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Baraka returns with a fresh Rock infused EP named Psycho. Six new songs blending big beat, drum’n bass and trance with their touch of madness. A powerful piece shaped for the live with a nameless energy from start to finish. Psycho dives the duo into a new sonic and visual universe in which they reveal their alter egos. A more sharpened and distorted sound that would transform a concert hall into a dance floor or build up a club's energy to the level of a punk show. The first single going by the same name is supported by a bonus digital remix from acclaimed dj and producer Roza Terenzi. A way for the duo to push the boundaries of their music and give it a real club aspect, trademark of the band.

The long-awaited return of the techno trance wizard Asymetric80 is finally here. You can once again expect his unique vision of what a dancefloor banger should be: powerful low drums and mesmerizing melodies dancing around the perfect bass to energize any dancefloor. Presented in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

The fertility of the Cuban music scene in the 1970s was rich and blooming. FA-5’s self-titled album from 1976 is a perfect example of the energy and vitality emanating from the country’s musicians and marks the next release in Mr Bongo’s Cuban Classics series. A unique musical fusion that encompasses Latin rock, funk, soul, disco and Afro-Cuban rhythms to form a diverse and alluring album.

The exquisite, funk-fuelled opener, 'Muevete Con Las Fuerzas Del Corazon', is maybe the most-known song on the album. It is a super catchy cut powered by a dynamite bassline, joy-filled horn playing and splashes of drum breaks that will ignite any dancefloor.

The record surfs through genres as it progresses. 'Di Tu Que Haras Sin Mi’ and 'Paso Sin Mas' lean back with a West Latin rock / AOR flavour to their grooves. Elsewhere, the dreamy, cosmic, Balearic-tinged 'El Blue' and fuzzy funk-rock breaks of 'Pero Lo Cierto Es Que No Quise Mas' further show the breadth of styles at play on the LP. Another big highlight on the album is the Latin, disco-funk sounds of 'Casa De Ladrillo', which morphs into a cover version of the Commodores 'Brick House'. The result is a superb alternative take on a much-loved classic.

Released on the state-owned Areito Records, the album was directed by Nestor Caballero, who arranged the songs alongside Aneiro Taño and Osvaldo Caraballoso. The prolific Tony Taño produced the album with the recording courtesy of Tony Lopez who worked with Juan Pablo Torres, Los Reyes 73, Grupo Los Yoyi, Raúl Gómez and many other Cuban greats that we have featured in the Cuban Series.

A fabulous, under-the-radar classic, that will enrich any collection.

“Überkeine underlines his inclination towards textured techno drifts with this second Ep. Four tracks designed for the club, designed for motion, stirring up disorder on the dancefloor. Aggressive Starter, as its name implies, lays the foundations of the record with assertiveness.
Infatuated with Broken beat techno debauchery, Überkeine continues
experimenting the relationship between kick drum layers and synthetic rambunctious sounds. Revolving around a simple yet effective loop, this track toggles between various stages of distortion bringing emotions through force and discharge. Piggyback Ride brings us into a wavering and unhealthy yet very danceable chamber of depravity.
Energetic, odd and straightforward, the track is divided into two different sections acting as trauma resolving pieces of cake. Radical Jazz starts the B side with ruthless energy, delivering a noteworthy slap dipped in lunatic infringement. A not so sorry, carnal bassline, that hits you in the guts, right where it belongs. Techno with a lack of boundaries. Last but not least, Atomic moog’s proficiency in making deep and spaced out techno acts as leverage for the record. A breath of fresh-air, dedicated to the after-hours. Solid, dubbed-out and delectable piece of equipment. Black and clear “split effect” vinyl, each record is unique !”

Born in Aldershot on 11 September 1947, Catley's family moved to the Tile Cross area of Birmingham when he was young. He went on to attend the nearby Central Grammar School for Boys (Birmingham) and left to start an apprenticeship at the GPO before deciding on a musical career shortly after meeting similarly minded individuals at college. Whilst at college he joined several bands, such as The Smokestacks (Jeff Clark-guitar, Ron Savage-guitar, Derek Danks-bass & Brian Worrell-drums, Life and Clearwater). His first professional band was when he joined local outfit The Capitol Systems. The initial line-up was Bob Catley (vocals) Paul Sargent (guitar) Paul Whitehouse (bass), Dave Bailey (keyboards) and Bob Moore (drums). Shortly afterward they changed their name to Paradox, inspired by a science-fiction novel. A one-off deal was arranged with Mercury after Paradox had come to the attention of Francis Rossi and Rick Parfitt. The tracks were "Ever Since I Can Remember", backed with "Goodbye Mary". In addition, they recorded "Mary Colinto" and "Somebody Save Me". All of these songs were written by Dave Morgan. Paradox played festivals in the Netherlands and Italy before splitting up upon their return to the UK in 1970. Formed in 1972, Magnum throughout the next 16 years consisted mainly of Bob Catley on vocals and Tony Clarkin on guitar. Magnum began as the house band at Birmingham's famous Rum Runner night club (later the home of Duran Duran). They began to develop their own style by playing Clarkin's songs at a residency at The Railway Inn, in Birmingham's Curzon Street, in 1976. Joining Clarkin and Catley were drummer Kex Gorin and bassist Dave Morgan (later a member of ELO). Their most notable success during these early years was the Jeff Glixman produced Chase The Dragon (1982) which reached No. 17 in the UK, and included several songs that would be mainstays of the band's live set, notably ‘Soldier of the Line’, ‘Sacred Hour’ and ‘The Spirit’. Their breakthrough album came in 1985 with On a Storyteller's Night which featured the single ‘Just Like an Arrow’. This success continued in the following years with the Roger Taylor (Queen) produced Vigilante in 1986, the top 5 album Wings of Heaven in 1988, and the Keith Olsen produced Goodnight L.A. reaching No. 9 in the UK album charts in 1990. Subsequently, Clarkin decided to maintain a tighter control, and after their initial mainstream success, the band lost their major label backing and returned to a more personal level of production. This finally found the band splitting and the formation of Hard Rain in 1995, which saw Clarkin pursue a more Pop orientated direction with a band that included Sue McCloskey on lead vocals. This new direction didn’t sit well with Catley, and after a headline performance at The Gods in the late 90s, a conversation with Bruce Mee of Now & Then Records saw Catley agree with a decision which eventually led to his debut solo album, ‘The Tower’. This release was completely written by Gary Hughes of Ten, with the writing completely decided to be in the vein of classic Magnum. The album itself was recorded by various members of Ten, including the amazing Vinny Burns (Dare) on guitar. On release, the many positive reviews concluded that the release of ‘The Tower’ had succeeded beyond its wildest imagination…..and Bob Catley’s solo career had been launched with amazing success!! With a lyrical intricacy and majestic pomp, songs like ‘Far Away, ‘Fear of the Dark, ‘Madrigal’ and ‘Deep Winter’ take you back to that glorious period of Magnum between ‘Chase The Dragon’ and ‘Wings Of Heaven’ whilst hard melodic rockers such as ‘Scream’, ‘Dreams’ and title track ‘The Tower’ show just what Magnum would have sounded like if they’d gone a little bit harder. Another absolutely brilliant album that totally deserves to be filed alongside those mid-period Magnum classics.

Big Crown Records is proud to present Dave Guy’s debut album Ruby. Having lent his talents both on stage and in the studio to artists like Amy Winehouse, Lizzo, Pharrell, and Sharon Jones to currently playing every night on The Tonight Show as a member of The Roots, Dave steps out on his own with a jazz record that is both unique and modern. Ruby mixes his musical in­fluences with the energies of the city that raised him, capturing different moods and inviting the listener into the world as Dave Guy sees and feels it. Recorded in Queens at The Legendary Diamond Mine, the album is produced by Homer Steinweiss and Nick Movshon and features musical contributions from Leon Michels, Marco Benevento, Claire Cottrill, and more.

Ruby instantly sits with the classics as an album that is fully realized and not simply a collection of songs. Lead single “7th Heaven” opens the album with an anthemic energy as Dave’s horn lines soar over thundering drums, ethereal vocals, and dancing piano. Keeping the energy high, “Footwork” is a Latin inspired number that is sure to soundtrack many a dance fl­oor from SoHo to Harlem. The synth intro of “Pinky Ring” cleanses your palate for the mood shift when the track drops. Deep bass tones underline the impeccable drumming and

Dave effortlessly finds the pocket wasting no notes as the verses and choruses trade off. The record leans into spiritual jazz vibes on “Diamond Encore” with a dark and deep almost “Axelrodish” rhythm track then picks the energy back up with the stomper “Still Standing”. “Dave Wants You” has a bop all its own with an unorthodox drum pattern that Dave anchors with his trumpet hits. The otherworldly arrangement of “Drony Boy” puts the production on a pedestal. The first intro almost serves as an intermission on the album while the second

intro sets up the neck snapping track that is about to drop. A menacing guitar signals the builds and the whole thing is juxtaposed by Dave’s beautiful trumpet riffs. “Quesodillas” & “Green Door” begin the autumn of the album with their mellow & intimate energy and “Ruby’s Rubies”, the album’s closer is the perfect ending to the journey.

