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* 2022 Repress ** Profondo Nero compiled by Cinema Royale

Profondo Nero narrates a storyline that goes beyond the borders of Italy’s musical legacy. Cutting across the face of Italo disco’s leftfield musicians between the early and late ‘80s, Profondo Nero champions a multi-faceted sound that nods to the blueprint of Italo disco but tries to dig deeper. The music is unmistakably Italo disco but moves away from the familiar classic sound. Amsterdam based collector Cinema Royale stitches together eleven tracks from 1983 – 1989, celebrating a sound he fittingly describes as ‘leftfield Italo’.

The compilation connects the dots between soulful disco (Louise Freeman – Mirage), synth-pop (Mark – Dreamland), electro-rap (Loukas Thanos – Jazzburger), breaks (Santoro – Lover Message), 80s dub disco (Jet Set – Love Break), Balearic (Isamar & Compañia ‎- No Estas), boogie (Tom Hooker – Talk With Your Body) and proto-house (International Music System - An English ’93).

Profondo Nero’s title salutes the legendary oeuvre of Italian horror director Dario Argento. His Profondo Rosso (1975) is a classic example of exquisite cinematic storytelling, boasting courageous colors, expressionist camera angles and an unforgettable Goblin score forming the ingredients for an intriguing piece of art. Profondo Rosso’s music, created the spark for a new Dekmantel Records endeavor led by Amsterdam based experimental film score connoisseur, record collector and DJ Cinema Royale.

For those in the know of underground Amsterdam music culture, Arne Visser aka Cinema Royale is among the city’s longest standing record collectors. Born to an Italian mother and Dutch father, Arne was brought up on a diet of Italo disco in the 80s. Cinema Royale explains: ‘For Profondo Nero I took a plunge into the lesser known fringes of Italo disco. From there I tried to connect, among others, San Francisco boogie, Balearic, Japanese late era Italo-electro and synth-pop funk. I hope you can hear what I had in mind: an infectious showcase of my take on traditional Italo disco that will hopefully get a lot of listeners itching for a spin. It’s fair to say that lately this particular sound has seen a reappraisal and renewed interest.

As a party-starting collection for entry-level connoisseurs or suave but lazy types, I hope Profondo Nero can be an education. I’m not claiming I’m the first DJ or collector to do so, but I did try do present something special by digging deep.’ It wasn’t my goal to unearth the most obscure tracks, instead I wanted to compose a compilation that takes you on a journey.
‘In my opinion the best DJs create something extraordinary out of illogical selections by combining music against all odds and showing different kind of moods along the way. There’s a certain amount of arrogance involved: you take the music out of its original context. But by doing so in a very conscious way, you might be able to enhance the power of the individual records. Hopefully each song on Profondo Nero provides an intimate and memorable experience.’

When it comes to deep and jackin' Techno with a touch of funk, Jackmate aka Michel Baumann was in a league of his own. As a producer, working in the house-techno spectrum he was able to keep a level of high quality, always trying to push himself and never afraid to try out new ideas. You never new what he would do next and that was probably why so many of us kept following him, checking out a new release and playing his music.

One of the many projects he was working on before he sadly passed away was collecting and preparing a compilation of Jackmate music from his vast archives. The idea was to present tunes from back in the day, or as Michel called them 'Jackmate classics'.

The compilation would also include some of Michel's favourites which he reworked and of course new music, there was always a new Jackmate track waiting to be finished. This vinyl sampler contains all new Jackmate music plus a Jackmate rework of the Soulphiction classic "Masai Mara"

Brighton-based Caldera is a talent behind the decks, but is perhaps even more remarkable in his studio expertise: his subtle productions weave a seemingly effortless sense of pace and texture, groove and abstraction, weight and space. For this colourful outing he channels - in turns - David Moufang, Thomas Fehlmann, Yanneck Salvo, and Sebastian Meissner, with deep techno, sumptuous house and beguiling ambience the bewitching end product.

