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Repress !

The long-awaited reissue of the best ever album of rare Eastern and psychedelic Jazz music by this famous Hungarian guitarist
Gabor Szabo, originally released in 1968. For the first time as extended edition with 2 bonus tracks: radio versions of Fire Dance
/ Ferris Wheel from the 1969 7” single 7”. Deluxe 8-sided Digipak CD and Gatefold Vinyl come with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne. Remastered by Martin Bowes at Cage Studios (UK).
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep
love of jazz and crafting a distinctive, largely self-taught sound. Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy
Rogers cowboy movie to begin playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still
living in his hometown. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way
to America, settling with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged
by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during
melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the
energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams.
Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and
"Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the
brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late '60s. The emergence of
rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more
commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style.
From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop,
Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times during the '70s, finding opportunities to perform
brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday.

Repress !

The long-awaited reissue of the best ever album of rare Eastern and psychedelic Jazz music by this famous Hungarian guitarist
Gabor Szabo, originally released in 1968. For the first time as extended edition with 2 bonus tracks: radio versions of Fire Dance
/ Ferris Wheel from the 1969 7” single 7”. Deluxe 8-sided Digipak CD and Gatefold Vinyl come with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne. Remastered by Martin Bowes at Cage Studios (UK).
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep
love of jazz and crafting a distinctive, largely self-taught sound. Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy
Rogers cowboy movie to begin playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still
living in his hometown. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way
to America, settling with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged
by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during
melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the
energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams.
Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and
"Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the
brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late '60s. The emergence of
rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more
commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style.
From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop,
Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times during the '70s, finding opportunities to perform
brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday.

2023 Repress On Vertigo Days, the first album in seven years for The Notwist, one of Germany’s most iconic independent groups are alive to the possibilities of the moment. Their music has long been open-minded and exploratory, but from its engrossing structure, through its combination of melancholy pop, clangorous electronics, hypnotic Krautrock and driftwork ballads, to its international musical guests, Vertigo Days is both a new step for The Notwist, and a reminder of just how singular they’ve always been. Most importantly, the core trio of Markus and Micha Acher and Cico Beck are reaching out: as Markus reflects, “we wanted to question the concept of a band by adding other voices and ideas, other languages, and also question or blur the idea of national identity.”

It’s been seven years since The Notwist’s last album, Close To The Glass, and in that time the various members of the group have been busy with side projects (Spirit Fest, Hochzeitskapelle, Alien Ensemble, Joasihno), guest appearances, a record label (Alien Transistor), movie scoring, helping organise the Minna Miteru compilation of Japanese indie pop & running a festival (Alien Disko). Those divergent paths feed back into Vertigo Days in surprising ways, from its structure, built from group improvisations, with songs flowing and melting into one another in a collective haze, to its spirit, which feels refreshed and alive. There’s something cinematic about Vertigo Days too, reflective of the group’s time working on soundtracks, and reflected in the rich, moody photographic artwork by Lieko Shiga that adorns the cover.

The first sign of this newfound openness was the album’s lead single, “Ship”, where the group were joined by Saya of Japanese pop duo Tenniscoats, her disarmingly hymnal voice sighing over a propulsive, Krautrocking beat. Elsewhere, American multi-instrumentalist Ben LaMar Gay sings on “Oh Sweet Fire”, also contributing “a love lyric for these times, imagining two lovers in an uprising hand in hand.” American jazz clarinettist and composer Angel Bat Dawid adds clarinet to the spaced-out dream-pop of “Into The Ice Age”, while Argentinian electronica songwriter Juana Molina gifts some gorgeous singing and electronics to “Al Sur”. Saya also reappears as a member of Japanese brass band Zayaendo, who guest on the album. Throughout, The Notwist also capture the openness of their live performances, too, where they mix and link their songs in unexpected ways.

