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Adrian Quesada announces the release of ‘Boleros Psicodélicos’,
a sprawling and singular tribute to the golden era of balada music.
The brand-new album from the GRAMMY-nominated guitarist,
producer and Black Pumas co-founder serves as a celebration of
the super funky, slightly delirious and deeply soulful sounds that
transcended the cultural boundaries of Latin America throughout
the late 1960s and early 1970s.

Featuring vocals from Puerto Rican icon, GRAMMY-winner and
former Calle 13 member iLe, Colombian-American visionary
Gabriel Garzón-Montano, Mexican R&B star Girl Ultra, as well as
Angelica Garcia, Gaby Moreno, contributions from living legends
such as Marc Ribot and Beastie Boys musician Money Mark, and
many more, ‘Boleros Psicodélicos’ consists primarily of original
Adrian Quesada compositions, as well as covers of La Lupe’s
‘Puedes Decir De Mí’, Jeanette’s ‘El Muchacho De Los Ojos
Tristes’ and other balada classics.

All twelve tracks were produced, engineered, mixed and largely
performed by Adrian Quesada, honouring and extending the
influence of a personal obsession that he has cultivated over the
past 20 years.

Similar to his acclaimed 2018 album ‘Look At My Soul’, which
traced the deep roots and relationship between Latin and Texas
music, Adrian Quesada sees every song on ‘Boleros Psicodelicos’
as both a history lesson and a step towards a newly imagined,
more united future: “I always wanted to pay tribute to that sound
that I was already hearing in my head without realizing that people
had already done it. Balada changed the face of Latin music
forever. If something like that happened today, it would be normal
because everyone’s connected on Instagram. Think how powerful
this sound had to be for everyone to be connected through the
songs. As someone who grew up speaking two languages and
living on both sides of the border, I love how much music can
transcend barriers and boundaries. It really is a universal
language, especially back then.”

Detroit mainstay Andres returns to MotorCity Wine Recordings with an anthemic 4 tracker entitled Sunday Kinda Love. For those that know, MotorCity Wine is the spot for Sunday parties, so we only thought it appropriate to have one of Detroit's most seminal producers highlight the vibe with this EP. On the A side is Andres's dusty house sound that we've all come to love, complete with bouncing basslines, slick vocal chops, and drums to turn out any dance floor. On the flip side Andres slows the tempo just a touch to highlight his chunky midtempo beatdown sounds, with "Rubin Samba" bringing a Latin flair and "Sunday Kinda Love" driving it all home. Essential Detroit music manufactured in Detroit and housed in a gorgeous vinyl package, TIP!

James Brown hatte das Apollo. Jimi Hendrix hatte das Monterey Pop Festival und Prince hatte den Carrier Dome in Syracuse, New York - den Auftritt der "Purple Rain Tour", der per Satellit live an Millionen von Menschen übertragen und im für den Grammy Award nominierten Konzertfilm "Prince and The Revolution. Live" für die Nachwelt festgehalten wurde, und seitdem als eine der kultigsten Live-Aufnahmen in die Pop/Rock-Geschichte einging. Zum ersten Mal wurde dieser kraftvolle Auftritt von Prince und The Revolution von den originalen 2"-Multitrack-Masters komplett neu abgemischt, das Bild wurde auf Blu-ray Video mit wählbarem Stereo-, 5.1-Surround- und Dolby-Atmos-Sound neu restauriert und der Ton wird zum ersten Mal physisch verfügbar gemacht. Die neue Version von "Prince and The Revolution. Live" ist erhältlich als: 2CDs+1Bluray und auf schwarzem Triple-Vinyl - beide Versionen enthalten Booklets mit noch nie gezeigten Fotos der Purple Rain Tour und neue Linernotes. James Brown a son Appolo Theatre, Hendrix son Royal Albert Hall, Prince c'est le concert à Syracuse: la tournée Purple Rain de 1985. L'artiste et son groupe légendaire The Revolution au sommet de leur art. Retrouvez tous les tubes de la période Purple Rain de Prince, tels que ''Purple Rain'', ''When Doves Cry'' et ''Little Red Corvette'', en live avec une image restaurées en HD pour la première fois sur le Live in Syracuse.

"Ihr brüllt von Liebe in engen Gewändern / Doch einer wie ich will die Welt noch verändern", singt Andreas Dorau im, zusammen mit Sven Regener verfassten, Hit "Kein Liebeslied". Statt von Liebe, wollte er lieber von anderen Dingen singen, von Wildschweinen ("Schwarze Furchen"), Prozessionen ("40 Frauen") und vom Hinterhaus, aus dem die Leute vorne rauskommen ("Hinterhaus"). Und so geschah es. Acht lange Jahre tüftelte der Maestro an der sogenannten "Wildschwein-Platte". Ihm zur Seite standen dabei Wolfgang Müller, Justus Köhncke, Carsten "Erobique" Meyer, Paul Kominek sowie Andreas und Dorau. So nämlich das Konzept des Albums, die Trennung von Andreas und Dorau. Auf dem Papier ein interessantes Konzept - hier der zarte Songs schreibende Künstler Andreas, dort das Partyanimal Dorau mit der fetten Bassdrum. "IbdEvuB" sollte ein Trennungsalbum der besonderen Art werden. Wie gesagt, auf dem Papier ganz gut, in der Praxis... na ja, ich sag nur "acht Jahre", aber acht Jahre nervenzerfetzende Tüftelei, die sich gelohnt haben. House, Softrock, Disco, Glampop, zusammengefügt zu einem schillernden Ganzen von Andreas und Dorau. Zum Teil in der Garage, zum Teil in den legendären Can-Studios in Weilerswist aufgenommen und produziert. Haben Andreas und Dorau mit "Ich bin der Eine von uns Beiden" die Welt verändert? Vermutlich nicht, aber sie haben ein großartiges, zeitloses, elektronisches Pop-Album erschaffen, welches sich lohnt wiederentdeckt zu werden. Ist doch auch was! Erschien erstmals 2005 auf Mute Enthält Klassiker wie "Kein Liebeslied", "40 Frauen" und "Im September" Endlich als re-mastertes Reissue wieder überall verfügbar

Adeen Records comes with its series of funk, soul, dsco and jazz only edits label called The Bird. And it's first releases comes from label head Camille and Spanish graffiti artist and dj Cad73, and edited by DJ Boring. These two 7" gems came from each selectors childhood memories from living in Detroit and Barcelona respectively. While Camille draws such tunes as "Stop Bajon and Carino" from influences Detroit, Cad73 pulls "Shakedown and The Vulture" from early radio and parties growing up around Baecelona. Already a staple series amongst Adeen's catalog, This "The Bird" series may be the label we've been craving.