The album’s seemingly brief tracklisting belies a work of great beauty and depth, and one which turned into a one-man crusade for singer/guitarist Lars Andersson, intertwining deeply personal stories with his love for the era of Romanticism. “Every time I go to a museum and I’m about to pass through the era of Romanticism I stop in awe,” says Lars of the enduring appeal of the 18th century artistic movement. “Whatever it is – stories, paintings, music – it triggers something deep within me, something profoundly human. It really hits a nerve, and it utterly immerses me to a point where I can’t move.” The album replicates this feeling; a gloriously over-the-top blend of Slowdive and Sigur Rós, mixed with the single-mindedness of Daniel Johnston and the noisiness of Nirvana, it’s as bold and beautiful and every bit as ornate as the art that inspired it. Unlike their acclaimed debut, 2019’s All That Ever Could Have Been, which gradually came into focus with a 15-minute opening track, Picturesque hits home from the very first note of the short and sweet opener, ‘Ballerina’. That’s not to say there aren’t epics here – ‘Metamorphosis’ is essentially a 12-minute suite of three movements; blistering closer ‘The Lot’ is 11 minutes of Swans-inspired heaviness – but everything is much more direct and focused. This isn’t an album to lose yourself in, it’s one to get swept away by. “‘More is more’ was definitely the credo when making this record,” agrees Lars. “A big inspiration were bands like Pond and the way they manage to fill their songs up with stuff to the absolute maximum. While I definitely tried to give the listener some room to breathe at certain points and while, in good old post-rock fashion, it still builds up and breaks down, it relies much more on simple melody and harmony as opposed to noisy experimentation to transport feeling.” Never more so than on the first single, ‘The Golden Age’, which is the album’s centrepiece; a soaring slice of über-shoegaze that is so stunning you can’t take your eyes or ears off it. Like all the songs on the album, it’s based around a fairy-tale from the Romantic era. In this case, it’s Heinrich von Ofterdingen by the German poet, author and philosopher Novalis (other influences are: The Steadfast Tin Soldier by Hans Christian Andersen; The Seven Ravens and Hans in Luck by the Brothers Grimm; Undine by Friedrich de la Motte Fouqué and The Golden Pot by E.T.A. Hoffmann), with Lars drawing parallels between the titular character’s mystical and romantic searchings and his own personal quest. This is apt as the album has been an overriding obsession for Lars for the past two-and-a-half years; as well as writing and recording the songs (bandmate Phillip Dornauer played drums), he also mixed and mastered them at his Alpine Audio studio and Picturesque is very much his Brian Wilson or Kevin Shields moment. MOLLY were in the middle of their European tour when Covid hit in early 2020, forcing Lars to retreat back to his home outside Innsbruck and giving him time and space to think about every detail of the record. “Well, I was on a quest I guess,” he admits. “Like everyone, I was stranded at home and at some point I just said to myself, ‘If not now, then when?’ It was an intense process. I’ve worked on music from other bands and artists before but producing and mixing your own music is an utterly different animal. It was probably the most intense thing I’ve ever done, but it was also incredibly rewarding and the feeling of it all coming together piece by piece is incomparable.” The artwork is just as effective. “I think of Radiohead’s OK Computer – what you hear on the record is what you see on the cover,” explains Lars. “We were inspired by what we call ‘wimmelbilder’ hidden pictures in German, a very specific style in art where there are a lot of little things happening. When you see it from further away, it looks organic like a lost painting from the area of Romanticism, but the closer you look the more digital it gets. It’s a nice analogy.” He’s right, it perfectly sums up the conflict between Romanticism and 21st century life. “Romanticism was basically an answer to the Industrial Revolution as well as the social and political norms of the Age Of Enlightenment,” concludes Lars. “Now, we all live in a much more industrialised, materialistic, individualistic and sterile society than any early Romanticist could have ever possibly imagined. Over 200 years later the Romanticists have lost the battle.” With the divine and downright pulchritudinous Picturesque, MOLLY begin the fightback.1.Ballerina 2.Metamorphosis 3.The Golden Age 4.Sunday Kid 5.So To Speak 6.The Lot