Indeed, what’s most impressive about Vertigo Days is the way it sits together as one long, flowing suite, the album conceptualised as a whole entity – it’s perfect for the long-distance, dedicated listening experience. This is also captured by the album’s lyrics, which Markus states, “feel more like one long poem.” The dimensions of that poem are multi-faceted, something intensified by the geopolitical weirdness of its times: “As the situation changed so dramatically, while we were working on the record, the theme of ‘the impossible can happen anytime,’ more about personal relationships in the beginning, became a global and political story.” But it also works at a level of poetic abstraction, such that each song gestures in multiple directions – the deeply private pans out to the global. The one certainty is that there is no certainty. “It’s maybe mostly about learning and how you never arrive anywhere,” Markus concurs. To sit within uncertainty is brave, but it’s also where we feel most alive, and Vertigo Days is an album that is brimming with life, with enthusiasm and love for music and for community, all wide-eyed and dreaming.

2023 Repress on Yellow Vinyl

On Vertigo Days, the first album in seven years for The Notwist, one of Germany’s most iconic independent groups are alive to the possibilities of the moment. Their music has long been open-minded and exploratory, but from its engrossing structure, through its combination of melancholy pop, clangorous electronics, hypnotic Krautrock and driftwork ballads, to its international musical guests, Vertigo Days is both a new step for The Notwist, and a reminder of just how singular they’ve always been. Most importantly, the core trio of Markus and Micha Acher and Cico Beck are reaching out: as Markus reflects, “we wanted to question the concept of a band by adding other voices and ideas, other languages, and also question or blur the idea of national identity.”

It’s been seven years since The Notwist’s last album, Close To The Glass, and in that time the various members of the group have been busy with side projects (Spirit Fest, Hochzeitskapelle, Alien Ensemble, Joasihno), guest appearances, a record label (Alien Transistor), movie scoring, helping organise the Minna Miteru compilation of Japanese indie pop & running a festival (Alien Disko). Those divergent paths feed back into Vertigo Days in surprising ways, from its structure, built from group improvisations, with songs flowing and melting into one another in a collective haze, to its spirit, which feels refreshed and alive. There’s something cinematic about Vertigo Days too, reflective of the group’s time working on soundtracks, and reflected in the rich, moody photographic artwork by Lieko Shiga that adorns the cover.

The first sign of this newfound openness was the album’s lead single, “Ship”, where the group were joined by Saya of Japanese pop duo Tenniscoats, her disarmingly hymnal voice sighing over a propulsive, Krautrocking beat. Elsewhere, American multi-instrumentalist Ben LaMar Gay sings on “Oh Sweet Fire”, also contributing “a love lyric for these times, imagining two lovers in an uprising hand in hand.” American jazz clarinettist and composer Angel Bat Dawid adds clarinet to the spaced-out dream-pop of “Into The Ice Age”, while Argentinian electronica songwriter Juana Molina gifts some gorgeous singing and electronics to “Al Sur”. Saya also reappears as a member of Japanese brass band Zayaendo, who guest on the album. Throughout, The Notwist also capture the openness of their live performances, too, where they mix and link their songs in unexpected ways.

Indeed, what’s most impressive about Vertigo Days is the way it sits together as one long, flowing suite, the album conceptualised as a whole entity – it’s perfect for the long-distance, dedicated listening experience. This is also captured by the album’s lyrics, which Markus states, “feel more like one long poem.” The dimensions of that poem are multi-faceted, something intensified by the geopolitical weirdness of its times: “As the situation changed so dramatically, while we were working on the record, the theme of ‘the impossible can happen anytime,’ more about personal relationships in the beginning, became a global and political story.” But it also works at a level of poetic abstraction, such that each song gestures in multiple directions – the deeply private pans out to the global. The one certainty is that there is no certainty. “It’s maybe mostly about learning and how you never arrive anywhere,” Markus concurs. To sit within uncertainty is brave, but it’s also where we feel most alive, and Vertigo Days is an album that is brimming with life, with enthusiasm and love for music and for community, all wide-eyed and dreaming.