A brand new multi genre label. Releasing Jungle, Hardcore and Jungle Techno that pay's tribute to the orginal 90's vibe but presents it with a modern take. TufStuf focuses on the harder and faster side of rave, with rough layered breakbeats, deep sub bass, and emotive and catchy melodies.

With already some very experienced, talented and create producers signed to the label there is many exciting things to come. The second EP focuses hard and heavy amen Jungle with deep soundscapes, melodic vibes and emotive vocals with plenty of heavy basslines as well.

EP comes with a 12 x 12 inch full colour double sided artwork insert.

FBK has been pumping out releases since 1994 as a staple in the midwest. Under aliases The Sleep Engineer (Xplor) and Powerhouse on The Acid Junkies' the Acid Life, he has been a shapeshifter with a steady stream of minimal, pure motorik pulsations that embody that Midwest Freak power. Measured yet transcendently driving - a mind-bending wormhole that weaves dark introspective turns into the unknown, Think For Yourself covers a diaspora of modes for the floor - all while encapsulating the energy of his live sets that we know and love. Topped off with a subterranean remix by undeniable icon Marcel Dettmann - a huge honor to have his name grace this release.

"Escapism" is the second album produced by Piotr Rajski also known as Pepe.. Once again, he offered us music that is hard to close in one genre and is best described by the artist himself:
At the time of creating this album, the world was absolutely dominated by the pandemic turning our lives upside down. Writing new music has became a way to escape from disturbing reality.

According to Paweł Bartnik who also mixed and mastered my first album "Afterimages", the second one is more colourful and vivid. I think he described well the idea I had in mind while recording the new tracks. I wanted them to stay in that dreamy tone which can't be referred to only one genre.

The record was pressed on 180g vinyl.

Limited version was made in 100 copies - each vinyl record has a different splatter color! "Very Limited Surprise Edition"

I found "Escapism" a great opportunity to combine my UK inspirations ("Vanity Fair", "WQRWY") and rap fascinations from Money Sex Records or Tartelet Records ("Realizm Magiczny"). While working on the album my biggest inspirations were i.a. Madlib, D'Angelo, Samiyam, Ras G, Jai Paul and Overmono.
I'm extremely happy I could create some of the songs with such talented people as Moo Latte, Kasia Siepka from Byty, Paulina Przybysz, Immortal Onion, Baasch and Wuja HZG. Everyone's unique personality enriched the sound and compositions on the album.

The cover was designed by Beata Śliwińska "Barrakuz" and it's based on the summer photo taken by Kuba Olachowski. It's worth mentioning that it was created using analog collage technique.

And where did the title come from?
The songs on the album are for me the way to escape from the pandemic and explore new musical areas. I just wanted to forget about all the laws, quarantines and restrictions. Imagination turned out to be the perfect cure for this.

‘Black Pride’ is the seminal Lovers Rock tune from Brown Sugar pressed loud for the first ever time on this new one-off press limited-edition (just 1,000 copies worldwide) 12” on Soul Jazz Records!


Brown Sugar formed in London in 1976 made up of teenagers Pauline Catlin, Caron Wheeler and Carol Simms. After Brown Sugar Caron Wheeler became known worldwide as the vocalist in Soul II Soul and Carol Simms launched a successful solo career under the name ‘Kofi'. “Black Pride” was originally released on the Lovers Rock label, a fledgling reggae label formed by musicians Dennis Bovell and John Kpiaye and producer Dennis Harris. Brown Sugar were unique – not only were they one of the most important of the first wave of lovers rock groups, they were the only group who managed to successfully blend together a reggae roots consciousness with a lovers rock sensibility. The classic ‘Black Pride’ perfectly reflects this unique sound.

Inspiration can strike anyone at any time, and more often than not from somewhat peculiar quarters. Rarely more so than when Sam Grant - thus far best known as guitarist and producer of Pigs Pigs Pigs Pigs Pigs Pigs Pigs - finally set about work on a solo project that had been pursuing him for some years. “I want people to imagine that feeling of rubber - its physical memory, the unnatural vibe of it. It’s so tactile but alien. It’s an odd analogy, but that’s what this music is for me.”A specific gravity is one more property that rubber has going for it, and that much is certainly true of Rubber Oh’s debut album ‘Strange Craft’, the result of his elasticated fixation, and his debut album of deliriously tuneful sci-fi tinged psychpop. It’s a unique soundworld in which an emphasis on beguiling melody marries a kaleidoscopic grandeur. Widescreen gems like the warped interstellar voyage that is Children Of Alchemy and the unshakeable earworm Hyperdrive Fantasyare all vibrant colour and celestial energy, setting their psychic stall out somewhere between the incandescent headspace of a ‘70s sci-fi TV show and the red-light-fever of the overheated ampstacks Grant has been historically more familiar with.Ultimately, for Grant as well as everyone else, Rubber Oh amounts to one strange trip - “Many of the lyrics are about alchemy, journeying and vessels, as interchangeable metaphors for knowledge and wisdom” he says. “I wanted to mesh the land and sea, the cosmos and the psyche across the tracks as one single plane” Mission accomplished, in short. This Strange Craft is fuelled up and ready to accept all comers on a ride into extensions through dimensions01

More Late 70s/early 80s Westcoast Yachtpop you can almost dance to!
Buoyed by the incredible love felt for TSTD Vol. 1 in summer 2014, Berlin's renowned pop archaeologist, that master musical excavator DJ Super-markt, has leapt straight back into the soft-top and been out digging for the lost gems you'll find here on Volume 2. This is another perfect collection of missing-in-action, late-70s/early-80s smooth, singer/songwriter, AOR-paced, yacht-based pop and blue-eyed soul. Every song brims over with that West Coast sunshine, and for Volume 2 we've dug even deeper into obscure corners of LA, London, even Cologne, to create an even more potent soundtrack to that lost world that's somehow always with us. So join us on another sunset trip as we soundtrack summer 2015 in the company of these lost luminaries. Bask in every detail of that glorious over-production, and recall an era when the music industry had the time, money and sheer musical talent to make everything BIG. Pay no mind to the cynics, the cooler-than-thou-erati, or the buzz kills of the sincerity police. These are big tunes that deserve to be hits, even if it's taken 40 years to get there, driving slowly up that winding California coast road in the wonderful warm summer air.

For the label’s next release, the team at Leng Records has decided to offer-up something a little bit different: a 12” compilation of little-known and hard-to-find Balearic gems selected by friend of the label Paul Beckett.

