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Classic singles like Billy Fury's 'Halfway To Paradise', Dusty Springfield's 'I Only Want To Be With You' and The Walker Brothers' 'Make It Easy On Yourself' would not have been hits without Ivor Raymonde. As their arranger, and in the case of 'I Only Want To Be With You' songwriter too, he shaped the final recordings. He decided on the orchestration and backing
vocals, chose the instruments and determined what was heard on the radio - and what record buyers bought.
'Paradise: The Sound Of Ivor Raymonde' is a long-overdue celebration of Ivor Raymonde, collecting his work as an arranger, musical director, producer, singer and songwriter. The story of a British musical great is told for the first time.
Billy Fury, Dusty Springfield and The Walker Brothers are heard. So is the only vocal performance for which Ivor Raymonde received a credit on a record label. He worked with the pre-fame David Bowie and Tom Jones. He spotted the potential of Los Bravos, steering them into the charts with 'Black Is Black'. Near-misses and obscurities made with Brit-girls Cindy Cole and
Helen Shapiro, the soulful Sonny Childe and confrontational protopsychedelic London band The Flies are as fantastic as the hits. With these and more, 'Paradise: The Sound Of Ivor Raymonde' distils the essence of the magic of Ivor Raymonde.
'Paradise: The Sound Of Ivor Raymonde' is released by Bella Union, the label run by Ivor's son, former Cocteau Twins member Simon Raymonde.
Compiled by Simon and Kieron Tyler, it is a very personal tribute to a sadly missed father. Born in 1926, Ivor Raymonde passed away in 1990. The previously untold story is revealed through a moving reminiscence written by Simon and in-depth liner notes and a track-by-track commentary by Kieron. Ivor Raymonde played on the ocean liner The Queen Mary in 1949. In the Fifties, British television viewers saw him in legendary comedian Tony Hancock's 'Hancock's Half Hour' but music was always going
to be most important - the hits with Billy Fury and Dusty Springfield in 1961 and 1963 meant he was in demand. The 26 selections balance the wellknown with collectable rarities and tracks drawn from - until now - barely heard-of singles. Each is a gem and each shows the magic of an Ivor Raymonde recording.
'Paradise: The Sound Of Ivor Raymonde' is issued on CD and 180g heavyweight double vinyl album with digital download code. The vinyl version is sequenced slightly differently for listening flow. Every track was originally issued as a single issued in mono for the pop market until 1968 / 1969. Keeping the integrity of the compilation in mind, all but four tracks appear in mono as they did originally. The masters used are those of the original singles.

A1: David Goldberg Revealed His Exceptional Talent Releasing An Extraordinaire Debut Ep On Svs Records. m4l-uv' Is A Euphoric Breakbeat Track That Won't Fail To Make You Dance.

A2: Kit Curse Made His Mark Within The Dnb Scene During The Last Years Having Released On Labels Like Cyclone, Onset Audio Or Shadowforces. weird Solace Master' Is A Broken Ritual That Reveals The Producers Experimental Side.

B1: zezbo Version' By Skee Mask Is A Superb Dnb Trip Leading You Through An Industrial Shadow World. The Producer Upholds His Reputation As An Exceptional Artist All Along The Way.

B2: Top Shotta Runs The Uk Bass Orientated Label Ruffhouse. m-performance Riddim' Somehow Sounds Like A Race And A Fight Both At The Same Time.

B3: The Style Of Bean Is A Postmodern Blend Of Ambient, Idm And Dubstep. tears' Showcases This Eclecticism Within Just Three Minutes.

to Me, Sounds Have Always Been More Interesting Than Words,' Says Agnes Obel. i Love It When The Voice Becomes An Instrument And You Almost Forget It's A Human Voice.' Never Is This More Apt Than On This Beautifully Programmed And Bewitching Selection Of Music.

Agnes' 2010 Debut Album Philharmonics Went Platinum In France And Belgium And, Unsurprisingly, Quintuple Platinum In Her Native Denmark, Where She Also Won Five Danish Music Awards (equivalent To The Brits) In 2011. The Follow-up Aventine, Released In Late 2013, Was Imbued With The Same Measured Calmness As Her Debut. It Went Platinum In Belgium And Gold In Denmark And France.