Did you know Micheal "Eyedea" Larsen - one half of the progressive hip hop duo Eyedea & Abilities - once released a solo project under the moniker Oliver Hart? Fresh on the heels of winning three of the most notable MC Battles of the time - Scribble Jam (1999), Rocksteady MC Battle (2000) and the nationally televised HBO Blaze Battle (2000) - and the release of his debut album with musical partner DJ Abilities, First Born, Eyedea was inspired, intent, insatiable. He used most of his earnings from those MC battles and the group's rigorous touring schedule to build himself a home studio and teach himself how to record and mix records, and in less than a year's time, he returned to share the fruits of his labor. Originally released in 2002, The Many Faces of Oliver Hart or How Eye One The Write Too Think was written, produced, recorded and engineered by a 20-year old Eyedea (aka Oliver Hart). Featuring the songs "Weird Side", "Here For You", "Step By Step" and "Bottle Dreams", which Complex named as #11 on a list of the best songs ever released on Rhymesayers Entertainment, the album was a diverse body of work that demonstrated Eyedea could not be easily defined, nor should he be.

RED APPLE MARBLE VINYL REPRESS.

Everything changed for The Beths when they released their debut album, Future Me Hates Me, in 2018. The indie rock band had long been nurtured within Auckland, New Zealand’s tight-knit music scene, working full-time during the day and playing music with friends after hours. Full of uptempo pop rock songs with bright, indelible hooks, the LP garnered them critical acclaim from outlets like Pitchfork and Rolling Stone, and they set out for their first string of shows overseas. They quit their jobs, said goodbye to their home town, and devoted themselves entirely to performing across North America and Europe. They found themselves playing to crowds of devoted fans and opening for acts like Pixies and Death Cab for Cutie. Almost instantly, The Beths turned from a passion project into a full-time career in music.

Songwriter and lead vocalist Elizabeth Stokes worked on what would become The Beths’ second LP, Jump Rope Gazers, in between these intense periods of touring. Like the group’s earlier music, the album tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Stokes’s writing on Jump Rope Gazers grapples with the uneasy proposition of leaving everything and everyone you know behind on another continent, chasing your dreams while struggling to stay close with loved ones back home.

"If you're at a certain age, all your friends scatter to the four winds,” Stokes says. “We did the same thing. When you're home, you miss everybody, and when you're away, you miss everybody. We were just missing people all the time.”

With songs like the rambunctious “Dying To Believe” and the tender, shoegazey “Out of Sight,” The Beths reckon with the distance that life necessarily drives between people over time. People who love each other inevitably fail each other. “I’m sorry for the way that I can’t hold conversations/They’re such a fragile thing to try to support the weight of,” Stokes sings on “Dying to Believe.” The best way to repair that failure, in The Beths’ view, is with abundant and unconditional love, no matter how far it has to travel. On “Out of Sight,” she pledges devotion to a dearly missed friend: “If your world collapses/I’ll be down in the rubble/I’d build you another,” she sings.

“It was a rough year in general, and I found myself saying the words, 'wish you were here, wish I was there,’ over and over again,” she says of the time period in which the album was written. Touring far from home, The Beths committed themselves to taking care of each other as they were trying at the same time to take care of friends living thousands of miles away. They encouraged each other to communicate whenever things got hard, and to pay forward acts of kindness whenever they could. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Their most emotive and heartfelt work to date, Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it -- a sentiment we need now more than ever.

Iceland's Thule offshoot label 66 Degrees was a vital label back in the day. After a 20-year hiatus, it came back strong in August and now follows up quickly with a second superb EP. This one is a carefully curated various artists collection that pulls together some local house anthems new and old. Ozy's 'Sequential Dub' is a super smooth deep house number with lush chord work. Sanasol brings heavier, more raw house drums and grinding bass that will get floors in a sweat. Oz Artists mixes up a raw, mechanical groove with balmy, dreamy pads up top to make for something utterly compelling on 'Atomox; while last of all Terry Cummingz pays homage to dusty Windy City house on his perfectly lo-fi 'Cherry Bon Bon. Classy business for sure.