Plucked from the dusty corners of his collection, the five tracks on show are quietly colourful, tactile and musically rich excursions that effortlessly blur the boundaries between genres and sound terrific blasting from speakers on a humid Mediterranean or Adriatic afternoon.

First up is Ray & John’s languid, subtly disco-tinged ‘Day By Day (Instrumental)’, which originally featured on the flipside of the Italian duo’s sole single from 1984. Rich in rubbery bass guitar, sequenced synth-bass, sharp disco guitar licks, Fairlight stabs, dreamy chords and occasional chanted vocals, it sounds like Please-era Pet Shop Boys reclining at a Rimini pool party after copious amounts of happy pills.

It’s followed by Angel’o’s ‘Angelo’, a turn-of-the-80s gem picked from the band’s long-forgotten album, Dream Machine. Marked out by warming electric piano motifs, squelchy synth-bass and hazy lead vocals, the track successfully mixes krautrock and space rock sounds with the then fresh sound of synth-pop.

Next up is All Trouvee’s ‘Darling’, a thoroughly overlooked 1987 single whose minimalistic sleeve artwork lists each of the now-classic – and then cutting edge – synthesizers used to make the sun-soaked blend of mid-80s synth disco, AOR pop and sunset-ready jazz-funk piano solos.

Equally as impactful is Angel’s ‘Tomorrow Night’, a classic – if little-known – chunk of glossy, laidback synth-pop from 1980 that sounds like something you’d hear on AM radio stations in the early hours of the morning. Its’ sound – all delay-laden Linn drums, synth-horns, Nile Rodgers style guitar licks and echoing lead lines – was actually far sighted for the time but would become more familiar to listeners as synth-pop boomed in the mid 1980s. Those who buy the digital version of the EP will also have access to a longer, club-style mix as well as the short version featured on the 12”.

Rounding off a fine package is ‘Feeling Action’ by Eggs Time, a deliciously warm and woozy chunk of fretless bass-sporting Italian pop/West Coast jazz-rock fusion plucked from a real since of buried treasure: an Italian compilation called – for reasons that aren’t clear – Moby Dick. There’s certainly a tinge of both yacht rock and blue-eyed soul about the track’s gorgeous blend of FM synth sounds, eyes-closed jazz guitar solos, unfussy beats and sweet female lead vocals. It provides a fittingly horizontal finish to a collection packed to the rafters with long-overlooked, sun-baked treats.

Es gibt eine Dub-Serie die seit Jahren für Furore sorgt, und das seit der VÖ der "KING SIZE DUB 1" (damals in Zusammenarbeit mit dem Kult-Magazin SPEX) im Jahre 1994! In der Serie gab es immer wieder Ausflüge zu obskursen Zählweisen (Vol.69) und Specials über bestimmte Regionen (Dub In Germany), Labels (ON-U Sound Records aus London) oder Bands (Dubmatix aus Toronto)! Wunderbar, dass nun mit KSD 25 eine weitere Compilation der Reihe Dub als vielschichtige Kunst des Klangmischens darstellt. Im Rahmen dieser Ausgabe dubben sich alte und neue Freunde des Hauses Echo Beach gegenseitig oder präsentieren eigene Versionen von Pop- und Reggae-Hits von u.a. Ramones, Bob Marley, Blondie, Robert Palmer und David Bowie. Die Musik suggeriert Sonnenschein und Sound Systems, heissen Sand und coole Drinks, der Bass schlurft gelassen aber auch aufreizend rebellisch. Dub ist die Kunst des Disk Jockeys, den sie zunächst in Jamaika zum Star erhoben haben. In den Fünfzigern waren dort Musikmobile, die "Sound Systems", der Ersatz für fehlende Radiosender. Die auf Exklusivität bedachten DJs nahmen ihre Hitsingles bald selbst auf, mit instrumentalen Rückseiten für Ulk und Ansagen. Ende der Sechziger verselbständigte sich dieser Dub durch den technischen Fortschritt. King Tubby und Lee "Scratch" Perry spielten mit Hall, Echo und rückläufigen Bändern. Dub löste sich von Jamaika, ging nach New York oder London, wo er in seiner Militanz gut zum Punk passte.

Souverän gemastert und grafisch neu aufgebrezelt, ist 'The Schlechtst Of' als erste von 10 Vinyl-Leckerlies für die ganze Welt verfügbar!

Knorkator 1997. Die Herren Alf Ator, Stumpen und Buzz Dee haben einige Konzerte gespielt und wollen nun ihre erste Platte machen. Alle Majors wenden sich ab, weil sie mit 'so etwas' nichts zu tun haben wollen. Kurz darauf winkt Herr Rodrigo Gonzales die Drei in sein Studio und schwuppdiwupp sind ungeschliffene Punk-Perlen, faszinierende Klassikwerke, oder technoide Industrialkracher auf CD gebannt. Sympathische Anarchie als Debut.

Man muss sich nur kurz mit dem Indie-Rock-Trio unterhalten, um die innige Wärme ihrer starken Verbundenheit zu spüren, die drei jungen Musikerinnen sind beste Freunde. Diese persönliche Nähe schimmert auch auf ihrem Debütalbum "Versions of Modern Performance" durch. Penelope Lowenstein (Gitarre, Gesang), Nora Cheng (Gitarre, Gesang) und Gigi Reece (Schlagzeug) machen alles gemeinsam, vom Songwriting über den wechselnden Gesang und den Tausch von Instrumenten bis hin zum Sound- und Visual Art-Design. "Versions of Modern Performance" wurde mit John Agnello (Kurt Vile, The Breeders, Dinosaur Jr.) im Electrical Audio-Studio aufgenommen. "Es ist unser erstes Album. Wir hatten bei Agnello sofort das Gefühl, dass er wirklich respektiert, was wir zu tun versuchten", sagt die Band. Horsegirl spielen auf dem Album gekonnt mit Texturen, Formen und Schattierungen und zeigen ihre Vorliebe für Improvisationen und Experimente. Der Opener "Anti-glory" ist schillernder Post-Punk-Song. "Dirtbag Transformation (Still Dirty)" und "World of Pots and Pans" haben einen rauen Pop-Charme. "The Fall of Horsegirl" besticht wiederum durch seine scharfen Konturen und einem kantigen Sound. Man kann in ihrer Musik Elemente der Independent-Musik der 80er und 90er Jahre hören, die Sounds die Horsegirl so sehr lieben - die schraddelige Melodik dessen, was man früher "College-Rock" nannte, den kühlen und sprudelnden Space-Age-Glanz der 90er-Jahre, das laute Dröhnen von Shoegaze, die sparsamen Hooks und Rhythmen von Post-Punk. Sogar ein bisschen No-Wave ist mit dabei. Horsegirl vermischen die Einflüsse zu einem Sound einer neuen Generation, für die die 90er-Jahre Lichtjahre entfernt zurückliegen und gleichzeitig doch so nah sind.