For The Mix You Have In Your Hands It Feels Almost As If Agnes Has Scoured The World Looking For Kindred Spirits - Or Kindred Songs. There's A Quietude About It All, The Antithesis Of A Rush Hour, Like A Frozen Lake On A Sunday Morning. This Is Aided By A Veritable Cornucopia Of New Obel Material, Including A Haunting Reading Of Danish Song 'glemmer Du', Inger Christensen's 'poem About Death' Set To Original Music, And An Agnes Original, 'bee Dance'.

Among Them, There's The Enigmatic Jamaican Singer Nora Dean Who Weighs In With The Hypnotic And Slinky Duke Reid Production, 'ay Ay Ay Ay (angie-lala)' And The Sparse, Sardonic 'party Girl' By Michelle Gurevich, So Good It Inspired The Eponymous French Movie. There Are The Plangent Voices, The Bulgarian Folklore Choir, Nina Simone, Ray Davies And Agnes Herself, Ringing True. Somehow, Ms Obel Makes Even Makes The Electronic Tracks Bow To Her Needs As With Yello Whose 'great Mission' Is More Martin Denny Than Underworld And Cult Greek Composer Lena Platonos' 'bloody Shadows From A Distance' Pulses Gently Rather Than Throbs And Can's Recently Rediscovered 'obscura Primavera', Unusually Hushed.

"i Was Surprised At How Much Time I Ended Up Spending On This. I Collected All The Songs Together With My Partner Alex And We Just Spent Time Listening To Records, Trying To See What Would Fit Together. Some Of The Music I've Included Here Is On Mixtapes We Made When We Were Just Friends As Teenagers. Each One Of The Tracks Produces Stories In My Head." - Agnes Obel, February 2018

Way back in 1967, an animated superhero cartoon was released into the world. It was created by Grantray-Lawrence Animation and was based on a web-spinning, crime fighting blue and red dressed character that had originated in1962, in Marvel Comics by Stan Lee and Steve Ditko. This amazing series (that we're not allowed to mention the name of for legal reasons) ran on ABC TV in the USA, then Canada, then a few years later started to spread its web further, running here in the UK throughout summer holidays, after school and possibly early mornings at weekends in the late 1970s. The series then got released on VHS video (and probably Betamax too) in the mid 1980s and still continues to spin its animated magic around the world through further broadcasts, YouTube and DVDs.

The series was notoriously low budget, with animated errors everywhere and numerous scenes, sequences and backgrounds being re-used all the time, often across the same episode. Even a certain spider logo on a costume would appear with six legs, then eight legs later on, then back to six again in the same show.

Series One opened with a newly written spider theme, a classic, hooky song all about doing whatever spiders can, and had, as Big George (RIP) once pointed out to me, a set of session singers falling slightly out of time with the backing track after the first verse. Series One also featured background music by jobbing composers Bob Harris and Ray Ellis but these cues and master tapes are now believed to be lost.

After Series One the company Grantray-Lawrence went bankrupt, so the amazing spider series (that we're not allowed to mention for legal reasons) was taken on by producer Steve Krantz. He brought in new talent, including animation director Ralph Bakshi who later went on to turn a Robert Crumb strip cartoon into the feature Fritz The Cat. Krantz also slashed the already cripplingly small spider budget, and brought in the idea of using economic library music. Here, thanks possibly to an independent sync agent (it has been suggested that a company called Music Sound Track Services may have been the one) production turned to the KPM catalogue. This was one of the few really established library catalogues around at the time with a modern edge, it was full of fabulous, modern dramatic music tracks - often all on the same LP. But more importantly all the tracks were far longer than the one minute musical cuts that many of the fledgling USA library companies were issuing at the time. Not only would this KPM music be efficient, affordable and very easy to use, it would also mean syndication worldwide would not be held up by any future musical issues. Krantz produced two amazing spider series (that we're not allowed to mention for legal reasons), and both were smothered with KPM music. In fact barely a spider second goes by without music playing in either the background or foreground.

For many years I - and many nostalgic others - have been thinking about putting this vinyl album together. For many enthusiasts this really is formative music - a junior foray into hip swinging crime jazz and esoteric musical grooviness. I've also read on line accounts by DJs from WFMU on the trail of original spider master tapes, and there's even a whole forum dedicated to Spidey-Jazz'. Then recently I was looking at an old spider tracklist and realized that several of my favourite KPM cues were there including Syd Dale's Hell Raisers' and Walk And Talk', both from one of the most elusive and desirable KPM albums of all time (yes, you just try and find yourself a copy of KPM 1002 right now), so I decided to push on and get the album made.

