this time, get it right!".

Founded in 2016, Belleville Boogie is a DJ collective inspired by the vibrant energy of Belleville's nightlife. The collective’s soul feeds on bringing people to bounce on an eclectic curation of vinyl. Belleville Boogie’s debut release is the brainchild of Lemon McWright and Jan Decent.

Born from the depths of lockdown, "Le Pacifique" is a balearic slow burner that captures the longing for the dance floor, while "Grateful" takes us on a jazz-infused journey featuring the talents of FredMelosax, Charif Megarbane, and Rafael Powell. For those who remember the early days of the French House scene, "J'aime Danser" is a playful nod to the scene that shaped us, while "Bella Belleville" lures you into a hypnotic, downtempo trance that's perfect for intimate gatherings or solo listening.

Crafted with the same heartiness as our parties, we're excited to spread the Belleville Boogie spirit with this vinyl. Be sure to check out our upcoming events to see when we'll be bringing the dance floor to your city. Let's keep the good times rolling!

Das erste Live-Album von Dead Can Dance erschien im Oktober 1994 unter dem Titel "Toward The Within". Und damit zu einem Zeitpunkt, als die Band nach den gefeierten Alben "Aion" (1990) und "Into The Labyrinth" (1993) sowie der Retrospektive "A Passage In Time (Best Of)" (1991) auf dem - vermeintlichen - Höhepunkt ihres Erfolgs stand. Um so erstaunlicher, dass "Toward The Within" überwiegend bislang unveröffentlichte Titel enthielt! Das Album wurde 1993 während der ausverkauften Welttour im Mayfair Theater in Santa Monica, Kalifornien, mitgeschnitten. Auch heute noch lösen die Songs Gänsehaut aus. Beim Vortrag von Perry und Gerrard herrscht wie bei einem Klassikkonzert gebannte, geradezu andächtige Stille, nach den Songs bricht frenetischer Jubel los. Mit der vom DCD-Stammlabel 4AD verantworteten Nachpressung von "Toward The Within" ist die LP erstmals seit ihrem Ersterscheinen wieder auf Vinyl erhältlich.

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This vinyl only Simple Things re-issue will mirror the original release, cut over 4 sides and using the original artwork but now pressed on heavyweight 180g vinyl. Cutting is by engineer Kevin Metcalfe using his original cutting notes.

Simple Things is a timelessly classic album and the essential soundtrack to any laidback summer chilling.

Zero 7 were formed in 1997 by producers Henry Binns and Sam Hardaker. In 2001 their debut album Simple Things was released selling over a million copies to date and was nominated for the Mercury Music Prize. Zero 7 were also nominated as Best Newcomer at the Brit Awards 2001.

Simple Things peaked at no.28 in the UK album chart and spent 89 weeks on the chart. Stateside, the album hit no.4 on the Billboard Dance / Electronic album chart and stayed on that chart for 52 weeks.

Singles taken from the original album included I Have Seen featuring Mozez, Destiny featuring Sia & Sophie Barker, In the Waiting Line featuring Sophie Barker and Distractions featuring Sia.

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Since bursting onto the scene with their multi award-winning compilation ‘The Stanton Sessions’ back in 2001, the Stanton Warriors irresistible and inimitable sound has consistently remained the soundtrack to some of the world’s biggest and best parties; from East London warehouses, Miami boat parties and illegal Detroit raves, to smashing up the stages of Coachella, Glastonbury, Burning Man and Ultra, selling out global tours, topping DJ lists and arguably having the largest number of band logo tattooed fans in the world!!

In the studio, Bristol’s Mark Yardley and Dominic Butler have honed a trademark, uncategorizable sound that is at once all their own, but also utterly indefinable, leading to high-profile releases on XL Recordings, Fabric, Cheap Thrills, Central Station and Universal, alongside official remixes for everyone from Daft Punk and Fatboy Slim, to MIA, Gorillaz and Danny Byrd. This phenomenal output and remarkable longevity have ensured the Stanton Warriors legendary status amongst not only their fans, but also their peers.