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

Repress!

Leif Vollebekk, the Montreal singer songwriter and multi instrumentalist had hit a wall. In the midst of endless touring Leif found himself retreating to his lonely hotel rooms after shows and listening to Nick Drake's 'Pink Moon' alone in the dark. His own songs didn't sound right and he felt the bright spots in his sets were the covers he'd end with: songs by Ray Charles or Townes Van Zandt. In this deep blue mood he booked a secret show at a Montreal dive bar, only playing covers with a band that rehearsed once.  The experience led Leif to change his approach to songwriting: explore the ideas that came spontaneously to him, and let the songs shape themselves. Soon the songs came pouring out of him. This approach is what created the lush, freewheeling and often devastating 'Twin Solitude,' out February 24 on Secret City Records.

"By the time the last notes die away, all that's left should be you," Leif says. "And I'll be somewhere else. And that's Twin Solitude.' 

Leif's third album, features 10 delicate and expansive original songs, with lyrics that pour out of this singer songwriter that are often compared to Jeff Buckley.  Leif's words lay on a bed of elastic instrumentation full of piano, synthesizer, guitar, rich electric bass and strings.

Several songs on the album came to Leif and were written in one sitting. 'Into the Ether' came to be while he was exploring a Moog synthesizer. 'Elegy' is a bedside soliloquy, of love slipping through fingers and came to Leif while he was riding his bike through Montreal.  The meditative 'Michigan' was written on a half-tuned guitar and fully written as he was about to go to sleep.  Other songs on the album capture the countless hours Leif has spent on the road, crisscrossing North America. 'Big Sky Country' recalls a trip to Vancouver with his family when he was young, never forgetting the expanse of Montana and listening to Ian Tyson's song 'The Gift' in the car over and over again.
'Twin Solitude' features Olivier Fairfield from Timber Timbre (drums), Sarah Page from the Barr Brothers (harp) on 'Rest' Shahzad Ismaily of Marc Ribot's Ceramic Dog and SecretCheifs3 (bass) on several tracks and the string duo Chargaux throughout the album as well.  It was engineered by Dave Smith and recorded at his Breakglass Studios in Canada.  Produced by Leif Vollebekk.

Vollebekk made his album debut in 2010 - and since then has performed at the Newport Folk Festival, and shared stages with Daniel Lanois, Beth Orton, Sinéad O'Connor, Patrick Watson, Coeur de Pirate, William Fitzsimmons and Sam Amidon. His debut 'Inland' was described as  beautiful, memorable and moving' by NPR and  timeless and monumental'  by The Independent.

DREAMLESS VEIL make their debut with the new album, Every Limb of the Flood. The band, featuring members of INTER ARMA, ARTIFICIAL BRAIN, and PSYCROPTIC manifest terrifying Blackened Extreme Metal and offer one of the year's most haunting releases. Every Limb of the Flood is a concept album. Through tracks such as "A Generation of Eyes", "Saturnism", and "Cyanide Mine" Vocalist Mike Paparo and co. task the listener to consider what it would be like for an individual to fully disappear. DREAMLESS VEIL delves into this murk through 8 tracks - dramatic swells, melodic crescendos, and abrasive blast-beat poundings make way to more introspective moments ultimately resulting in pure horror. Paparo explores the concept of corporeal disintegration with pained shrieks and disembodied bellows, resulting in one of the most unchained performances of his storied career. Lyrics for the record show, but don't tell. DREAMLESS VEIL's concept alludes to misery leading to grotesquery - The opener "Dim Golden Rave" throws the listener into an ambiguous time and place: "Grief, spiritless, collapses against the filth-ridden street". The second track, "A Generation of Eyes" follows this narrative by invoking Neil Young, quoting him to the extent of "rust never sleeps." What ensues is a grief so powerful it decomposes from within. The end result manifests in the album closer "Dreamless" - the body is now fully discarded, hinting at a possible enlightenment through a horrible, gruesome process. Sonically, Every Limb of the Flood is a caustic, corrosive journey. Critically acclaimed drummer David Haley flexes some of his most creative drum work to date, dragging the listener through wild tempo changes, breakneck speeds that come to sudden halts, while guitarist Dan Gargiulo (ARTIFICIAL BRAIN) interweaves disorienting guitar madness. Recorded by Brett Bamberger (REVOCATION) Every Limb of the Flood was mixed by Gargiulo and mastered by Colin Marston (Gorguts, Krallice, and more.)

2024 Repress

The much anticipated album by Another Taste released on Space Grapes — an eclectic ooze of boogie, funk, and obscure disco. Comes in a Tip-on sleeve and with a download code.

Another Taste's debut brings together a blend of boogie, 70’s funk and obscure disco - birthed from unearthing forgotten sounds and reinventing them for the modern era. A recipe they’ve been cooking up successfully over the last years in the studio, through their label Space Grapes and on tour through some of Europe’s finest stages.

Another Taste is a Rotterdam-born concept band formed by a group of longtime friends, consisting of Bobby van Putten (keys), Bob Roche (bass), Barend Lippens (keys) and Teun van Zoggel (drums).

Inspired by the obscurity and the do-it-yourself approach of private press culture of the late 1970s and 80s, their first releases were mostly a product of late night sessions between the four of them at the studio of their co-producer Danilo Plessow (MCDE), leading to the founding of Space Grapes Records.

The band’s first songs were released under various pseudonyms such as Mad Honey, GALXTC or Jambonne and quickly gathered them a loyal following and support from the likes of Gilles Peterson, Kenny Dope and many more.

Another Taste ripples their sound beyond the studio and onto the stage. In their live performances they introduce additional band members in Sarina Voorn (Vox), Diogo Carvalho (percussion) and Florian Verhagen (guitar). A core group with whom they’ve played at prestigious festivals such as Worldwide or Kappa Futur and legendary venues such as Jazz Cafe London, New Morning Paris, and Tresor Berlin.

The March-scheduled album release is the latest iteration of the band’s evolution. From the A-side opener "Turn Up" to the B-side closer "Perfect Night," the album is a testament to Another Taste’s ceaseless creative exploration. Each of the 6 songs on the album presents a new invitation to experience their genre-defying sound and bring people together in delight!

Île Flottante is Mr. Beatnick´s 5th album, following 2023’s Joy In Variation (including the notorious cover of Love on a Real Train) and his well-received off-beat collaboration with London-based avant-garde agitator Richard Greenan – Coasty – this is his first contribution to the International Feel trademark. Probably best known for some big deep house revivalist tunes circa 2013 on the now dormant Don’t Be Afraid record label, Beatnick now converts that aural quality and dimensionality into the Balearic system.
Île Flottante takes its name from the tastiest French pudding of Mr. Beatnick’s childhood holidays. The name, also a jeux de mots - floating island - hinting at the album’s inspirations and sense of identity, as a danceable soundtrack to a fictional island. Explored with high intensity and over a yearlong process, the sounds of the well-worn, but never failing Balearic universes were a mind expanding influence. Think of genre staples like Software, Manuel Goettsching, Mark Barrott, Len Leise, Don Carlos, Gaussian Curve, Joan Bibiloni or Yasuaki Shimuzu.
„I spent a year listening to a lot of synthesized island music, and marveling at the many twinkling wonders of the Balearic musical universe. Struck by a sense of belonging that had often eluded me on my musical journey thus far, as the weirdo at the back of the club who had orbited many scenes for 20 years, but never felt like I fitted in, I found music that made me feel like I had come home. The songs that came out of this process are presented in the order that they were written - an open book of ocean hymns, honest and spoken from the heart.“
Île Flottante tries its very hardest to avoid being any one thing in particular. At one point, it is a gentle beach walk accompanied by polyrhythmic drum plod and flourishes of Guzheng. At another, the infamous James Yancey septuplet swing is repurposed against a marimba melody that wouldn’t be out of place in one of Link’s forest adventures.
Elsewhere, there are the bellows of distant whales, touches of Italian dream house and a splash of vintage madchester, all working to create a space that feels both familiar and loaded with well worn tropes, but with its own quirky sense of personality, facets which are often attributed to Mr. Beatnick’s holistic b-boy approach. This is his understanding of a Balearic (b-boy) stance. Just with a float instead of a freeze.