So, what features on this Spider-Jazz Lp Well it's music from the amazing TV series we are not allowed to mention for legal reasons, BUT, not music from Series One. No, but it is all from Series Two and Series Three. From looking at archival cue sheets, over 50 tracks from various early KPM 1000 series albums were used across episodes. I've distilled this down into one exciting and enthralling LP, and if this works a further Spider Jazz album may well swing in to production. If you're interested (and I'm sure you may well be) cues here came from KPM1001, KPM1002, KPM1015, KPM1017, KPM1018 and KPM1043 and were composed by master library composers of the era - Dale, Hawkshaw, Hawksworth, Mansfield etc.

And if you are listening over there in the USA, you may well recognize many of the cues here not just from the amazing TV series (that we're not allowed to mention for legal reasons) but also from classic 1960s and 1970s NFL highlight shows that we are allowed to mention.

Various Artists including Buttechno, Broshuda, Garrett David, Steven Warwick and more... Each track was composed with the theme of Apophenia in mind (the tendency to perceive connections and meaning between unrelated things), keeping a foot between club and experimental material. This record is a complement to a contemporary exhibition in Berlin and a 122 pages book.

The first "Last Gas Station" compilation includes 12 new tracks and aims to showcase artists that the site has followed for many years, as well as promising talents to keep an eye on. Featuring LA's "daytime disco" duo Poolside,Vampire Weekend's bassist Baio, Italian duo Marvin & Guy, Brooklyn's duo Vito & Druzzi, Adelaide-based producer James Curd and Turbotito, California Balearic duo Woolfy Vs Projections, Disco Halal's Moscoman, Mexico's finest Zombies in Miami, NY unstoppable disco funkers Midnight Magic, DFA's Greek mastermind Larry Gus, Crew Love's David Marston, and - last but certainly not least - Peaking Lights Acid Test. This will be a ride to remember...

A cool film needs a cool soundtrack, right And none come cooler than ATOMIC BLONDE. A double LP filled to the brim with needledrops of some of the '80s best known cuts, as well as some under the radar gems, and a smattering of brand new tracks recorded especially for the movie.

David Bowie, George Michael, The Clash, Nena, Siouxsie and the Banshees, and A Flock Of Seagulls of course need no introduction, and they all contribute absolutely killer songs here. Rubbing shoulders with these A-listers are lesser known acts such as Re-Flex, whose track 'The Politics of Dancing' was a minor hit in the UK and is a pure '80s synth-pop banger from start to finish. After The Fire went from playing uninspired prog rock to recording the should-have-been classic 'Der Kommissar,' full of funky guitar licks and a chorus so hook-laden it should be illegal. 'Voices Carry' by American new wave band 'Til Tuesday features Aimee Mann on vocals and is an all-timer everyone needs on vinyl.

Hidden Operator playing along to tribal drum music Exploring the outer limits of dancehall. In dub.

Legendary Deep Soul French complation(s) featuring many Soul classics, sometimes forgotten, which have been sampled countless times by some of the biggest Hip-Hop acts.

Ascetic Limited is back with its third VA.

Side A consists of two prolific Italian producers. Antonio Ruscito starts the release with an intricate, atmospheric track titled Nube. Alfredo Mazzilli then brings the driving yet melodic banger, Transcendence.

Side B begins with David Att of Att Series out of Spain, with a dynamic, heavy hitting track titled Spirits. From Malta, Hail Blk brings Church Blk, with his signature dark, spacey yet groovy vibe. Label founders Motionen end the record with Escape
Sequence, blending acid, arps, and big pads for a unique cinematic feel.

Experimental Spanish composer and multi-instrumentalist Pepo Gala´n makes his vinyl debut with an exquisite record of carefully orchestrated ambient pieces.
Conceived as a fierce response to the gradual decay of our society, "Human Values Disappear" takes us on a trip to the darkest corners of a dysfunctional world, painting a broken landscape with deeply arresting and meditative drones.
Composed initially on a vintage Casiotone, the album was further enriched with lush and spacious arrangements, giving the songs a newfound intensity. In this effort, Pepo Gala´n surrounded himself with talented artists Lee Yi and David Cordero, each of whom bring their unique approach to composition into play. The result is an eclectic, yet deeply cohesive palette of sounds that flow seamlessly into each other, creating a moody ambiance that permeates everything.
Despite the bleak tones and subject matter, Pepo Gala´n is able to strike a balance between darkness and hope, allowing glimpses of light ("Half Moon", "Old Testament") to filter through the sheer sonic intensity of the fiercest tracks ("We Are All Welcome Here", "Almost Alone in this Life"). This transition is better exemplified on the album's centerpiece "Sacred Autumn", a collaboration with David Cordero that starts off with an elegant string section, gradually building into a guitar feedback climax that slowly fades off, paving the way for an epic closing number.
By the time we hear the last sounds of "Few Dollar More", the emotional impact of the record is undeniable. "Human Values Disappear" is indeed one of the most sincere, enigmatic and life- affirming records that Pepo Gala´n has ever produced.