Stanton Warriors 2015 album ‘Rebel Bass’ featured a host of new & exciting bass artists such as Cause & Affect (aka Chris Lorenzo & Kane), which went to #1 in the Apple Music general album chart and Top 10 in the iTunes dance album charts in eight countries.
They also continued their sold-out tours across the USA, Europe, Australia and the Far East, collaborations on Claude Von Stroke’s Dirtybird label and a slew of exciting releases on their own tastemaker label Punks.

‘Rise’ is Stanton Warriors strongest album to date, with all twelve tracks ready to set dancefloors alight. Stanton Warriors have called on some of the scene’s most exciting and diverse artists to collaborate with – across hip-hop, grime, house, dancehall, drum’n’bass. Featured artists include Foreign Beggars, Stush, Taiki Nulight, Sian Evans, Ami Carmine, Keith Thompson, Lily McKenzie, Danny Dearden and Scarlett Quinn. Each track on ‘Rise’ showcases Stanton Warriors’s trademark rolling breakbeatbass sound.

Also included in the package on disc 2 is their ‘Rise DJ Mix’ that contains a selection of new remixes of tracks from their previous albums, releases from their own label Punks artists inc Plump DJs, Chris Røyal, Cosella & Vanilla Ace & tracks from Rise, remixed by the Punks family, plus an unreleased Stanton Warriors remix of Danny Byrd – Salute.

The vinyl format is a double LP cut onto heavyweight vinyl.

They remain fresh, original and relevant, obstinately dancing to the beat of their own drum, helping to pave the way for new talent, proudly ploughing their own genre for twenty years and as the new album title points to, still continuing to rise.

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Zero 7 were formed in 1997 by producers Henry Binns and Sam Hardaker. In 2001 their debut album Simple Things was released selling over a million copies to date and was nominated for the Mercury Music Prize. They released their second album When It Falls in 2004.

When It Falls was a Top 10 album, peaking at no.4 in the UK album charts and spent 24 weeks in total in the charts. It has sold over a quarter of a million copies. Stateside the album entered the Billboard Dance/Electronic chart at #3 and stayed in the Top 20 of that chart for almost thirteen months.

Singles taken from the original album include Home featuring Tina Dico, and Warm Sounds featuring Mozez. Sia and Sophie Barker also feature on the album, with tracks such as Somersault (a UK Top 100 single), In Time and Speed Dial No. 2.

The vinyl LP has been discontinued and second-hand copies of the original pressing are changing hands on Ebay and Discogs for upwards of £100!

This vinyl only When it Falls re-issue will mirror the original release, cut over 4 sides and using the original artwork but now pressed on heavyweight 180g vinyl. Cutting is by engineer Kevin Metcalfe using his original cutting notes.

When It Falls is a timelessly classic album from a seminal electronic band and the essential soundtrack to any laidback summer chilling.

Favorite Recordings comes back with the 2nd edition of its compilation series: Fusion Global Sounds. 8 rare and hidden tracks produced between 1976 and 1984 in various parts of the world. As a fine collector of Jazz-Funk and Fusion for many years, Charles Maurice cooked another fine selection of forgotten Fusion Jazz productions, this time driven by a common Brazilian influence.

On this 2nd edition, recordings come from Brazil, Philippines, Netherlands, Poland, and US, all again from underrated artists mostly unknown from the masses. You'll find here the best elements of the Fusion genre: fine vocal arrangements, catchy Fender Rhodes and synthesizers, irresistible basslines, and classy horns section, altogether bringing a unique groove infused with Brazilian flavors.

The compilation starts with Lerma dela Cruz, a quite occult songstress from Philippines. “Free” was part of a very rare compilation titled “Tropical Jazz Fusion”, released in 1983 on A&W Horizon label (also home of Boy Katindig). With its blowing Samba / Jazz-Funk vibes, it was an obvious match to open this collection. The following song could only enhance this ambience, since that of Brazilian saxophonist, Nivaldo Ornelas, present on this opus with 2 titles taken from his album A Tarde (1983). On “Cactus”, Nivaldo is supported on keyboards by his friend Marcos Resende, both also known for their album on the MPBC series released by Phonogram-Polygram between 1978 and 1981, which has clearly been an inspiration for Charles Maurice in building this second edition.