No Signal records is proud to introduce for the 10th release of the label one of the most important producer of all time: Jamie Bissmire. His productions have been central part of the scene through the 90s and the last decades. The UK legend spread the proper techno and electronic vibe with his solo moniker and in collaborations projects like Bandulu and Space DJz satisfying any kind of enthusiastic. The EP starts with the ambient skit "Subteranium", subtle synths and textures combined with a smooth-alternate basslines keep the listener moody and tense for an unexpected start. In Temporal Mst open up the dances. Slightly distorted 4/4 beat track, jam-packed in No Signal style, plucked arps well arranged for an elegant swing. Lore & Order is the match up to lead the dancefoors and listeners into more gloomy and wicked mood. Different sequenced synths wrap the drum groove for an hypnotic, yet enchanting and dreamy moving session. The Tapestry of Fate is definitely a massive Jamie Bissmire's signature track. Total ensemble of Ground Recordings releases, wicked patterns, dark mood and relentless pressure. Dancefloors will go mad for it. Antediluvian Analogue closes the shakers with a more modern vision, high cut on bass synth and 2/4 bleepy synth for a step-forward march. Woven Whispers closes the EP as Subteranium opened. Gloomy and dark mood, effective and reverberated synths in full shaded ambient atmosphere to stun the listener and bring it into a different sound dimension.

When the body starts screaming...SOFT VIOLET harnesses the pain with beats and rhythms, bass, synth and vocals, to manifest a rejuvenated writhing musical being that thumps and bumps. Downtrodden...upbeat! Upbeat!

Following multiple band projects, including the parallel powerhouse acts Spinnen and the ecstatic Turkish-Armenian-Friendship TAF, multi-instrumentalist SOFT VIOLET, now releases her solo debut album: Sterner Stuff. And that it is: Guttural with a pounding heart laid out on sexy stainless-steel surface, defiantly glinting.

Playful experimentation reigns free, fusing drum-machine and analogue synths with bass and vocals, to create a hybrid glittering creature that shines sublime.

SOFT VIOLET has a special power to tap in, making clearly conscious decisions to break and irritate, strutting through techno beats, poetically proclaiming personal and political urgency with a confidence, sincerity and sense of humour echoing the likes of Zheani and Sneaks or (thrillingly also) the 1990's heroes Cibo Matto.

SOFT VIOLET urges the listener to unite, to love and be loved and find ways, through music, of transforming pain into something joyous and uplifting, porous and free, as well as incessantly danceable.

SOFT VIOLET dares to go places that others do not, tapping into an honesty that others shy away from, welcoming everyone in to come play.

SOFT VIOLET is a fighter rising in solidarity. The beginning of the matriarchy is already in full effect. See You In The International Court Of Justice Bitch. Let's bounce!

Andreas Vollenweider erklomm den Loreley-Felsen. Nicht um hier die schöne Aussicht auf den Rhein zu genießen und sich von Lore Lay, der Zauberin, auf Grund ihrer Schönheit den Verstand rauben zu lassen, was dann - der Sage nach - unweigerlich zu seinem Tod geführt hätte. Eher hatte er vorgehabt, mit seinen "Friends" (Walter Keiser - drums, percussions und Pedro Haldemann - percussions) am Abend des 29. August 1982 auf der Bühne des wunderschönen Freilichttheaters ein atemberaubendes Konzert zu geben. 1982 - die außergewöhnliche Karriere des jungen Andreas Vollenweiders, damals 28 Jahre alt - nahm gerade so richtig Fahrt auf. Ein Jahr zuvor hatte er sein Album "Behind The Gardens - Behind The Wall - Under The Tree" veröffentlicht. Ein Mega-Erfolg, weltweit. Mit seinem unverkennbaren, eigenen Stil, seiner sehr farbigen, dynamischen Musik, auch geprägt durch die Vielfalt an exotischen Klangfarben, begeisterte Vollenweider in kurzer Zeit ein Millionenpublikum. So gelingt es ihm auch mit seinen Mitstreitern, diese Magie an dem Abend auf dem Loreleyfelsen zu entfachen und das Publikum in seinen musikalischen Bann zu ziehen. Die sagenumwobene Lore Lay konnte sich zurücklehnen, ihre Zauberkünste waren nicht gefragt. Das erledigte der Zeremonienmeister Vollenweider persönlich, zusammen mit seinen beiden "Gehilfen": Sie verzauberten (musikalisch) das Publikum. Kleines Novum am Rande: Dieser Rockpalast wurde aus welchen Gründen auch immer nie gesendet. Umso mehr erfreulich, dass es ihn jetzt in toller Aualität gibt. Einzigartiges live-Konzert des damaligen 28jährigen Andreas Vollenweider, aufgenommen vom WDR beim Loreley Open Air Festival am 29.08.1982.

Mermaid Chunky. It's all in a name, sometimes. The danceable, costumed, curiosity rich duo of artists Freya Tate and Moina Moin are as imaginative as they profess. Or, to get more to the point, as we all need them to be. Freya and Moina are two visual artists and musicians from Stroud and South London, places where they importantly found communities (Stroud's SVA and the capital's Total Refreshment Centre) of like minded people just as willing to chase down an idea to its possibly illogical conclusion. And it is in the collective and the idea of participation that Mermaid Chunky really clicks. This is a party, a collective dance, made all the better with more: people, ideas, layers, kick drums, recorders, saxophones, frogs. To wit, the album's first track and first single, "Céilí," named after a traditional Scottish or Irish social gathering and dance, which builds from a simple recorder line into a swelling, warm burst of major chord dance music. Goosebumps or check your pulse. Further down the rabbit hole, "Chaperone" is almost boardwalk electro, like Fischerspooner on a ferris wheel; "Frogsporn" and "Nature Girl" are mucky, trippy dirges filled with stalactites of synth and squelch; "Tiny Gymnast" is a kaleidoscopic waltz into the night. Hold onto your seats, ladies and gentlemen. You might be wondering how we, DFA Records, all the way over in cynical Brooklyn, entered the picture. There was a day a few years ago, sun shining in full Springtime splendor, when James heard something while waiting for a coffee down the street from the office. It sounded simple yet deceptively complex: a dance track, but one where the one - that anchoring first beat in a measure - could be heard a thousand different ways. Frustrated and interested, he Shazamd the song, playing at the shop from an episode of Zakia's Questing show on NTS, and brought it back to the office, where we all listened to it about fifty times. (The song was "Friends," from Mermaid Chunky's VEST EP, released in 2020. It led to an invitation to open for LCD at Brixton Academy in 2022. Mermaid Chunky has also played live alongside The Comet Is Coming, Alabastair Deplume, Snapped Ankles, and many others.) Thus began our search for Mermaid Chunky. A quest it has been and a quest it will always be.

Through deep rhythmical mediations, Midge Thompson's first EP emerges on his own imprint Dance Protocol, crafted with the intent to enthrall the dance floor. The A-side unveils a relentless intensity, with sub-bass lines echoing the lost era of raves, each beat a testament to a harsher reality. Conversely, the B-side invites a party atmosphere, its bubbling bassline and dynamic drums offering an escape from the mundane. First you must open your mind then your body.

Mike Paradinas, veteran producer and Planet Mu label owner has written a new album called 'Grush' and it's full of weird bangers that reclaim the 'dance' part of the woeful term IDM. A back-to-first-principles record, inspired in part by the group of artists IDM was coined for; melodic dance music that didn't come out of urban scenes, but interpreted them from a distance. The tracks on 'Grush' are all road-tested live favorites developed with feedback from Mike's touring partner and visuals guy Mora (Jan Moravec). It's a detailed and energetic journey which replicates the flow of a live gig. A lot of the tracks have been made in hotel rooms in response to shows, 'Imperial Crescent' is named after a Japanese Hotel, as is 'Belvedere' in Prague, while some tracks such as 'Hyper Daddy' were created specifically to play live. Drums are confidently at the fore here and the album feels like it traces Mike's musical history and interests neatly around his sweetly nostalgic melodies, with atmospheres and structures which twist and turn with a charming softness which contrasts with the tension in the drums. Take 'Hyper Daddy's' spiralling notes and twinkling piano which remind one of early Black Dog or Omni Trio rushing alongside splashy jungle drums, or the aquatic acid footwork of the title track with its drums softly bubbling and kicking. Elsewhere there's territory which harks back to his Tusken Raiders pseudonym, like the heads down Drexciyan funk of 'Windsor Safari Park,' which transforms from moody electro into a sunny hardcore track midway. The album is interspersed with Reticulum A, B and C at the start middle and end of the album which suggest a theme which carries across the music in an effortless and joyful way. 'Grush' is a strong album that works both for listening and DJing and a great snapshot of where Mike Paradinas musical head is at in 2024.Tracklist Vinyl A: 1/Reticulum A 2/Hyper Daddy 3/Fogou B: 1/Magic Pony Ride (Pt.4) 2/Imperial Crescent 3/Reticulum B 4/Grush C: 1/Belvedere 2/Raver 3/Windsor Safari Park 4/Hastings D: 1/Manscape 2/Metaphonk 3/Reticulum C

Hassan Abou Alam is next to step up to the unconventional Nerve Collect label with six tracks of futuristic club-ready chaos. The finely crafted EP arrives in August and comes on 12" vinyl and via all digital platforms.