"These are Love Notes" from Chicago this time as the Brooklyn based label offers a platform for a glimpse into the state of the Chicago undergound. Three original tracks from Chicago man-about-town, Shmoo, and a remix from one of the brightest lights in Chicago's modern scene and one of the more exciting young American producers out there, Garrett David. Standout tracks are Sidehacker, which opens the EP and is a wild ride through swirling pads, with a bedrock bassline that holds everything together, and David's remix of Intuitive Intellect's Waste, wherein he crafts the track into a very modern sounding slice of uplifting house. Another choice EP from this label.

The title track "Empty Dancefloor" combines a thumping kick drum, stuttering hats and mesmeric chords, a combination that prove to be the perfect backing track to a captivating synth solo. It's extremely difficult not to find yourself lost in this enchanting track. Fracture" is a track where Skygaze really showcases his ability to combine broken beat, complex drum patterns with bewitching chords, magical marimbas and a curious bassline.
It is a track that really keeps you guessing throughout and one that can really add variety to any DJ set.
First up on remix duties is Jonna, who has put his own stamp on "Empty Dancefloor".
jonna is a DJ, Producer & one of the Label owners of City Fly Records, his sets are prominently House but take in influences from Disco, Techno, Hip-Hop, Funk, Jazz... Basically any music with Soul.
His first artist EP dropped early 2016 on 'Shadeleaf Music' & featured the incredibly talented Erik Rico on vocals with remixes by Atlanta's Kai Alce. The EP achieved great success & Sold Out in the first Month & was supported by heavyweight's Recloose, Derrick Carter, Jimpster & Osunlade to name a few.
Collab Singles (with Samwell) 'Henry Western' Featuring Lady Blacktronika followed on City Fly which was supported heavily on BBC 6 Music, that followed by 'Alright' on 'Future Society', a compilation curated by Seven Davis Jr on R2 Records and more recently the Luke Soloman Edit of 'Through The Night' again on Shadeleaf Music.
He has been busy in the studio since with a release on Secret Crunch (Austria) & 2 EP's forthcoming on Marcel Vogel's excellent Intimate Friends (NL).
The remix of "Empty Dancefloor" is one that is done in the unmistakable Jonna style, it's got groove! By chopping and changing the chords from the original, Jonna has created an entirely new melody, which when combined with rolling bongos and punchy bassline, you can't help but tap your feet.
The all too familiar synth solo from the original resonates throughout and pulls the track together, creating a guaranteed hit on any dance floor. Last, but certainly not least is Chicago based, Garrett David. The Smart Bar Resident has taken time out from his A&R / House buying duties at the famous Gramaphone Records to conjure up a bumping, yet dreamy remix of "Fracture".
He has previous releases on labels including Distant Hawaii, Residual Recordings, Night Sea Journey as well as his own imprint Stripped & Chewed and has really brought some Chicago flavours to the table with this one.

After a first year of activity with 3 beautiful single reissues, SOL DISCOS presents its first album, with the compilation Message In Our Music, selected by WAXIST. Focusing on Modern-Soul genre, the selection ranges from 1976 to 1983 and gathers a nice selection of independent and private press records, all officially licensed.

From the David Nathan's downtempo previously unreleased version of "Ain't Nothing Like The Love", to the beautiful Glen Missick's gospel dancer "Message In Our Music", the album aims at providing to the listener a glimpse of the wide spectrum of productions that exist in this musical genre.

Some of these beauties are officially reissued on vinyl for the very first time, including some highly sought after records such as "Deep Inside Of You" by The Harden Brothers, "My Dream" by Harvell Guiton, or "Love With Me" by Don Scott.

The album has been fully remastered by The Carvery in the UK, and features liner notes for each of the songs, plus exclusive pictures provided by the involved artists & producers.