* Hypnotic and seductive, Emika crafts Earthy Melodic Techno track 'Breath Cuts' using her breathy vocals, kick and devilish sub bass.

* Pleasure and pain, the euphoria Emika knows how to create sonically in order for her to lose her mind through the music and escape reality, composed and produced during the darkest chapter in her life, she mixes in the inevitable pain of a once locked-down Berlin.

* Breath Cuts is a journey-style dance track, for song-lovers or DJs that like to tell stories on their dance-floors. Emika reveals a poem in the middle of the song, a dream about being free again; 'I like to look out the window.. I like to imagine the clouds..'

* Norman Nodge, Berghain resident by night and lawyer by day, pulls out and enhances the lush ethereal vocal elements, remixing them further into an angel-like chorus, one can imagine the dancefloor in Berghain - people rushing from the sound while spirits float above them looking down.

* The two producers decided to provide listeners and DJs with a functional kick-less mix for advanced mixing pleasure.

Sie ist wieder zurück! Die Queen of Country Pop, Shania Twain veröffentlicht ihr neues Album ”Queen Of Me”!

Die fünffache GRAMMY-Gewinnerin mit fünf veröffentlichen Alben und mehr als 100 Mio. verkauften Alben ist die meistverkaufte Country-Pop-Künstlerin aller Zeiten.

Zu ihren weltweiten Hits gehören „Any Man of Mine“, „That Don’t Impress Me Much“ und „Man! I
Feel Like A Woman!“ und zudem war sie die erste Künstlerin in der Geschichte, die 3 aufeinanderfolgende Diamant zertifizierte Alben veröffentlichte. Schon ihr letztes Album war eine große Überraschung und seitdem wartete ihre immer noch sehr große Fanschar auf ein neues musikalisches Zeichen! Jetzt ist es da!

Sie ist wieder zurück! Die Queen of Country Pop, Shania Twain veröffentlicht ihr neues Album ”Queen Of Me”!

Die fünffache GRAMMY-Gewinnerin mit fünf veröffentlichen Alben und mehr als 100 Mio. verkauften Alben ist die meistverkaufte Country-Pop-Künstlerin aller Zeiten.

Zu ihren weltweiten Hits gehören „Any Man of Mine“, „That Don’t Impress Me Much“ und „Man! I
Feel Like A Woman!“ und zudem war sie die erste Künstlerin in der Geschichte, die 3 aufeinanderfolgende Diamant zertifizierte Alben veröffentlichte. Schon ihr letztes Album war eine große Überraschung und seitdem wartete ihre immer noch sehr große Fanschar auf ein neues musikalisches Zeichen! Jetzt ist es da!

«I am the bridge between the day and the night that never ends, I am the acid drop that beads on your dancing body, I am the metallic breakthrough that crosses your being when I catch your wet hands, I am the brutal wave that grazes your dark gaze and your tired eyes, I am the titanium and the cyprin, I am the adrenaline, I am that being that invents, desires and revolts, I am that jolt of desire that tears me when it is dark, I am a psychoactive substance diluted in honey, I am the back that you caress, I am our first and last dance, I am the one who seduces you, I am the one who obsesses you, I am the solitary dance that bewitched me the first time we met, I am the cry muffled by our restless bodies, I am the movement that pierces and unfolds as if it were the last. I am solid and liquid, mechanical and organic, I am your first and last time, I am Baraka.»

French duo Baraka present their first eponymous EP.
Dive into their cathartic universe in which they celebrate their love for club culture using powerful TR8s, incisive break beats, synthetic layers inspired by trance and trip-hop as well as cavernous female voices.

This alliance of electronic music, 90’ aesthetics and dreamy undulations intertwine like the yin and yang and promise a mystical universe with futuristic imagery.

Brainwave research center is a new project from NYC-based house/techno producer, Chase Smith (W.T. Records, Apartment, is/Was), & documentary filmmaker, Christa Majoras (School of Visual Arts).