Hassan Abou Alam has established himself as one of Egypt's most innovative underground musicians over the last 10+ years. His music is a meeting of disparate worlds - organic and synthetic designs, digital and analogue tools, the traditional and the futuristic, and it has come on the likes of YUKU, Rhythm Section, Banoffee Pies and Casa Voyager. His versatile sound pulls apart existing genres and reconstructs them as something entirely new.

Opener '3asabi' is a stylish sonic assault with thumping rhythms and trippy oscillations that will get any dance floor bouncing. It's fun yet functional, serious yet seductive and 'Basha' Ft. ZIAD ZAZA, Ismail Nosrat & Aly B is another kinetic fusion of hand claps and complex drum funk, Egyptian vocal gymnastics and punchy bass. 'Ghalat' has lurching drums and plunging bass driving on beneath mangled synths, odd vocalisations and percussive splatters drawn from a unique sound palette. The drilling low ends of 'Khalsana' Ft ZIAD ZAZA are offset by fluttering percussive details up top while spare but booming kicks shake every bone in your body and the bassline devastates.

There is no let up on 'Mesh Mafhoom' which is a ritualistic workout with moments of melancholic synth soul shining through the jumble of tin-pot percussion and crashing hits. Closer 'Zein' is more body-popping brilliance that channels ancient spirits into warped synths and rhythms so complex they melt the mind.
Hassan Abou Alam's blurring of the lines between the real and the imagined is second to none on this EP. It's a sub-heavy mix of the human voice, machine-made sounds and inventive rhythms that make for something new, weird and wonderful.

Dark Entries returns to Mexico with Back Up Dos: Mexican Tecno Pop 1982-1989. Following 2021’s Back Up compilation, Back Up Dos delivers 10 more tracks of synth-pop and New Beat, 7 of which have never before appeared on vinyl. From mutant drum machine beats to irresistible synthesizer hooks, fans of the fringes of the 80s will find songs to stir their cold, dark hearts. But Back Up Dos does more than mine retro kitsch; it documents the development of a rich DIY music scene that is still underexplored. As affordable samplers and digital synths spread throughout the decade, post-punk and new wave gave way to more aggressive EBM and cyberpunk sounds. The scene also developed in opposition to the political climate of the times: the rise of the drug cartels and a reactionary turn in national politics. Using home recording techniques, these bands took cues from the electronic wizardry of the Human League and Wax Trax Records while reflecting the vibrant and chaotic Mexican cultural landscape of the era. On Back Up Dos, impeccable pop anthems from Casino Shanghai and Los Agentes Secretos sit alongside gnarled obscurities from Ford Proco and María Bonita, showcasing a decade of sly deviance and enthusiastic experimentation. This album comes housed in an 80s-inflected neon sleeve designed by Gwenael Rattke and includes a 12-page booklet with photographs, lyrics, and notes. Back Up Dos compiles synthetic music produced in Mexico at the crossroads from Tecno Pop to Post-Industrial, nourished by culture shock and stories of dystopian worlds.

Jomni and Jori is an electronic music duo that has been deeply involved in the Japanese club scene, consistently producing sounds with an emotional and spacey vibe while bringing out the gem in electronic music to create unique club experiences. The record lovers who met in Kyoto have now dispersed to Cologne, Kyoto, and Tokyo, and have started a new label influenced by old records yet dedicated to exploring fresh sounds together with Miki.


"Slips" is a captivating blend of swinging beats and retro sound, featuring lush pads, melancholic chords and the randomly pitched synths. "Naizo" includes the catchy lead synth that serves as a guiding light, encouraging acceptance and self-discovery with its unforgettable melody and infectious mid-tempo groove. "Neuk" transports listeners to a world of liberation, where shimmering pads evoke the luminous breeze beyond deep-sea caverns. Underpinned by an expansive sub-bass that conjures visions of vast landscapes, it embodies an unwavering devotion to the art of dance. "Hitoshio" unveils the pulsating stab synths project the afterimage of the body onto the dancefloor with accelerating drums and anchored by classic house vocal samples.

Es gibt Bands, die machen nach drei Akkorden und einer popeligen Orgelmelodie Feierabend. Es gibt aber auch Bands, die schleifen am Sound, schrauben am Text, polieren die Solos auf Hochglanz und überschreiten das Tempolimit nur an den dafür geeigneten Stellen. Bands, die den Popsong an allen Ecken und Enden abklopfen, bis sie perfekte Schmuckstücke mit dem Gütesiegel "Zeitlos!" herausbekommen haben. Eine amerikanische Band aus dem fernen Wien: Pretty Pleas (Daniel Smith - vocals/guitars, George Clavicle - bass, B.B. Kong - drums) zeigen, dass es neben exzellentem Handwerk und Spaß am Experiment auch die richtigen Einflüsse braucht, um einen authentischen, individuellen Sound zu schaffen, der gleichzeitig großer Pop und tougher Alternative Rock ist. Die Quadratur des Kreises? Vielleicht. Aber war gute Musik war nicht schon immer Alles und noch etwas mehr? Unterstützung beim Modellieren des idealen Sounds fanden Pretty Pleas im Multiinstrumentalisten Paolo Tornitore, der vor allem für die großartigen Arrangements verantwortlich zeichnet, sowie in der fabelhaften Keyboarderin Jasmin Nagl, die einigen Songs das perfekte Sahnehäubchen aus herrlich dahingroovendem Orgelsound aufsetzte. Daniel Smith: "The record is an intriguing blend of power pop, glam rock, new wave, and psychedelia influences." Diesen gelungenen und sehr tanzbaren Mix aus Atmosphäre, Beat und Klang bezeichnet die Band passenderweise als Moody Art Pop. Das Debutalbum "In Circles And Lines" ist das beste Beispiel für diese elegante Soundbeschreibung. Der Opener "Moving Forward" liefert den ZuhörerInnen die atemberaubende Frische, die wir von den frühen Roxy Music kennen. Mit "Broke" wird sofort auf dem gleichen Niveau nachgelegt. Und obwohl die markante Stimme von Daniel Smith eine andere Liga bespielt - das flamboyante Wesen eines Brian Ferry liegt da gar nicht weit entfernt. Aber auch die mitreißende Melancholie eines Stuart A. Staples (Tindersticks) ist Smith keineswegs unbekannt. "The band delves into universal themes such as loss, heartbreak, alienation, as well as the throes of new found love.", erklärt Daniel Smith die Themenwelt der Songs. Damit der Sound von "In Circles And Lines" kompakt und groovy bleibt wie ein Hit von The Sweet, setzt der glasklare Klang der Gitarre die Markierungen in Richtung Power Pop. Aber auch der Orgelsound, der den Garagenpunk der 60s und die britischen Ravebands der 1990er in Erinnerung ruft ("Ghosts"), feiert den Enthusiasmus für funkelnde Melodien - Moody Art Pop it definitely is. "In Circles and Lines" offers a deep dive into the ways we interact with each other in romance, life, and every facet of human relationships - a contemplative exploration of love's many forms and the inevitable heartbreak that often follows." (Daniel Smith)