We could continue telling stories and details about the others great tracks included in Fusion Global Sounds Vol.2, but we believe that the best way is to listen to it and pursue your trip through Fusion Jazz combined with Brazilian styles, including surprising stopover in Poland, or Netherlands.

Powerfully epic breaky sound hailing from the UK during the early 90s. Beautiful tempo juxtaposition of fast passed driving beats pushed by low ph bass lines under slower piano riffs and patient vocal elements making it a hard one to forget.

Low end elements clearly carved from primordial UK Bass aesthetics taking the amen break to new plateaus already very much overlapping with Drum & Bass territory.

Ultra dreamy vocals on some kind of The Mamas and The Papas reincarnation, UK dreaming all the way. Heavy ending track vibes. In addition, Juan Ramos' masterful half tempo remix offers the listener a completely different experience with full respect for the original, what else to expect from someone with this caliber of dance floor education <3 meticulously remastered.

Two leading lights of UK house join forces for a special collaboration which delivers every bit as much as you would expect from anything with the Jimpster & Crackazat stamp on. Having been introduced to Crackazat’s vocal and lyric writing on his acclaimed Evergreen LP from last year Jimpster was keen to team up to bring some of that flavour to his own sound. Born out of a desire to stretch outside of their comfort zones, and with a mutual respect for each others productions, the Natural Child EP brings us two original vocal tracks and two dub versions covering a spectrum of moods from classic soulful to deep, atmospheric, contemporary house.

Opening track Natural Child leads the charge with Crackazat’s trademark jazz-influenced piano part, swirling moog lines and vocal being complimented with Jimpster’s punchy drums and warm, rounded bassline. The result is a spacious and deceptively simple track which will wrap you up in its warm confines.

Next up we have a completely different take on Natural Child which ups the BPM and adds a more live, percussive and rolling vibe which will no doubt get the house dancers throwing down.

My Harmony comes next with its slick and soulful sound which draws inspiration from golden era NYC sounds of Blaze and Louie Vega while Nick Cohen’s live bass brings a bounce to the chunky, shuffling house beats.

Closing out the EP we have a dub version of My Harmony which loops up the Rhodes part, strips back the groove and adds layers of FX and arpeggiating synths resulting in a heads-down deep and soulful track to warm up the dance floor.

Record number 3 from Unveiled Nuance brings a new confidence in the further developed sound of owner Means&3rd. A continued eye for detail as well as a roughness that breathes dark soul into the production aesthetic that we have yet to hear from the artist.

“Hardship Repackaged As Growth” Opens the EP with boomy, rugged low end and grainy driven synth lines with sharp hits of wide sonic impact and a depth of layered atmosphere, placed on a bed of dense percussion until its break point exposes contorted, abrasive stabs just surviving the crunch of their processing, that then take the forefront. “Countenance” replies to the previous track with a more calculated, rounder and organic palette of audio that focuses on a cadenced synth line that breaths with the arrangement, fizzing to break point and engaging the deeper listen. Swung percussion keeps the groove providing a propulsive backing that sits on ganrled bass hits before the focus returns on the charged lead line.

“Character Ethic” carries deep suspense from the off, with filtered menace being teased below the surface, warping atmospheres are stacked and build the apprehension against a militant 16th shaker before an almost vocal like modulated synth reveals itself and is left to dance prominently across the stereo field. Layers of energy providing percussion complete the picture for a mesmerising trip. “Desperate And Relevant” the most driving of the 4 cuts takes an effectively reduced stand where square wave accents build new levels of intensity. Propulsive low-end and cohesive percussion writhe through the track’s arrangement closing out the EP with a powerful ending, a blistering siren sees the track’s breakpoint provide a release worthy of the pressure built.