Man muss sich nur kurz mit dem Indie-Rock-Trio unterhalten, um die innige Wärme ihrer starken Verbundenheit zu spüren, die drei jungen Musikerinnen sind beste Freunde. Diese persönliche Nähe schimmert auch auf ihrem Debütalbum "Versions of Modern Performance" durch. Penelope Lowenstein (Gitarre, Gesang), Nora Cheng (Gitarre, Gesang) und Gigi Reece (Schlagzeug) machen alles gemeinsam, vom Songwriting über den wechselnden Gesang und den Tausch von Instrumenten bis hin zum Sound- und Visual Art-Design. "Versions of Modern Performance" wurde mit John Agnello (Kurt Vile, The Breeders, Dinosaur Jr.) im Electrical Audio-Studio aufgenommen. "Es ist unser erstes Album. Wir hatten bei Agnello sofort das Gefühl, dass er wirklich respektiert, was wir zu tun versuchten", sagt die Band. Horsegirl spielen auf dem Album gekonnt mit Texturen, Formen und Schattierungen und zeigen ihre Vorliebe für Improvisationen und Experimente. Der Opener "Anti-glory" ist schillernder Post-Punk-Song. "Dirtbag Transformation (Still Dirty)" und "World of Pots and Pans" haben einen rauen Pop-Charme. "The Fall of Horsegirl" besticht wiederum durch seine scharfen Konturen und einem kantigen Sound. Man kann in ihrer Musik Elemente der Independent-Musik der 80er und 90er Jahre hören, die Sounds die Horsegirl so sehr lieben - die schraddelige Melodik dessen, was man früher "College-Rock" nannte, den kühlen und sprudelnden Space-Age-Glanz der 90er-Jahre, das laute Dröhnen von Shoegaze, die sparsamen Hooks und Rhythmen von Post-Punk. Sogar ein bisschen No-Wave ist mit dabei. Horsegirl vermischen die Einflüsse zu einem Sound einer neuen Generation, für die die 90er-Jahre Lichtjahre entfernt zurückliegen und gleichzeitig doch so nah sind.

Incl. Schacke Remix

Having been extensively road-tested this past year by DJs including Daniel Avery, HAAi and Gerd Janson, Highdive arrives with tangible anticipation. The work of less-than-shadowy figures Gramrcy and John Loveless, the pair have passed lockdown and beyond remixing artists such as WH Lung, Discovery Zone and Ghost Culture. Debuting their first original material, closely following Gramrcy’s recent appearance on Loveless’s own Hot Concept imprint, Highdive is a long-anticipated explosion of energy.

Built around a sonic-boom breakdown, glossy rave chords and pounding post-punk drums, Highdive feels immediately at home on Phantasy. Having worked closely alongside founder Erol Alkan in recent years to shape the imprint's diverse output, Loveless' collaboration with the Peach Discs founder nods to the electro landscape of the label's earliest days. Having never left dance floors since, Gramrcy & John Loveless take a golden opportunity to plunge dancers into the sublime and the ridiculous.

While a stripped-down ‘Beats Mix’ sees the pair adopt a less-maximal approach, leave it to Schacke to stretch Highdive into hardcore rave heaven. The already-influential Copenhagen artist underscores his refreshing funk in the ‘fast-techno’ scene through which he has risen, turning the screws and upping the tempo with intense but elastic results.

Irish folk-pop brothers Harry and Alfie Hudson-Taylor are back with their first new music since the release of their second album - "Loving Everywhere I Go" - which topped the Irish album charts in February 2020. Produced by Luke Potashnik, who has recently worked with Gabrielle Alpin, Hannah Grace and Katie Melua. Lead-off track "Won't Be Too Long" is instantly recognizable as a warm-hearted, acoustic-powered, camp-fire sing-along, the kind that has helped forge Hudson Taylor's reputation as master tunesmiths and harmonizers. This is the first taste of Hudson Taylor's new album which will be released in June 2022. Hold Out Hope (Acoustic) Irish brothers Alfie and Harry Hudson-Taylor continue to explore the laid-back, acoustic side of their songwriting with this delicious, campfire-lit version of their latest single 'Hold Out Hope'. Following the successes of 'You Me Myself' and 'Honest' (featuring Gabrielle Aplin) which have seen Hudson Taylor's monthly listener figures grow to over 400,000 fans, 'Hold Out Hope (Acoustic)', with it's positive lyrics and easy-going groove is another joyful leap forward to their much-anticipated new album - 'Searching For The Answers' - out June 3rd. Hudson Taylor have just announced a 10-date, national Irish tour in support of the album release.

On June 3rd, the GRAMMY-nominated six-piece — Adam Deitch (drums), Ryan Zoidis (saxophone), Adam ‘Shmeeans’ Smirnoff (guitar), Erick ‘Jesus’ Coomes (bass), Nigel Hall (keyboards/vocals), Eric ‘Benny’ Bloom (trumpet) — will be delivering a whole host of new tunes to the world in the form of 'Unify,' the eighth studio album from Lettuce and the third consecutive record made at Denver’s Colorado Sound Studios, completing a loose trilogy starting with 2019’s GRAMMY-nominated Elevate, and continuing with 2020’s Resonate. Fans can expect the same tight, wildly-funky instrumentals Lettuce has always been known for, but in the tightest form they’ve ever taken. And this time around, the guys have gotten the stamp of approval from one of the genre’s most legendary icons, Mr. Bootsy Collins, himself, who can be heard singing on the track “Keep That Funk Alive.” “Dealing with the pandemic, being in separate places, trying to survive without our best friends, without touring, not to mention the political divide in this country,” says Deitch.

Nectar’s Kamila Glowacki spent four months painstakingly painting the album cover for No Shadow on canvas. A pink mirror re­ects the image of lemons posed directly in front of it as well as the unseen, empty space beyond. Flip over the record and you’ll ‑nd the tracklist printed on the back of the canvas, revealing the physical record itself to be a facsimile of Glowacki’s painting. Inspired by Dutch still life paintings, Glowacki describes the process as a meticulous labor of love that required her to “wring out every possible drop” of herself into the band’s latest release. No Shadow is two works in one, then: an album and a painting created in separate but parallel artistic processes, two mirror images in constant conversation with one another. No Shadow follows up Nectar’s 2018 full-length debut Knocking at the Door with ten tracks co-produced by Glowacki and Champaign-based composer and producer Andrew M Rodriguez. Recorded over the course of a year, No Shadow finds Glowacki at her most self-assured as a songwriter and vocalist. No Shadow’s title references the dual concepts of certainty and enlightenment. Evoking Plato’s allegory of the cave, Glowacki describes turning to face the sun and rejecting the false illusion of reality created by the darkness of depression.