In their musical journey spanning 15 years, Jungle by Night always knew their music isn't about individual talent, but in the blend of all elements its members bring to the table. This realization birthed the theme of their seventh album, “Synergy”. With the mantra "the whole is greater than the sum of its parts" echoing in their minds, Jungle by Night embarked on a mission to make an album that is recorded right in the moment, and as live as possible, to capture the energy between musicians. And to take it a step further, they threw open the doors of their studio in Amsterdam and invited some of Holland’s most prolific vocalists such as: Spinvis, Sef, Merol, Pitou, and Meral Polat. Each vocalist brought their unique style to the mix, infusing the tracks with depth and emotion. Recorded in their beloved studio in Amsterdam Noord, "Synergy" captures the essence of Jungle by Night's creative spirit. Here, imperfection is embraced, and spontaneity reigns supreme. It's about capturing the energy of the moment, where music comes alive in all its vibrant glory. So, dive into the world of "Synergy" and experience the crazy world Jungle by Night, and friends. It's more than just an album – it's a testament to the beauty of coming together and creating something greater than the sum of its parts. Jungle by Night are seven Dutch guys who together form a live act to be reckoned with. This Amsterdam band consists of a lot of synths, drums, bass, guitar and percussion enhanced by a trumpet and trombone. From more brass-heavy earlier albums to a stronger focus on the electronic groove on their latest, they bravely go where no band has gone before and now find themselves in the goldilocks zone between analogue dance music, nu-disco, Krautrock, 70’s funk and 80’s electro. The transfer to a more electronically driven sound might have been a small step for this merry band of highly skilled musicians, but it became a giant leap for the people on the dance floor. Their radiant and energetic live shows have become the must-see festival act that festivalgoers all over Europe include as a staple in their concert schedule. They know this won’t be a show, it’ll be a downright party. It’s like that tree in the forest. Was it really a festival if you didn’t see Jungle by Night? What constitutes this ever-present attraction is the highly danceable and addicting build up of their set, in which they take their audience by the hand and lead them into the groove. What happens when you come out on the other side? Depends. Just know you won’t be the same.

Wewantsounds is delighted to announce the reissue of Steve Beresford's highly sought-after album "Dancing the Line", released in France in 1985 on the French label nato. The album, taking its inspiration from French designer Anne Marie Beretta's fashion, features his Alterations acolyte David Toop plus Alan Hacker and Kazuko Hohki (Frank Chickens) with lyrics by Andrew Brenner. The music mixes sophisticated ambient pop powered by a RX11 drum machine with elements synth funk and experimental music. "Tendance" and "Comfortable Gestures" have become underground classics over the years and this is the first time the album is reissued, in partnership with nato who will release the CD version later this year. The reissue includes audio newly remastered by Translab in Paris, original gatefold artwork and a 4-page insert with liner notes by nato's Jean Rochard....

The new album from the original founding member of Kool & the Gang -- 2024 Rock & Roll Hall of Fame inductees! Drummer George “Funky” Brown, along with Robert “Kool” Bell on bass, his brother Ronald Bell on tenor and lead vocalist James "J.T." Taylor, was one of the main songwriters in their pop/R&B band Kool & The Gang, whose classic hits like “Jungle Boogie,” “Hollywood Swinging,” “Celebration,” “Get Down on It” and “Joanna” made for a novel and immensely successful pop-funk groove in the 1970s and ‘80s. Such songs have been featured in films (“Jungle Boogie” was in Pulp Fiction while “Summer Madness” appeared in Rocky) and have been sampled countless times by artists including DJ Kool, Mase, Too Short, DJ Jazzy Jeff and the Fresh Prince, Boogie Down Productions, Brand Nubian, De La Soul, A Tribe Called Quest, Nas, N.W.A., Kris Kross and Jermaine Dupri. Aside from being crowned 2024 Rock & Roll Hall of Fame inductees, Brown, with Kool & the Gang, has been inducted into the New Jersey Hall of Fame--and there’s a street in Jersey City named in the band's honor. The Grammy-winning group has received the Soul Train Legend Award and a star on the Hollywood Walk of Fame.

Death and the Maiden’s Uneven Ground draws back the velvet curtain on the trio’s crepuscular dreamworld with nine songs of their distinctive shadowy slow-motion fusion of underground electronic dance music and post-punk guitars washed through with psychic unease. The trio’s name is taken from that of a nineteenth century engraving by Edvard Munch: an artwork steeped in mythology, exploring the dark boundaries between love and death, strength and frailty, beauty and decay. Their three albums to date each reinforce the symbolism of the name, and Uneven Ground’s title could apply as much to their own journey in the years since Wisteria, their previous album, as to the times in which we live. Bassist and vocalist Lucinda King is the bedrock, guide and storyteller. Guitarist Hope Robertson weaves swooping, soaring motifs and sometimes deconstructed layers of noise to build analogue atmosphere for these alternate worlds. Danny Brady’s beats mix old-school drum machines with electronic tones and distortion, while his synth arrangements blend elements of psy-trance and acid house with more amniotic ambient and industrial textures. While Uneven Ground may be the most overtly “pop”-sounding album in their catalogue, it also ratchets up the ominous atmosphere, noise and experimentation. Once again King’s evocative lyrics appear as cryptic stories, built from events, memories, dreams, moments, warnings, regrets; where questions raised are left unanswered, and possibilities remain open.

"Glossolalia" ist das dritte Solo-Album von Dale Crover, dem weltbekannten Schlagzeuger der Melvins, Nirvana und Redd Kross sowie Sänger und Gitarrist von Altamont. Das von Crover und Toshi Kasai produzierte Werk strotzt nur so vor Nuggets-Garagenrock, Proto-Metal-Riffs und herrlich verschwommenem Psych-Pop. Die erste Single des 11-Song-Albums ist "Doug Yuletide". Der Track ist einer von zwei "Glossolalia"-Songs, bei denen Crover mit dem Gitarristen Dan Southwick zusammenarbeitet, seinem langjährigen Freund und Altamont-Bandkollegen. Aber Southwick ist nicht der einzige Freund, der auf Glossolalia zu hören ist: Kim Thayil von Soundgarden (Leadgitarre bei "I Quit" und "Rings"), Ty Segall (Leadgitarre bei "Spoiled Daisies" und "I Waited Forever"), Rob Crow von Pinback ("Don't Worry About It", "Rings" und "I Waited Forever") und Tom Waits' ungelenkes, in Zungen gesprochenes Intro beim Titelstück. "Glossolalia" ist Crovers bisher fokussiertestes Statement als Solokünstler. In seiner Gesamtheit zeigt das neue Album, dass Crover, so wie die Melvins in ihrem vierten Jahrzehnt weiter wachsen und sich entwickeln, auch als Solokünstler neue Schritte unternimmt. Inmitten des inspirierten Geplappers von Waits, des glorreichen Schredderns von Segall und Thayil und vielem mehr, sticht vor allem die Robustheit von Crovers Vision hervor. Diese Platte zeigt, dass seine Gesamtästhetik genauso stark wie sein legendärer Schlagzeugdonner ist. ENGAs he began plotting his new solo album, Dale Crover _ world-renowned drummer for the Melvins, Nirvana and Redd Kross, and singer-guitarist for Altamont _ realized that, unlike with his prior two full-lengths, he was starting from scratch. "I didn't have any songs," he says, "so I just went on this writing spree." The result is Glossolalia, Crover's third LP under his own name and arguably his most focused statement yet as a solo artist: 11 catchy yet eccentric tracks that move from Nuggets-y garage rock to crafty proto-metal riffage and gorgeously hazy psych-pop, touching on everything from a bad teenage trip to the charms of the late, great Jane Birkin, and featuring input by illustrious guests including Ty Segall, Soundgarden's Kim Thayil and none other than Tom Waits. What stands out across the record is the sturdiness of Crover's vision. He's modest about his ambitions _ "It's just kind of like extra credit," he says, about having a solo outlet apart from his main band _ but as this record shows, his overall aesthetic hits just as hard as his legendary drum thunder.

2024 repress

Rush Hour’s RSS series excels in unearthing buried treasure, offering a second chance for artists and releases that have long been overlooked. That’s certainly the case with ‘Witches’, the superb sole single by British 1980s wave trio Zenana.

Originally released on seven-inch by the tiny PRM label in 1986, ‘Witches’ was the product of a sister-brother songwriting team whose music was mostly recorded in the front room of a terraced house in Nanpean, a small industrial village in Cornwall, England’s most south-westerly county. While the single was infectious, impeccably produced and dancefloor-ready, it sold in limited quantities at the time.

Zenana’s story can be traced back to the early 1980s, when singer-songwriter Anita Tedder founded the all-female trio as a vehicle for her musical ambitions. To bring her songs to life, she joined voices with her brother Mike, an early adopter of electronic music who had built a studio – nicknamed MFR, short for ‘Mike’s Front Room’ – in his Cornish home.

Countless Zenana tracks were recorded at ‘MFR’ between 1984 and ’86, with the resultant demo cassette securing the band a management contract, a slew of live bookings, a video shoot and even a television appearance. Buoyed by this underground success, they headed to the remote Sawmills Studio in Cornwall – famously only accessible by boat – to re-record ‘Witches’, a song inspired by local folk tales of witches gathering near Mike’s home.