Motörhead veröffentlichen ihr 23. (und letztes
Studioalbum) Bad Magic von 2015 noch einmal in einer
erweiterten Version.
"Bad Magic: SERIOUSLY BAD MAGIC" beinhaltet
frisches Bonusmaterial und zwei bisher unveröffentlichte
Tracks: "Bullet in Your Brain" und "Greedy Bastards",
sowie eine glanzvolle Live Performance von der Bad
Magic Tour beim gigantischen Mt Fuji Festival in Japan
2015. Als Bad Magic 2015 veröffentlicht wurde, tat es
einen gewaltigen Schlag und alle, die meinten Motörhead
wären zahmer geworden, wurden eines Besseren belehrt.
Das Album erreichte in Deutschland auf Anhieb die Top 1
Chart Position. Producer Cameron Webb hatte seinen
Anteil daran; er überzeugte die Band, das Album in den
NRG North Hollywood, Maple Studios und Grandmaster in
Kalifornien live aufzunehmen- zum allerersten Mal in der
Ära Kilmister/Campbell/Dee.
Eine der versteckten Juwelen des Albums auf "Bad
Magic: SERIOUSLY BAD MAGIC", ist Motörheads
berühmteste, international gefeierte Version des David
Bowies Klassiker, "Heroes". Ursprünglich sollte der Song
auf Bad Magic (2015) erscheinen, wurde jedoch in der
letzte Minute wieder heruntergenommen. Jetzt aber fand
"Heroes" seinen Platz auf "Seriously Bad Magic".

bbbbbb welcomes powerful split EP ‘Clubs Are Closed Vol.1’ as Bjarki & Kuldaboli and Krokodil drop fresh heat on the imprint.

A hub for boundary-pushing and innovative productions across techno, electro, and beyond, Bjarki’s bbbbbb imprint continues to serve as a must-visit platform showcasing Iceland’s finest talents across its family of core artists. Latest offering ‘Clubs Are Closed Vol. 1’ sees founder Bjarki join forces with bbbbbb mainstay Krokodil to take command of the A-side as they deliver a pair of powerful efforts, while the B-side sees Kuldaboli and Erling Bang combine under their Krokodil alias to close the show.

The release welcomes the long-awaited release of opening cut ‘Ú jeje’, a favourite from Bjarki’s 2019 sets, alongside the rousing, high-octane ride of ‘Karmageddon’ (Deepfake Mix). On the flip, the impactful sonics of Krokodil’s B1 ‘Kops Are Comin’ take hold, a production emerging deep from the archives and already supported by the likes of VTSS and SPFDJ, before closing the package via the warping electro spheres of ‘SurvivinTheDanger’.

Midway Hustle is proud to welcome another one of Chicago's very own "MaddJazz" as makes his first solo 12" debut.

"Introspection" is packed with 5 stellar Chicago tracks ranging from deep and uplifting grooves, to hard hitting acid vibes.

There will be no shortage of "Bang" on the dancefloor!

"Just when you thought it was safe to go back in the bassbins, Mysticisms brings the latest in its Dubplate series. After the success of his first digital dubb excursions on the version, Persian returns with a second 10” of reggae inspired electronics, covering Bass, Breaks, Digidub and now also, Jungle.

Taking no prisoners with the massive opener Survival Dub, Persian marries classic breakbeats and toasting to bouncing, dance floor effect. THE party starter. This is followed by Smoke Mari, a looping steppas of FX and breaks to lay down the Dubplate clash.

As ever the link between rave, breaks and sound system culture is explored, this time with the Roots’n’Lovers opening of There Is No Love giving way to a Junglist drop, before risin’ to a beautiful soul sermon.

Finally, taking it all down, tings wrap with the deep, sampledelic dub of Zatoichi’s Troubles. With a bass to destroy many a speaker, it’s lanquidity morphs from the EP’s hedonism of sound clash styles to a gliding “tokers delight”.

Smoke the Mystery. "

Great Dane Denis Horvat is back on Afterlife with an epic four-track odyssey.

Denis’ penchant for synth-driven melodic techno is evident across all four of these scintillating cuts. Title track ‘Cha Cha’ percolates and throbs, using a distinct vocal clip and exhilarating synth arrangements to create indelible memories. ‘Precious Unica’ brings in vocalist Lelah for a dour journey into our mind’s emotional centre. ‘Momentum Of The Arapaima’ merges unusual percussive elements with a moody bassline and an earworm vocal clip for ultimate dance floor effervescence. Finally, ‘Majstor’ utilises minimal framework to awaken our primitive state, encouraging deep primal expression.