Million Dollar Money Machine is Perttu Lindroos and Simo Råman. All tracks written, composed and arranged by Million Dollar Money Machine. Guitars, bass by Simo Råman. Vocals, synths, drum programming, bass, melodica by Perttu Lindroos. Mixed by Perttu Lindroos. Mastered by Tuomas Salmela / Phonogenic Audio. Cover design by Dora Söderlund.

The Howling is a collaborative project started by writer Ken Hollings and sound artist Howlround devoted exclusively to their shared love of text, audiotape and trash aesthetics. An intense collision of spoken word and analogue tape effects, the Howling's first performance took place at the Iklectik in September 2019 as part of a special programme to celebrate The Tapeworm's 10th anniversary.

Despite the pandemic, they have managed to continue working and conferring together since then, sharing sound files, texts and mixes online, which has resulted in All Hail Mega Force, their first full-length release for The Tapeworm. The two extended tracks contained on this audiocassette reflect their shared interest in Fluxus and how informal rules and permutations can be set up to work themselves out through loops and repetitions. A straight line connects Terry Riley's tape experiments in Paris from the early 60s with their experimental recordings in the Wimpy Bar on Streatham High Road, one of their favourite meeting places. 'The idea of instant, disposable one-off creations appealed to us a lot at the time,' The Howling explain, 'particularly as both pieces were conceived and developed during different phases of Covid lockdown in the UK.'

The title and source material are derived from the kid's adventure movie MegaForce, starring Barry Bostwik and Michael Beck. Designed to sell a range of Mattel hi-tech action toys, MegaForce tanked at the box office but lives on in the collective consciousness of those who share with The Howling a special love for Trash and Trash Aesthetics.

The two tracks also share similarities in approach and realization.

'All Hail Mega Force' was created by reading combinations of the words 'All Hail Mega Force' into a voice memo recorder, transferring it to tape, cutting the whole thing as a single long loop and then stretching it across three reel-to-reel machines simultaneously, using two pencils and a pint glass full of loose change to try and maintain sufficient playback tension. Over time the loop started to degrade, which accounts for the increasingly slurry and unpredictable playback, plus frequent ruptures caused by the tape becoming jammed and having to be tugged through the machine workings by hand. Twenty-four minutes later and the result was a completed new work and a slight backache.

The text for 'Are You Man Enough For Mega Force?' was recorded live in the Wimpy Bar on Streatham High Road, 28 November 2021. It was cut to tape and looped on 3 December 2021 at Warrior Studios, Loughborough Junction. Dragged by motor and then by hand across two tape machines with copious amounts of closed input feedback provided by a third rushing in to fill the gaps. One take with no effects or overdubs, but one tiny edit in the middle when something fell over.

Die 7” Vinyl enthält Songs aus dem Soundtrack zum neuen Disney und Pixar Film „Rot“. In ”Rot” wird Mei Lee vorgestellt, eine selbstbewusste, trottelige 13-Jährige. Ihre beschützende, leicht
überhebliche Mutter Ming ist nie weit von ihrer Tochter entfernt - sehr zum Ärger des Teenagers. Und als ob das nicht genug wäre, verwandelt sich Mei Lee, wenn sie sich zu sehr aufregt, in einen riesigen roten Panda!

Die 3 Abspannsongs werden von der Band 4*Town gesungen, einer Boygroup, um die es im Film geht.

Greg Dowling and Shane Johnson return to the Go Deep label for their third album, ‘This Bit of Earth’. Beginning work in the relative normality of 2019 and finishing over the strange summer of 2020, the resulting music mirrors the thoughts that such upheaval brings out - our world and our place in it - while also functioning as a kind of travelogue of journeys past and planned, real and imaginary.

Mixing samples with modular synths, programmed drums with jazz loops, and quirky plugins with outboard gear, the album ranges far and wide while retaining a warm, natural core sound.

The title track opens proceedings on an ambiguous note. A simple double bass motif weaves around a misheard vocal sample, layers of piano and vibraphone take up the call, and the whole thing gradually spins off axis to a distorted, disjointed finish. ‘Suburban Key’ follows on a groove of busy drum work and deep sub bass, the stately piano and strings setting the stage for an undulating synth solo.

Further in, ‘Alice on Jupiter’ takes a deep breath and blends field recordings, gently swelling pads, modular bursts and a recurring picked melody.

‘Back Trace Dub’ strolls the imagined streets of Irish author Kevin Barry’s ‘City of Bohane’, noting the “taint of badness” in the air and revelling in the tense, dub-noir atmosphere. Later on, the spoken word intro of ‘I Could See’ expresses the dread of confinement and the relief and ecstasy of release, a theme the music reflects as it steadily builds to a joyful climax.

And closing the album on an optimistic note, the languid, emotional Culatra Ferry remembers better, beautiful days in the sun and looks hopefully forward to more.

“Highlights are the stunning sonics of Suburban Key, with its dusty groove and fast paced drums, stately piano, and cinematic strings reminiscent of a Four Hero orchestral masterpiece. High As Scaffold is full of warmth and soul and is yet another example of Fish Go Deep going even deeper into the dark blue waters of their brilliant musical minds.” Ban Ban Ton Ton review, Japan

“So good. Real beauty” Laurent Garnier, Radio FG, France

“Really liking this, would love to support on radio” Colleen 'Cosmo' Murphy, WorldwideFM, UK

“Lovely album” Osunlade, Yoruba Soul, US

“Very very nice album...love the new directions here” Charles Webster, Openlab, SA

“Absolutely beautiful piece of work” Darimont, RWAV, Germany

“A lovely LP of eclectic sounds” Jimpster, Freerange Records, UK

“Delightful album this. Very much appreciate the musicianship and we need that in the world right now as the commercial music world starts to fire up its nonsense for the new beginning” Vince Watson, Yoruba, Netherlands

“Such a fucking great body of work, and on par with ANY of the great albums I've listened to recently” Billy Scurry, Ireland

“There’s some REAL magic here. Possibly the deepest year from this duo” Charles Levine, Soul Clap, US

“A fabulous surprise. I'm sure if he were still alive Jose Padilla would have hailed this as his number one album of the year, it certainly is mine” Steve Miller, Afterlife, UK

“Great album... will play in next shows” Franck Roger, Real Tone, France

“Beautifully produced and great atmospherics” Ashley Beedle, Black Science Orchestra, UK

Radio and DJ support from Ron Trent, Hector Romero, Ame, Cian Ó Cíobháin, Bill Brewster, DJ Sprinkles, Harri, Honey Soundsystem, Alexkid, Moodymanc, Hifi Sean, Kassian, Freddie Garcia, 6th Borough Project, Stuart Patterson, Lars Behrenroth, Fred Everything, Mark Roberts, Cut n Shut, Will McGiven, Stefano Tucci, Tristan Jong, Matthias Schober, Trevor Fung, Ben Davis, Max P and more.