While this version of ‘Witches’ failed to make an impact at the time, it has become something of a cult classic following its’ rediscovery by crate digger Kiernan Abbott – and subsequent championing by other dusty-fingered DJs including Antal, Skyrager, Trevor Jackson and Luke Una – in early 2023. The buzz inspired Zenana to perform live again for the first time in decades, with the story of their surprise comeback being covered by British media outlets including the BBC and (more surprisingly) the Daily Mail.

Now presented in re-mastered form, ‘Witches’ is a genuinely slept-on gem. Propelled forwards by punchy drum machine beats, a killer synth bassline and fizzing keyboard sounds, the song benefits greatly from strong vocals and an extra-percussive middle eight layered with vocalisations, cosmic spoken word sections and swirling noises.

It comes backed by a brand-new extended ‘spell of love’ courtesy of Bristol duo Bedmo Disco, AKA music journalist Matt Anniss (author of Join The Future: Bleep Techno and the Birth of British Bass Music) and DJ/production partner Gareth Morgan. Anniss is a long-time friend of Mike and Anita Tedder who has fond memories of visiting Mike’s home studio with his family around the time that ‘Witches’ was recorded.

Working from Zenana’s original MFR eight-track recording (tapes of the single version were lost years ago), Anniss and Morgan have turned in the extended ‘dance mix’ the track never had first time around. More atmospheric, clandestine and dancefloor-focused, it offers authentic nods to New York proto-house, mid-80s Shep Pettibone dubs, and the pioneering synth-pop productions and dub mixes of Factory Records regular Martin Rushent.

"One of the best bands to come out of NYC since who gives a shit." -CVLT Nation. When you enter White Hills' lair in Brooklyn, the duo's insatiable desire for music and art is immediately palpable. Crates of vinyl from floor to ceiling line the long hallway. Guitars appear at every angle, one lying across a sofa in obvious mid-play with others in cases tucked beside amplifiers into every conceivable corner. Synthesizers and cables cover the purple satin bed while gouache paintings in various stages of progress strewn the floor. Album covers, movie posters, books, paintings, prints and souvenirs of subversive culture occupy the remaining wall space. A sanctuary of adoration, creation and imagination, it's also the nerve center of their record label Heads on Fire Industries and the site where the final mixes of their latest album Beyond This Fiction took shape. For nearly two decades, White Hills have been blowing minds with their sonic alchemy: a unique mix of neo-psychedelia, art rock, and post-punk- at once original and recognizable. Their cult reputation emblazoned in celluloid following their performance in Jim Jarmusch's sultry vampire romance Only Lovers Left Alive, the duo has toured vigorously since their inception. With a vast catalogue that astounds and a relentless punk ethos, time seems to energize the duo, making them increasingly daring and prolific. "Music creates a bliss beyond sex and drugs," professes one-woman rhythm section Ego Sensation. "We'll never stop making music. It's the highest high to be had in life." Founding member Dave W, whose signature other-worldly guitar sorcery defines the White Hills sound, grabs his Les Paul to record a melody lingering in his head from last night's dream before it escapes. Outside, the sound of passing sirens, honking horns and bits of conversation remind you that you're in the middle of New York, a city so flush with rock legacy and artistic innovation it would take lifetimes to drink it all in. A voice from outside shouts, "This shit is going for 3! These people got to be out of their fucking minds!" Dave shakes his head and laughs, "There's no place I'd rather be." Committed to a vocation marked by extremes, doubt, struggle and moments of ecstasy, Dave and Ego continue this torrid affair with music bearing their latest fruit Beyond This Fiction. Inspired by the ideas of Joseph Campbell, the writer/philosopher known for the book The Power of Myth, the album explores the idea of "riding between opposites"- forging one's own path unrestrained by the dualistic constraints of society. It's a cry to all the seers among us- call us outsiders or rebels- who feel smothered by convention and see nonconformity as the gateway into divine mystery. Recorded with Martin Bisi, known for his iconic NYC sound developed through his work with no-wave titans Sonic Youth, Swans and Lydia Lunch, Beyond This Fiction sees Dave W (guitar/vocals/synths) and Ego Sensation (drums/bass/vocals) orchestrating their distinct guitar heavy meditations into songs with a stronger focus on vocals than previous albums. Opener "Throw It Up In The Air" and closer "Beyond This Fiction" both have a lush quality that flirts with shoegaze. "Killing Crimson", a song that takes inspiration from Killing Joke and King Crimson, has a driving beat and a catchy hook that begs for a sing-a-long. "The Awakening" plunges into the meditative ambient abyss the band is well known for, featuring the unique voice of frequent collaborator poet Dan McGuire to deliver the meaning behind Beyond This Fiction. The album harnesses the seductive accessibility of 2015's Walks For Motorists while evoking the tempestuous soul of the band's seminal 2011 H-p1. Notorious shapeshifters, White Hills make Beyond This Fiction a familiar surprise. Back in the lair, Dave draws eyes on his hands in preparation for the day's video shoot. Ego reaches in the closet pulling out the red velvet jacket she wears on the cover of Beyond This Fiction where she stands in a NYC alley holding a glowing orb. "That's the portal- the gateway into the mystery. The music will take you there.".

Solomun & CASSIM remix two of the track rake from Radio Slave’s Venti album released earlier this year

Diynamic boss and Ibiza titan Solomun remixes Radio Slave ‘The Lunatics’ on Rekids, following the original’s inclusion in Matt Edwards’ acclaimed ‘Venti’ album in May. The original, a rework itself, reimagined the 1981 Fun Boy Three track ‘The Lunatics Have Taken Over The Asylum’, with Edwards’ ode to the band’s late lead vocalist and The Specials frontman Terry Hall winning support from Saoirse, Erol Alkan, Jennifer Cardini, Laurent Garnier, Paul Woolford, and Honey Dijon.
Solomun’s remix of ‘The Lunatics’ is sparkling aural nostalgia executed with total joy. Crisp 80s drums, Stranger Things-esque Jupiter 8 synth swells, the vocoded titular vocal, and a gloriously rich sliding bassline combine to drag the listener back to 1983 in the best possible way. As the track builds, rousing guitars join the ensemble, completing what is a hypnotic, melodic trip to the 80s via what’s set to be a 2024 anthem.

CASSIMM’s remix of Radio Slave vs Audion’s ‘Mouth To Mouth’ continues the story of Matthew Dear’s classic, which Radio Slave revived and reinvented as part of his 2024 LP, ‘Venti’.
Radio Slave’s hi-NRG disco cover of Audion’s minimal/maximal 2006 and era-defining anthem has dominated dancefloors since it emerged as a single in late 2023, with the likes of Erol Alkan, Job Jobse, Sean Johnston, Jennifer Cardini and Eats Everything continuing to play it today and the latter awarding it an Essential New Tune whilst sitting in for Pete Tong on BBC Radio 1.
Now, recent Rekids alum CASSIMM continues his huge run of form with a chunky, main-room house interpretation that shows just why his recent release, ‘House of Moves,’ won DJ support from the likes of Tong, Arielle Free, Paul Woolford, Honey Dijon, and Jennifer Loveless.
CASSIMS’s remix of Radio Slave vs Audion quickly follows Lindstrom and Solomun’s remixes of the ‘Venti’ LP’s tracks, which have seen support from the likes of Ivan Smagghe, Chloé Caillet, Nightmares On Wax, and more.

Hittin your decks in 4 weeks time on a Cannonball Records' 7"/45rpm, “U need me” by the LA Propinquity surfaces as part of a body of productions initially meant to be put out all together on an album. As often seen, for many reasons this didn’t happen and we are offered the privilege to release it on our flagship label first time ever. A modern soul dancerof the highest order out of a couple of premium recording studios in Los Angeles (included Hit City West with award winning engineer Avi Kipperat the controls) by the hands of Maestro Sanifu Hall and his Aljoni Music Co. featuring what could easily be defined the L.A. Dream Team of musicians, to include the infectious groove of drummer supreme James Gadson (previously featured also on our long sold outs with Mike James Kirkland) and many other stellar players from the area. I know I’m a weirdo so, to my taste, the most remarkable stuff sits on the flipside. Sanifu’s slick instrumental arrangement enriched by the flute of Todd Del Giudice, seamlessly in and out from the verses, makes it a sublime slice of original Soul Jazz from the late 70’s. Actually we really struggled to put this version on the back up side of this release as, with that hint of west coast fusion, it’d be worth a main side on its own. Just listen to both versions, judge by your excellent selves and make your move accordingly. Full links and presale details on our website for your consideration. ***The full cover above is an artwork done exclusively for digital & social media promotion.