A new Metal + Metal... Brilliant Hardcore old school opus, with a superb David Lagon, 203 BPM cruiser... Then comes a Morgan Hardcore mental speedcore 220 BPM kicker. B side opens with a Radium 195 BPM rockin' tune, dancefloor special weapon as usual. Speedloader finished the job at 205 BPM with an old school shaker. Once again Metal Plus Metal instal its own hardcore sound and style, united force of the old school ^^

The premiere soundtrack release to Peter Weir's 1977 Australian New Wave classic.
Lost electronic score from the enigmatic composer Charles Wain.
12-track LP sourced from the original stereo master tapes.t.
180g vinyl and deluxe packaging including archival film stills and original press material

The Last Wave (also known as Black Rain in the US) was the final chapter in a trilogy of films scripted and directed by the leading auteur of the Australian New Wave, Peter Weir.

Beginning in 1974 with the absurdist black comedy-horror The Cars That Ate Paris, and followed a year later by the lush gothic mystery Picnic At Hanging Rock, The Last Wave was a landmark in existential horror. Sitting alongside other Australian eco-terror films (e.g. Long Weekend) the film featured a haunting electronic soundtrack that is as mysterious and beguiling as the spiritual themes of the film itself.

With no LP issued after the films premiere in 1977, and together with the mystery surrounding the true identity of its enigmatic composer 'Charles Wain', the score is a largely unheard recording of pioneering experimental film electronics, easily compared to the music that contemporaries Klaus Schulze and Tangerine Dream were composing for Australian films during the same period or the electronic soundtracks of John Carpenter.

Tense atonal electronics, synthesizer drones and manipulated Didjeridu all perfectly capture the film's ominous atmosphere, punctuating the slow hypnotic pace of this brooding supernatural thriller. The Last Wave soundtrack is released in conjunction with the lost film music to Nicolas Roeg's 1971 New Wave masterpiece Walkabout composed by John Barry.

fter the world applauded sascha funke for his latest album 'lotos land', he gave away some tunes to friends for remix duties.
düsseldorf based tolouse low trax formed 'twirl' into a foggy dark mpc-seducer for romantic nighthawks that love dancing.
also australian boy dreems prepared a remix that grooves odd and uncommon. his percussive version of 'im feiern und feuer' is a slow whirlwind, perfect to start and end a great dj night.
with tuff city kids a duo formed a remix that is good for big room love affairs. their version of 'purple hill' is a heartfelt melange between trance and house deepness that works on any dance floor.
the final edit comes from glasgow's junto club, who transformed 'comola', a tune that they already produced originally with sascha funke, into a longing dark melodic synth stepper.
four versions, four hits, four atmospheric dimensions beyond words. tune it loud!

What A decade deep into its ongoing investigations, documenting and pushing the sonic frisson and fusion between science and technology, SCI+TEC remain at the very forefront of electronic music. Its feet firmly on the dancefloor, its spirit deep inside the machines, its sights set on the future: Dubfire's label has continuously forged its own deep furrow and has been doing so from day one. With breakthrough Dubfire releases such as 'Roadkill' and 'I Feel Speed' SCI+TEC has managed to create a whole new framework for 21st century techno. All the while SCI+TEC has consistently championed and encouraged new and unsung talent from around the world, amplifying legions of rising names; Davide Squillace, Paul Ritch, SHADED, Simi, Delete, Harvard Bass, Joop Junior and countless more include SCI+TEC releases in their rich histories. This precision balance of stark sonic signature, technical ideology and nurturing new ideas and talent has led to SCI+TEC's perpetual momentum into every house and techno DJ's playlists and sets for the last 10 years. Be it the label's penchant for deep, undulating subby grooves or its passion for warehouse-razing thunder-powered techno, the SCI+TEC sound covers every corner of the floor and every chapter of the night; as proved by the label's many world tours. And proved once again by this fittingly stacked anniversary album. 10 tracks to celebrate 10 years from 10 of the label's most exciting artists, every track brings home the SCI+TEC message: The breath-taking atmospheres of Alex Mine's album scene-setter

Da'saa - The Haunting Sound of Yemenite Israeli Funk 1974-1982

Fortuna Records deliver a stellar compilation of real-life magic created by immigrants from Yemen, in Tel Aviv, from the mid seventies to the early eighties. Ranging from extremely rare to previously unreleased, these tracks are a result of a unique scene which blended funk, soul, jazz & disco with traditional Yemenite rhythms & sounds.

It cannot get more obscure than this! Fortuna heads: Look out for an unreleased Tsvia Abarbanel from 1969!!! Glorious gatefold LP with a 14 page booklet telling the fascinating story of this movement, for the very first time!