2022 Repress

Apichatpong Weerasethakul is recognised as one of the most original voices in contemporary cinema today. His seven feature films, short films and installations have won him widespread international recognition and numerous awards, including the Cannes Palme d'Or in 2010 with Uncle Boonmee Who Can Recall His Past Lives.

This compilation album 'Metaphors' contains 14 soundworks carefully selected from his past cinema and other visual works since 2003, which includes Uncle Boonmee Who Can Recall His Past Lives, Syndromes and a Century, Fever Room and more.

Apichatpong has regularly worked with the same sound designers since 2003 and has always given importance to the personality of on-location sounds giving his films a sense of continuity. In post-production, he's fascinated by the manipulation of these 'live' sounds in order to express 'reality'. This reality doesn't necessary represent the actual sound of the places, but more a representation of the world in layered memories. Similar to the way he treats images, Apichatpong sometimes calls attention to the physicality and the fragility of the audio (and its apparatus) and to the process of audio manipulation itself. In his cinema, Apichatpong prefers natural sound sources over music. Nevertheless, he often boldly incorporates popular songs that were persistent during the shooting. He doesn't shy away from using tunes that relate to his own personal memories. In this sense, Apichatpong values the spirit of authenticity much more than rigid manipulation of audio and weaves a complex and dreamlike soundscape in his cinematic repertoire.

Born in Bangkok, Apichatpong grew up in Khon Kaen in north-eastern Thailand. He began making films and video shorts in 1994 and completed his first feature in 2000. He has also mounted exhibitions and installations in many countries since 1998 and is now recognised as a major international visual artist. His art prizes include the Sharjah Biennial Prize (2013) and the prestigious Prince Claus Award (2016), the Netherlands. Lyrical and often fascinatingly mysterious, his film works are non-linear, dealing with memory and in subtle ways invoking personal politics and social issues.

First Word Records continues its series of special collaborative releases for it's 15th anniversary with an absolutely firing double-header from 14KT and Tall Black Guy.
On this limited 7" vinyl, the two renowned US beat-makers revisit two of their previous First Word singles, turning out flips of each other's tracks, also featuring a multitude of talent, in the form of Moonchild, Muhsinah, Stro Elliot and James Poyser of The Roots.

Following on from the first volume in 14KT's jazz project 'IAMABEENIE', here he flips TBG and Moonchild's collab, 'I Will Never Know', originally from Tall Black Guy's 2017 sophomore album 'Let's Take A Trip'. The original neo-soul bump is transformed into a deliciously epic latin affair, drenched with deep Brazilian vibes throughout - this is one to draw for at those steamy get-downs; a slinky slab of dancefloor fire.

Tall Black Guy returns to First Word for the first time in a minute, and takes on the Muhsinah-lead joint 'The Power Of Same', the lead single from 14KT's 2019 acclaimed album, 'For My Sanity'.

As to be expected, TBG delivers his unmistakable blend of dope dubbed-out spacey soul and boom bap kicks & snares, complete with guitar licks from Stro Elliot, and keys from James Poyser. Two of the dopest producers in the game, this one is completely 1000% essential.

Fantasound is the fifth full length album from Slovenian Space Disco producer Ichisan. This debut LP on international label Gouranga Music follows recent singles Harmona and Margit Mono. Ichisan's sound is Space Disco Pop Bliss - swooshing synths collide with pulsing rhythms and twinkling melodies, creating a kaleidoscopic universe of pure joy.

The artist explains the process:

"The album was recorded during the 2020 lockdown period. In those long uncertain days I watched all kinds of movies and rediscovered the ‘1940 Fantasia' with my three year old son.

I started researching the story behind the production of the animated musical film and especially the sound production of Fantasia. Fantasound was a stereophonic sound reproduction system developed by engineers of Walt Disney and RCA. That is how I found the album title.

After the album was recorded I knew that the artwork must be related to Fantasia. I always had ‘The Sorcerer's Apprentice' in my mind as an inspiration for the album artwork. Mickey Mouse's dreams in the dark-blue space and Fantasia poster logo were guidelines. The illustrator Meta Wraber delivered the fantastic artwork in her signature watercolour technique."

'Fantasound' is a symphony of disco and italo rhythms, space synth waves and a happy-go-lucky driving rhythms. A sound that doesn't exist in the real world, the Fantasound is very much alive and in our mind during our happiest moments.

After teasing with several EPs, Ichisan blesses the world via Gouranga Music with the full Fantasound, an immersive ecstatic experience filled with twists and turns that will keep you on your Tip Top toes.

Limited Pressing of 450 copies Vinyl LP +7” single • Printed inner bag • Remastered audio for vinyl • Some of the best funk tracks from the tempestuous duo’s recordings in the 70’s • Includes covers of Beatles & Stevie Wonder songs and 6 hit singles.

Zov Zov, a musical project formed by London-based duo Oliver Ho and Tommy Gillard, create a raw soundscape that is very appropriate for the era we are currently living in. The human race depends on destruction, the annihilation of our fellow man and the devastation of our environment, peace and coexistence is just a condition we experience between one war and the next. Songs of Blood And Earth is an EP based on experimentation and the development of intense textures. Blessed Are The Killers opens the A-side of the album with a minimalist first sequence involving only a kind of deep bursts and a tinkling sound that can remind us of hunger queues and the isolation suffered when the aggressor force sweeps over a vast territory. Musically, however, the track intensifies with heart-wrenching textures that hover above a haunting and disturbing vocal. On the next cut, The Maim, a constantly interrupting rhythmic structure reigns, which gives the feeling that at some point it will have a proper continuity, however, and although that continuity never comes, these pauses perfectly define the main idea which is that of the splitting of one or more body parts. The B-side of the EP is entirely religious in nature. Amen 2.5 is an updated version of the atrocities committed in the name of religion, a harsh sonic tale, in which a crushing roar subdues the listener to the point of collapsing his or her capacity for reasoning. The Holy Murder takes a more sinister turn, this time there is an incessant dominance with an unstoppable base that advances without changing its tempo or its form, in which everything that is built on it ends up yielding to its grandeur and ferocity. Godess Of The Hunt, the last track of the album, denotes an enormous cruelty, represented by the terrified screams of the victims who succumb to its exterminating atmosphere.