Every Trick in the Book' is the new single from Bristol-based beat makers, The Allergies. True to form, they've whipped up a sun-kissed groove that'll add a splash of colour to your day, whatever the weather. This A-side takes a vintage vocal sample from the 'Queen of Rock n Roll' herself – none other than Tina Turner! Yeah, you know 'Private Dancer', 'What's Love Got To Do With It', 'We Don't Need Another hero' etc. That Tina Turner! Jeez Louise!
Well the guys have supplemented her pipes with loops from a long-forgotten Latin boogie 12", and layers of live horns, cuts, drums, and FX, to give us a joyous mid-tempo groove that you'll be humming for weeks. While the flipside takes it back to '91, as long-time Allergies collaborator, Andy Cooper, reworks his hero Big Daddy Kane's classic 'Nuff Respect'.
This cover version takes the fast raps of the original, tweaks them, and fires them back over an explosive backdrop of scratches and b-boy beats.

Slush Records are back for their second outing, remastering and rereleasing Sedona’s highly sought-after 1995 track, ‘Pulsation’. A portal to the underground of the ‘90s, Sedona’s original mixes and the remix from Robert Vaughan, fuse progressive house, trance and breakbeat, each oscillating to their own unique frequency. Not stopping there, Slush Records enlist the expertise of Seoul-born, Amsterdam-based Naone for a mesmerising new remix that harnesses all of that early ‘90s energy, with a fresh dynamism.

The story of Sedona begins with Dale Charles and Benny Blanco. As a touring DJ and buyer at Boston Beat Records in the mid ‘90s, Dale Charles was in diggers paradise. Freestyle was big business at the time and as a progressive house and breaks DJ, Dale couldn’t help but notice how good the drum programming was on some of the tracks. He spent endless hours trawling through the shops near 10,000 freestyle records, hoping to find that elusive secret weapon.

One day Dale found the break he was searching for and took it to Benny’s studio. Benny was an aspiring DJ and, more crucially, a producer with a conveniently concreted basement apartment he was slowly filling with synths, samplers and drum machines. Sampling and chopping up this gem of a break, utilising two TB-303’s that Benny recorded live for the acid lines and creating that signature throbbing arp on a Roland JD-800, the basis of ‘Pulsation’ was born.

The duo created a series of different mixes to tweak the feeling of the track. The ‘Ascending Mix’ and ‘Sinister Mix’ bookend this reissue. The former, a club-focussed cut with subtle to squelching 303 lines, rumbling sub bass frequencies and pulsating arps that anchor the track, as the sacred drum break fires your brain into trance-infused euphoria. The latter, an ominous slice of teleportational ambient electronica, sucking you into a wormhole of galactic synthesis and dream-state harps.

The first of the remixes sees Slush draft in the progressive wizardry of Naone to provide a fresh new take on the track. Leaning into the otherworldly ‘90s atmosphere of the original, Naone radiates the pulsating theme through swelling synth stabs and a driving acid bassline. Switching up the feel with an electro-tinged drum beat, she distorts the acid dials till the track explodes into a dystopian realm of twisted techno.

The second is Robert Vaughan’s ‘Test Tube’ mix from the original 12 Inch. A no-nonsense prog headspinner, that garnered plays from the likes of Sasha and Digweed. An acclaimed DJ and producer across the ‘90s, with releases on the likes of Space Records and Metropolis, Vaughan injected the track with added breakbeat energy and swirling, tripped-out breakdowns to masterful effect.

A timeless dancefloor classic, expertly remastered and reissued with a remix that both honours and updates the original.

DDS presents the debut EP from unknown entity NZO, whomever she may be, dancing in the gaps between amapiano, Afrobeats, broken beat and R&B with a rare guile and flavour.

The 4th in the DDS 12” series, NZO helps stake the label’s 15th year of operations with a typically Janus-faced approach to classic >< contemporary club ruffage. Tune to tune, she decimates and distills familiar tropes in singular, whirring syncopations designed to prompt bodies to move in fresh new ways. It’s all primed for proper animist magick, bound to snag rhythm fiends with its shape-cutting manoeuvres.

Working deep in the hardcore ’nuum’s 30 odd year tradition of concrète sampler chicanery, the four tracks find fractured vocals and echoes of club classics revitalised and reset with advanced drum ingenuity. 160BPM opener ‘Concentrate’ appears like Hessle Audio’s Joe stripped for parts, whilst ‘Mallet’ swivels like SND remodelling Afrobeats’ palette of tuned percussions, next to what could almost be a lost Various Production edit in the sublime tension of syrupy R&B and frothing drums on ‘Come Alive’.

The EP ends with its standout, ‘Body & Soul’, an undulating ama simmer punctuated by dub chords like some lost Basic Channel production re-cast for the lovers.

Since first splashing on to the Southern California circuit in the mid-aughts, Geneva Jacuzzi (née Garvin) quickly cemented herself as the queen of the Los Angeles underground. Her immersive and unhinged multimedia performances are the stuff of legend, a psychotropic gallery of masks, costumes, confrontation, and massive art installations. Jacuzzi’s recordings are equally revered, catchy hooks and cryptic moods dusted in 4-track grit. The arrival of her third official full-length, and Dais Records debut, is cause for such celebration. Triple Fire vividly expands and crystallizes Jacuzzi’s signature fusion of midnight melody and mutant aerobics across a 12-track hit parade of wildcard synth-pop and sly post-apocalyptic camp. Her enthusiasm for the album is as bold as her body of work: “Halfway through, we started calling this the record of the prophecy, the record that’s going to save mankind.”



Opener “Laps of Luxury” sets the template – a strobe-lit dreamer’s delight of swaggering synth bass, Haçienda drum machinery, and sultry vocal spellcasting (“Tragic mysteries I’ve known for centuries / I burned all memories and turned to fantasy”). The collection burns through shades of sardonic strut (“Art Is Dangerous,” “Nu2U,” “Keep It Secret”), coldwave kiss off (“Speed Of Light,” co-produced by Andrew Clinco of Drab Majesty), retro-futurist body music (“Dry,” “Scene Ballerina,” “Bow Tie Eater”), and cheeky glitterball pop (“Take It Or Leave It,” “Heart Full Of Poison” co-produced by Roderick Edens and Andrew Briggs). She likens the eclectic spectrum of moods to the continuum of human emotions: “Funny, sexy, sad, scary, witty, hopeful, menacing. Eventually it deconstructs, turns into a party, and then ends sweet and soft.”



Taken as a whole, Triple Fire comes as close as any document yet to capturing Jacuzzi’s kaleidoscopic alchemy of pop sugar and chaos energy, flickering between icy and ironic, chic and surreal, hungry and heartsick. Hers is a muse as rare as it is regenerative, forever reborn at the precipice of the next chorus: “Someone said that Alcatraz had fallen into the sea / Almost sounded like an angel calling me in a dream / I felt an electric shock when I picked up the microphone.”

Delvon Lamarr Organ Trio—or as it is sometimes referred to, DLO3—specialize in the lost art of “feel good music.” The ingredients of this intoxicating cocktail include a big helping of the 1960s organ jazz stylings of Jimmy Smith and Baby Face Willette; a pinch of the snappy soul strut of Booker T. The M.G.’s and The Meters; and sprinkles Motown, Stax Records, blues, and cosmic Jimi Hendrix-style guitar. It’s a soul-jazz concoction that goes straight to your heart and head makes your body break out in a sweat.

The band features organist Delvon Lamarr, a self-taught virtuosic musician, with perfect pitch who taught himself jazz and has effortlessly been able to play a multitude of instruments. On guitar is the dynamo Jimmy James who eases through Steve Cropper-style chanking guitar, volcanic acid-rock freak-out lead playing, and slinky Grant Green style jazz. From Reno, Nevada is drummer Dan Weiss (also of the powerhouse soul and funk collective The Sextones). Dan’s smoldering pocket-groove drumming locks in the trio’s explosive chemistry.

Founded by Lamarr’s wife and manager Amy Novo, the trio started from humble beginnings in 2015, but since then has released two Billboard charting albums and toured the world to sold out venues. The trio returns now with their second studio album, I Told You So, with even heavier grooves and more confidence. It may have been several years since their most recent studio effort, but they haven’t missed a beat.