Conceived together over two years as musical thought experiments, brainwave research center’s debut album, figure 1, contains a genre-bending distillation of influences from experimental music (Steve Reich, Laurie Spiegel, Black Dice), 1990s ambient techno (The Orb, Pete Namlook/Fax Records), and Motorik/Kosmiche/Krautrock (Kraftwerk, Suicide, Manual Gottsching).

The songs embrace a raw, naive approach to sound design, instrumentation, and technical production to capture the feeling of experimentation of the works they are inspired by. Described by listeners as a mixture of Electronic, ambient, and kosmische/krautrock.

Recorded and produced in Greenpoint, Brooklyn in the back of Smith’s synthesizer/electronic repair shop, Specs Sales & Repair, Figure 1 is the first in a sequence of 4 works to be released.

Made primarily with TR-606, OB8, SH-101, MS-20, Fizmo, H3000, SDE-3000

Repress !

Sudi Wachspress returns to Tartelet Records with Dance Planet, a third LP of emotionally-charged house music to welcome us back to the dancefloor. The spirit of true house runs deep in the sound of Space Ghost. Oakland native Sudi Wachspress is intuitively plugged into the romantic, mystical energy of 4/4 club music as a unifying force of empowerment and liberation, carrying the torch from vital forebears like Larry Heard, Alton Miller, and Blaze.

His new album, Dance Planet, carries a greater responsibility to spread spiritual affirmations. As the global dancefloor community emerges from a mentally-taxing recess and confronts their social self like it’s the first day of school, Space Ghost’s message couldn’t be more supportive.

“Don’t be afraid to be yourself, don’t be afraid to let go,” he intones on “Be Yourself.” More than just a beat and a hook, his music is pointedly created to heal and energize. “I’m a big fan of old-school house vocals that have a positive message,” says Space Ghost, “tracks that can perhaps enhance your mood or strengthen your confidence in yourself.”

Wachspress has always represented a beacon of musical uplift, both on his previous Endless Light and Aquarium Nightclub LPs for Tartelet and on his swathes of self-released music and last year’s Free 2 B on Apron. Compared to most house-oriented artists, he places emphasis on the long-player format to create an encircling experience for the listener, smoothing out psychic wrinkles and massaging areas of tension for a fully holistic hit.

4 big ol’ chunks of heavy house music are the order of the day from New York producer Ralph Session’s how new EP for Black Jukebox. Combining his skills as a musician and seasoned DJ along with the technical know-how from his work as an audio engineer, the result is a collection of beautifully crafted, hard-hitting house cutz.

‘That Raw’ features a breathy spoken-word vocal from DJ Amir—one half of the legendary duo Kon & Amir—that laces the soulful, deep production with a hypnotic atmosphere. Thick bass bubbles beneath soaring strings and meandering synth arpeggios to give the track a set-building, big-room feel. ‘Do It’ rocks jaunty snatches of piano and sax over its peppy, skippy beat, with a little New Jersey feel in its incessant, phat-bottomed grove. ‘If You Want’ takes us into a deeper direction with its hazy pad work and dubby touches, with a slinky, rubbery bass groove that throbs hard beneath it all. Turn it up loud and feel it envelop you with its wide-open atmospherics. ‘Raw Sax’ rounds off with a dusty, skipping drum track shuffling around dreamy filtering synths, dubbed-out stab patterns and of course a sultry sax line.

The Art and Soul of Network is well and truly captured on this beautiful collection.

Fittingly for a remix selection, Network’s iconic artwork is reconstructed by Trevor Jackson, the designer of those original graphics. He has lovingly reworked the maverick indie house label’s distinctive branding for this 2 x 12 double album selection which rewinds to some of Network’s finest moments.

Network was based in Birmingham but as this release demonstrates had an international outlook and an alchemist touch for joining together disparate talents which lent itself well to the world of remixology.