Come Away With Me, released in 2002 by a young, unknown singer on a traditionally un-pop label, was a unique blend of jazz, blues, country, folk and pop – and lifted off beyond imagination. To date, the album has sold nearly 30 million times, and has garnered multiple awards, including no less than eight Grammys®. This coming February marks this landmark album’s 20th anniversary and, to celebrate, Blue Note/UMe has worked with the artist and her team on a special collection that will reveal for the first time the full story of the making of this now-classic album.

• New remastering of Norah’s legendary debut album

• 22 unreleased tracks: demos, session outtakes, alternate versions & mixes

• Norah’s earliest demos—the tracks that got Blue Note’s attention, and the demos she recorded for the label—some of which were released on the promo-only EP First Sessions

• The full previously-unreleased original version of the album—including 11 unreleased cuts—produced by Craig Street and now newly-mixed by Tony Maserati, with alternate versions of well-known tracks and unheard performances

• Premium packaging with an extensive booklet featuring new liner notes by Norah, rare session photos and detailed track annotations.

»Darkness & Abstract Art« is the debut single by Berlin based producer and songwriter Venetian Green. And what a debut it is. Two pop-pearls from a parallel universe, in which grand pop gestures of past decades live in harmony with the more bleak and disturbing emotional rollercoasters of recent times. The songs embrace a deep sense of nostalgia, while remaining firmly and confidently rooted within a contemporary pop context.

»Darkness« may be the most uplifting pop song ever that deals with mental health issues and depression. A topic that many can surely associate with after a challenging period of lockdowns and lack of perspective. The opening moments seem like a flirty exchange between an early Vince Clarke and Jake Shears but with a more bouncy and ›present-day‹ sound aesthetic. The bridge, »Was I ever in control, did my feelings just go rogue. Is it you or is it me, you’ve stolen my identity«, brings some major glam moments front and center and finally culminates in a heartbreaking auto-tuned chorus, an ode to the »Darkness« in all of our hearts.

In »Abstract Art«, we are jumping effortlessly between different musical eras. From late Roxy Music elegance to the plasticy melancholy of early Robyn all the way to the slow-rolling pop anthems of Christine and the Queens. A classic pop song about intimacy, trust, boundary issues and physical connection. Easy to imagine the line »You watch me dance with someone else, cause only you have me in strings and belts« on a sweaty recently re-opened dancefloor celebrating the return to a ›new normal‹.

"Combining steppy dance music, lush detail and a diaristic tone, Jack Chrysalis’ debut album dials between music that is destined to catch the ear of the club-goer and the heart of the dreamer, his signature propulsive mutations of organic techno and UK garage sounding strongly in tracks like Another Year and Coldharbour.

Between these, Chrysalis threads in more introspective moments. Tracks formed by running a hand along piano keys in improvisation, or made in recollection of Koji Kondo’s clear bright musical palette for Zelda. They lend a sense of atmosphere and a deeper running mood to the album’s overworld, heightening endorphin hits from the garage swing and affording a little more bittersweetness to its textures and secrets.

Whether in rush or retreat, each track on this album emerges with its own emotional resonance. There’s a sense of seasons turning, or a twilight quality that’s hard to fully pin down. “Owl music” became shorthand for Jack’s tunes, a way for Mana to capture a prescient, nocturnal flight within their environment."

When dubwise music really started to come into its own in the early to mid 70s, it made overnight stars of backroom boys who had hitherto worked behind a mixing desk to serve those who were beginning to hoist reggae to an international stardom that it had long deserved, but that it had only achieved on short and non-sustained bursts until Chris Blackwell decided to throw a lot of promotion and money at the work of Bob Marley and his fellow Wailers in 1972. Of those men, there was no bigger star than the late Osbourne Ruddock, the great King Tubby’s and the man who, from a tiny home-made studio in the Waterhouse district of Kingston, Jamaica, did more than most to reposition the boundaries that production and mixing of Jamaican recordings.

"Escapism" is the second album produced by Piotr Rajski also known as Pepe.. Once again, he offered us music that is hard to close in one genre and is best described by the artist himself:
At the time of creating this album, the world was absolutely dominated by the pandemic turning our lives upside down. Writing new music has became a way to escape from disturbing reality.

According to Paweł Bartnik who also mixed and mastered my first album "Afterimages", the second one is more colourful and vivid. I think he described well the idea I had in mind while recording the new tracks. I wanted them to stay in that dreamy tone which can't be referred to only one genre.

The record was pressed on 180g vinyl.

Limited version was made in 100 copies - each vinyl record has a different splatter color! "Very Limited Surprise Edition"

I found "Escapism" a great opportunity to combine my UK inspirations ("Vanity Fair", "WQRWY") and rap fascinations from Money Sex Records or Tartelet Records ("Realizm Magiczny"). While working on the album my biggest inspirations were i.a. Madlib, D'Angelo, Samiyam, Ras G, Jai Paul and Overmono.
I'm extremely happy I could create some of the songs with such talented people as Moo Latte, Kasia Siepka from Byty, Paulina Przybysz, Immortal Onion, Baasch and Wuja HZG. Everyone's unique personality enriched the sound and compositions on the album.

The cover was designed by Beata Śliwińska "Barrakuz" and it's based on the summer photo taken by Kuba Olachowski. It's worth mentioning that it was created using analog collage technique.

And where did the title come from?
The songs on the album are for me the way to escape from the pandemic and explore new musical areas. I just wanted to forget about all the laws, quarantines and restrictions. Imagination turned out to be the perfect cure for this.

Rubicon marks the first physical edition of Galcher Lustwerk's driving-themed alias, Road Hog. Collecting tracks from seven releases spanning from 2014 to 2021, Rubicon serves as the project's Greatest Hits (for now). Including tracks from the Cleveland-dedicated album 'Tour De Hog' as well as the sharp toothed 'Spares' and 'More Spares' the pithy 'Haul Ass' plus some cinematic favorites from 'DWB' and 'On The Lam'. Originally meant to be digital only and listened to while driving, demand for certain tunes to be pressed to vinyl has risen with each release. From the Road to the Club, Lustwerk's got you covered.