Welcome to the fascinating musical universe of EXOTIC ROOSTERS! It emerges as a burst of freshness and originality, blending an eclectic variety of musical influences to create a truly unique and exciting auditory experience. Comprised of experienced and virtuosic musicians on their respective instruments, the group captivates audiences of all ages with its energy and unmistakable style. Exploring the intersection between tradition and modernity, EXOTIC ROOSTERS combines the rich soundscapes of marimba, vibraphone, double bass, percussion, and drums to create an expansive and nuanced musical landscape. From frenetic rhythms that invite dancing to captivating melodies that transport the listener on an emotional journey, each performance aims to be a celebration of cultural diversity and artistic expression.

In the relentless musical era of the late 90s, two passionate souls, Eugeni Camacho and Rafa Navarro, embarked on a unique sonic odyssey by blending the melodious marimba with the pulsating drums. Together, they successfully created STAMINA PERCUSSIO in their concerts. However, life composed its own score, separating Rafa, who was abducted by the Canary Islands, and Eugeni, who was drawn to vibrant New York. Upon their return, after years of musical exploration in different projects with the Oscars (Oscar Cuchillo and Oscar Rocher), their hearts aligned with a new melody. In the loom of destiny, they discovered the emerging talent of Bernat Cucarella. A prodigy with drumsticks and a 4.0 brain. By uniting Rafa's island experiences, Eugeni's resonant jazz from the Brooklyn alleys, and the rich musical diversity harvested in life's journeys by each of the members, they gave birth to a magical musical tale: EXOTIC ROOSTERS

"The debut album of Berlin’s favourite two-thirds Welsh, one-third Danish instrumental psych-disco trio, out Aug 30th. Imagine Jaki, JJ and Jarre*** locked in a room together, with a memo from John Carpenter that reads “Goblin + Swans = ?”. Something like that. Raw drums, bass, vintage organs and synths are utilised to brutal effect via 7 epic songs that deliver disco disquietude, krautrock, oscillating horror soundtracks and beyond.

Or, as the band themselves insist: ""the Nicki Minaj of dungeon synth"".

The band name is the Greek classifying nomenclature for man: aka The Talking Animal. As promulgated by Anthony Burgess.

Zammit A.D. – drums, organs, synths. TNT Taylor – 4-string electric bass. Fred Alert – Moog, Dominion, percussion

featuring guest vocals from Gemma Ray. Recorded and mixed by Ingo Krauss (Swans, Einsturzende Neubauten) at Candy Bomber, Berlin. Produced by Zoon Phonanta

The band has had a difficult birth. They got together, did two shows (one with Gruff Rhys), then pandemic struck, leaving them far apart. They got back together, then Fred broke his back in an accident. When they finally reconvened, they recorded, then their other musical projects took over (eg Jon Spencer & The Hitmakers, The Third Sound). The album and live plans were then delayed by more broken limbs. Now fully healed they are poised to heal you back in gratitude, at their soon to be announced in-person performances.

*** Liebzeit (Can), Burnell (Stranglers), Jean-Michel"

** INITIAL 400 LPs CONTAIN A BONUS 7" SINGLE **

MOVEMENTS Vol.12 – A bag full of rare rhythm & blues, mod-jazz, and mid 70s funk.

Side A starts with rhythm & blues from the 1960s. Most of the tracks were pulled from hopelessly obscure 7" singles. The only names of which some of you might be familiar with are most likely Mat Mathews and Lu Elliott. However, both original 45 RPM singles are pretty hard to find these days, especially in playable condition.

Side B is all about deepfunk this time. "Hipper Snapper " is a prime example of that genre. Some say its groove is reminiscent of Charles Wright's "Express Yourself. Agreed! The Villagers are responsible for the first 'aha' moment. Their (previously unreleased!) version of "Funky Broadway" would have certainly astounded even Dyke & The Blazers. Representing Germany on this volume: The Rippers, also called the "Offenburg Beatles"! Back in the USA, John Fogerty has probably never heard of this heavy school-funk cover of "Proud Mary". Drum breaks galore!

Side C begins with another German contribution. Saxophonist Gus Brendel delivers a mod-jazz belter of the highest order as do The Hornets. Definitely sure-shots for any dance floors! High time for 'aha' moment #2. Many bands have tried their hands on a cover version of the Nat Adderley jazz classic, incl. vibraphone player Bret Breitinger! The perfect choice to finish this side is Downtown Trio's smooth and groovy cover of Gershwin's "Summertime ".

Side D is reserved for proper 1970s funk. ONYX's "Break It Loose " has become a certified Rare Groove classic. Here you can enjoy it for the first time with the blessing of the band! Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history! Watch out, "Shake and Bake " will be re-released on a good old 45 RPM single, too!

Those of you who have been enjoying the detective work of the people behind the label over the past 21 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

Key selling points:

- initial 400 LPs contain a bonus 7" of a SUPERRARE funk 45

- incl. full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs

- ALL but three songs appear on CD, LP & digital for the very first-time

Belarusian post-punk / synth pop group Molchat Doma have always exuded the kind of brutalist aesthetic of the architecture that adorns their album art. It's cold, gray, imposing, industrial and yet there are human hearts beating within those foundations. In the wake of their breakthrough success in 2020, the trio endured a polarity of experiences, from the nadir of an uprooted life and forced relocation away from their native Minsk to the apex of headlining massive shows across the world. It was in this headspace that the band settled into their new home of Los Angeles to finish writing their fourth album Belaya Polosa, a testament to change in difficult times, a love letter to the digital pulse of the `90s, and a technicolor reinvention of the band's somber dancefloor anthems. From the opening synth swell and drum machine throb of "Ty Zhe Ne Znaesh' Kto Ya," to the goth / post-punk austerity of "Son", to the swirling electronic textures mixed with reverb-drenched guitar flourishes, expansive space, and yearning vocals of title track "Belaya Polosa" - that suggests Depeche Mode at their most reflective or The Cure at their most downtrodden - to the sultry and seductive "Chernye Cvety"_ a track reminiscent of Duran Duran's early `90s output in its fusion of dreamy guitars and authoritative mechanized beats _ and the interwoven layers of instrumentation, soaring chorus, and melodic sophistication of "Ya Tak Ustal", it's clear that Molchat Doma are operating on another level. Molchat Doma gained following with earlier albums that sound like third-generation bootlegs of banned recordings from the Eastern Bloc made after a few key entries in the Factory Records catalog were smuggled in from the West. Belaya Polosa propels them into a new direction while retaining their cold minimalist delivery they're known for. The basement grime and dirty tape-head sound of their previous work are now making space for digital luster and shimmering production values. And while Molchat Doma's broadened aural spectrum adds a synesthetic power to Belaya Polosa, the mood remains rooted in stark and unflinching self-reflection. Molchat Doma retain the duality of being both cold and feverish in their delivery while pushing their music into expanded territories through an armory of new textures. The trio continue to harness the sound of harrowing beauty thriving under harsh realities.

Belarusian post-punk / synth pop group Molchat Doma have always exuded the kind of brutalist aesthetic of the architecture that adorns their album art. It's cold, gray, imposing, industrial and yet there are human hearts beating within those foundations. In the wake of their breakthrough success in 2020, the trio endured a polarity of experiences, from the nadir of an uprooted life and forced relocation away from their native Minsk to the apex of headlining massive shows across the world. It was in this headspace that the band settled into their new home of Los Angeles to finish writing their fourth album Belaya Polosa, a testament to change in difficult times, a love letter to the digital pulse of the `90s, and a technicolor reinvention of the band's somber dancefloor anthems. From the opening synth swell and drum machine throb of "Ty Zhe Ne Znaesh' Kto Ya," to the goth / post-punk austerity of "Son", to the swirling electronic textures mixed with reverb-drenched guitar flourishes, expansive space, and yearning vocals of title track "Belaya Polosa" - that suggests Depeche Mode at their most reflective or The Cure at their most downtrodden - to the sultry and seductive "Chernye Cvety"_ a track reminiscent of Duran Duran's early `90s output in its fusion of dreamy guitars and authoritative mechanized beats _ and the interwoven layers of instrumentation, soaring chorus, and melodic sophistication of "Ya Tak Ustal", it's clear that Molchat Doma are operating on another level. Molchat Doma gained following with earlier albums that sound like third-generation bootlegs of banned recordings from the Eastern Bloc made after a few key entries in the Factory Records catalog were smuggled in from the West. Belaya Polosa propels them into a new direction while retaining their cold minimalist delivery they're known for. The basement grime and dirty tape-head sound of their previous work are now making space for digital luster and shimmering production values. And while Molchat Doma's broadened aural spectrum adds a synesthetic power to Belaya Polosa, the mood remains rooted in stark and unflinching self-reflection. Molchat Doma retain the duality of being both cold and feverish in their delivery while pushing their music into expanded territories through an armory of new textures. The trio continue to harness the sound of harrowing beauty thriving under harsh realities.