Dave Lee’s remix,when he was working under his Joey Negro pseudonym, of The Reese Project’s awesome Direct Me is arguably his finest ever work. The original track fused Detroit electronica with the Motor City’s ever present Soul Music stirrings. Dave simply made the superlative perfect . The result was not only an iconic Network release but one of House Music’s greatest recordings.

There was possibly no better example of Network’s deft touch when it came to selecting unlikely combinations of people to work together than Day By Day. . Andrew Pearce, a raw but incredibly gifted 18 years gospel singer, was plucked of the streets of Wolverhampton and promptly despatched to Detroit where producer Kevin Saunderson and songwriter Ann Saunderson gave him the complete Reese Project template on the mesmerising Day By Day. Then Chez Damier & Ron Trent were drafted in to create their Urban Sound Gallery masterpiece of a remix. It truly is a gem.

Ann Saunderson is also central to Surreal’s hypnotic Happiness, not only as songwriter but as the vocalist too. Network then did their “let’s try this” thing by letting loose Italian house godfathers The Fathers Of Sound on the track parts. They threw down and created a progressive (but dreamy) house anthem that is to this day massively in demand.

Slo Moshun’s game changer (House slows down into Hip Hop then ramps up back into House) Bells Of New York was produced by Mark Archer & Danny Taurus.It became huge literally overnight. Various attempts to remix it were tried but in the end it was back to Mark who demonstrated that sometimes the original creator of a track is best able to re-imagine it by coming up with his much loved Beefy Bells remix.

Inner City’s stark and brutal Ahnonghay saw Kevin Saunderson going back to his Detroit Techno roots. Fittingly it was one of the UK’s disciples of that innovative Belleville Three era,Dave Clarke, who supplied the awesome remix contained here.

Rhythmatic’s Mark Gamble created a British Bleep House anthem with the sledgehammer Demonz. The original won the support of John Peel with repeated BBC Radio plays underlining incessant club plays. Again it’s the original artist who does that remix thing best with Mark’s Sequel mix managing to improv his classic original.

Neal Howard’s Indulge was the debut Network release. His music sounded like it was from another planet and he was hailed as Chicago’s answer to Detroit genius Derrick May..Here we present Derrick’s Mayday remix of To Be Or Not To Be which was the flip to Indulge. This was Network’s debut release, and it is hard to imagine a label having a more euphoric greeting card.

The album concludes with a remix of a track recorded at a live concert in 1989.. To be clear THE TRACK that defined that year’s Acid House cultural revolution. Derrick May brought along Carl Craig to perform with him as Rhythim Is Rhyhim when invited to support Inner City at London’s Town And Country Club . Luckily Kool Kat - the predecessor to Network - recorded for posterity an historic rendition of Strings Of Life. Roll on a few years and Network went into the vaults and asked Ashley Beedle to work on the tape. He completely remoulded it and conjured up a new incarnation of Strings Of Life.

Network - we coninue…

Never Sleep present Paula Temple 'Live from the Mill".

Recorded live in the UK's oldest rave capital Preston in the beautiful summer of 1995.

One of Paula Temple's earliest gigs, this mix was recorded at a rave in Preston 27 years ago when she was 18 years old.

Vinyl only at the time, this mixtape embodies the style she is consistently known for, a mix of raw relentless techno and rave.

In 1995 making mixtapes was the only way to go, so Paula would make mixtapes to give to her friends at clubs around the North of England such as Bugged Out (Manchester), The Orbit (Morley) and Voodoo (Liverpool).

Paula submitted this mixtape to MUZIK magazine to spend a day with techno artist Dave Angel.

Triumphantly she spent the day with Dave in his studio, was featured in the magazine and was just a young girl chasing her dream.

When we asked for this possible collaboration she dug deep and found a forgotten tape from long ago that had been lost but recently found, Archivio has brought it back to life for you to hear the younger Paula Temple's passion for the underground.

All proceeds go the amazing Womenonweb charity which supports women rights across the globe and provides abortion care for the most in need.

We are truly honored to put out a small testament in time and help those in the future.