Gondwana Records sign LA bassist and composer Seth Ford-Young's Phi-Psonics project and announce a remastered deluxe-edition of The Cradle featuring bonus material

Phi-Psonics is a meditative, immersive instrumental group from Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their deeply soulfulmusic draws on jazz and classical influences together with Ford-Young's own musical experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, to create something uniquely its own. Phi-Psonics' name and ultimate aim is to find 'Phi' – the golden mean – in art, nature and self. Ford-Young explains:

"It's a bit of a cliché, but music saved my life many times and instilled in me a belief in the great power of healing through art. It is my hope and intention that this music provides healing to someone somewhere."

Originally from Washington DC area, Ford-Young moved to California in the early 90s and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combinedintense personal study with collaborations, tours, and recordings with artists such as Tom Waits, Beats Antique, and John Vanderslice. In 2010 he moved from the San-Francisco Bay area to the Los Angeles hills and continued his explorations. But great music is rarely just about music and Ford-Young's meditative, soulful music draws on more than just the twin wellsprings of jazz and classical music:

"My mother was a yoga teacher from the early 70's until recently and taught me yoga and meditation at an early age, my stepfather is an Aikido instructor and student of the teachings of Gurdjieff. Those were all early areas of study that I came back to many times throughout my life. Phi-Psonics has been a project that unapologetically synthesizes some of these ideas into our music".

It's this mixture of influences, musical and extramusical, that gives the music of Phi-Psonics it's immersive quality and quiet power. Revealingly the music that would becomeThe Cradle, wasn't written specifically for an album, originally Ford-Young was just writing down what was coming through. As time went by and the album began to take shape, the world situation seemed to be getting darker and his compositions aim to offer hope as a response to the negative influences that abound today. Remarkably for such a beautiful sounding record, it was recorded at the composer's home, rather than in a studio, but the relaxed nature of this process gives the music an airy lightness that propels the music to some magical spaces.

Originally self-released on vinyl in a limited run just as the world went into lockdown, The Cradle reached Matthew Halsall (founder of Gondwana Records) when he aws looking for music for his Worldwide FM show and he was blown away, hearing a kindred spirit at work. Halsall explains:

"Phi-Psonics make beautiful, humble and honest music, it's not showy, but it has a deep vibe that will elevate your mind and soul if you let it. When we heard The Cradle we reached out and are really super delighted to welcome Seth and his band to our label". Whereas for Ford Young: "Connecting with Matthew and the Gondwana records family has been a light in the darkness of the last years - to have my music make connections even as we are more isolated."

Ford-Young is currently putting the finishing touches to the second Phi-Psonics record, but aware that only a select few had heard The Cradle, let alone had the chance to buy a copy, and entranced by its deceptive simplicity and elevating energy, Halsall suggested that Gondwana present the album as a remastered 'deluxe edition' with an extended running time featuring extra tracks and new artwork from Daniel Halsall.

The Cradle starts with First Step, perfectly setting the tone for the whole album, it is a beautiful, soulful slice of musical calm gently propelled by Ford-Young's resonant bass and elevated by sublime flute and Wurlitzer electric piano solos. The seductive title track The Cradle was written way back in 2011 during a time of great personal change that led the composer to a feeling of newness and nurture. The magical, winsome Desert Ride is inspired by many rides through the grandly cinematic Mojave Desert. You can experience how incredibly full of life it's harsh landscape is if you slow down to its tempo. The gentle, sublime Mama is a tribute to mothers of all kinds, beautiful and heroic. Drum Talk was largely improvised, Ford-Young and the band agreed on a topic and recorded their conversation. Choosing their notes based on how Josh's drums were tuned. Like Glass is named for the special properties of Glass. Like some music, glass is delicate, yet has structure. The first of the two bonus tracks Still Dancing was written during the early days of 2020 in response to the challenges we all were facing then. It's a reminder that the figurative dance continues and that real dancing is essential. And the second, The Searcher, also written as a response to 2020, is a gently hypnotic song about the introspection and growth that can spring from a difficult situation.

This then is The Cradle, a quiet self-contained masterpiece, life-affirming and elevating in equal measure and the first offering from a wonderful new voice in spiritual jazz and the latest members of the global Gondwana Records family.

The Dutch six piece put their heads together to create two laidback tunes full of atmosphere and organic magic that blend just the right amount of spontaneity and song craft. The band have honed their sound at home and on stage with sold-out shows in and around Amsterdam, including as support act for bands such as Jungle By Night.

The A side track Loud N’ Stuff is one of those special moments when all the elements just fall into place, coming together in a hungover haze of new wave disco jams and dancing at their studio space in Haarlem. On the flip, Pada Pada combines tropical rhythms and percussion with lush chord progressions to perfectly soundtrack those cocktails by the pool on a wavy summer eve. Both tracks were recorded with Nic Mauskovic, with additional passes on the mixer for dubs and delays, to give the tracks an extra spacey sheen.

Out of the primordial chaos of pandemic and two years since their last full-length outing SUPERSAN, those sassy purveyors of World Dance of the highest calibre return with a bang. Duo's 3rd studio album soon to be released by Boom Selectah Records promises to turn heads and perk ears of the aficionados of Afro House but also has a potential to spill out from the niche and conquer the hearts of wider audiences.The album titled 'Little Dakar' is' the labour of love of two long time collaborators from Greece, Kostas and Valantis. This time their quest for musical purity and honesty is enriched and enhanced by stirring alliances. Scattered inside the audio-tapestry of this exotic wax flower you will find the vocals from 'the voice of Senegal' Jefree, and enchanting strumming from the fret of George Koltsiou. While rich traditions of Senegali music are particularly evident (and reflected in the album title), 'Little Dakar' goes far and beyond the sounds of a steamy Dakar Disco dancefloor. Finely tuned ear is in for a treat and could easily travel the distances between Senegal, Angola, Ghana, Uganda and Mali to name but a few. But you don't have to be an expert to fall in love with this album. The multidimensional colours of African musical heritage are easily accessible to a novice too as the references to better known House and Funk traditions could be heard loud and clear throughout the record.

The early days of the man affectionately known to his peers as Tubbs' are chronicled in some detail in the notes to this LP's predecessor and companion volume, not unreasonably titled "King Tubby's Classics Chapter 1". It's unlikely that anyone who buys Volume 2 will not already have Volume 1, but for the few who don't it's only fair that we start the note with a short précis of the early life and career of the boy born to be 'King ...

Johnny Clarke ruled the dancehall in the mid '70s, using the clever "Flyers Rhythms" that gave some of his tunes an edge with the sound systems. But his voice was always bigger than this and his versatility to sing a wide range of vocal styles has seen him cut through the decades as one of reggae's best voices. Produced by Bunny Lee, mixed at King Tubby's studio, an absolute reggae/roots classic.