Hot release alert!!! For the next release on Best Record, the storied Italo institution delivers its first original artist album in over 40 years, as Raffaele "Whodamanny" Arcella joins forces with Cosimo "Cosmo" Mandorino for a suite of dancefloor dreamspells called 'Fantasy'. Working under the name CHOP - short for Channel Operators - the duo craft colorized confections of magical motion and ecstatic energy, with atmospheres of infectious disco, future-gazing funk, wavey pop balearica, and booty boppin' boogie beat intermingling, and further enhanced by layers of dub sorcery and saxophonic sunshine. It's a celebratory and soaring adventure of warmth, whimsy, and wonderment, one that pays brilliant homage to the deep history of Neapolitan dance music, while ever forging new paths into the uncharted beyond. Limited edition vinyl release!! Future classic.

Back in stock!

Following in the footsteps of the landmark 1966 double-quartet recording by Joe Harriott and John Mayer, Indian born musician Amancio D'Silva produced some of the most adventurous and sophisticated recordings within the canon of 'indo-jazz', a term used to define a pioneering east meets west synthesis that reflected the shifting musical and cultural landscape of post-war Britain. An experiment which reached a pinnacle in 1972 with D'Silva's seminal recording Dream Sequence by Cosmic Eye (The Roundtable TRZY001), an adventurous fusion of modal jazz and Indian classical music viewed through the psychedelic lens of swinging London. Exotic third-stream jazz conceived by a visionary composer whose virtuosic technique and deeply emotive guitar playing defined his two earlier and now legendary 1969 UK jazz albums Integration and Hum Dono with Joe Harriott, both recorded for the much celebrated Lansdowne label.

Also recorded in 1972 although not released at the time was Konkan Dance, an unofficial sequel to Dream Sequence that further explored the unchartered possibilities of an Indian music-jazz fusion. Featuring many of the same personnel, this session also included support from Don Rendell and Alan Branscombe, two giants of the UK jazz scene who add serious credentials to D'Silva's singular and intimate compositions. For reasons unknown the album was cancelled by Lansdowne at the time and never saw the light of day until being resurrected again in the 2000s. The Roundtable are pleased to once again showcase this important artist and present a new addition of this incredible and almost forgotten piece of the Amancio D'Silva story. Pressed on 180g vinyl and packaged in a custom 1960s-style flip-back sleeve.

Unreleased British Jazz from 1972.
Sequel to Cosmic Eye - Dream Sequence
Includes liner notes and rare photos.
Custom Flipback sleeve.
180g Vinyl

Deep fried to perfection, Manuel Sahagun is next up to the plate for your favourite potato-based label Pomme Frite. A five-track disco house menu, served extra crispy with all the sauce you could ever need. Comfort cuts with summer firmly in mind.

Samosa Records heads into the autumn with a crackling and enchanting EP from one of the masters of funky grooves and dusky beats, LTJ EDITS.

Opening the EP on the A-side, we have the perfectly pitched ‘Somebody’. Tight bassline merges with church- like organ chords, a sharp guitar riff and a soulful vocal that you feel in deep your bones. Meticulously constructed, this track will resonate with anyone familiar with LTJ Edits’ work (and newcomers alike).

A2 brings us the title track, Mr Man. This masterpiece has everything you want from a slow, thumping groove. At 98 bpm, it’s a trademark LTJ Edits smackdown, but oh boy - it has so much more in the trunk. Mesmeric, hypnotic - the familiar smooth mid-range tenor vocal gives you goosebumps on your goosebumps. An instant classic.

The B side kicks things off with mid-tempo stomper ‘Give All’. Make no mistake, this is LTJ Edits in the kitchen cooking soul food with a hint of blues and lashings of rare groove. A rolling, powerhouse of a track that also delivers a message to the masses, you’ll have this one thumping out of your speakers for a long, long time. Everybody needs it. Got to have it.

Finishing off this outstanding release is the cherry on top of the funky cake - simply entitled ‘James’. As soon as the guitar riff and bass starts, you get the meaning behind the title. This is all about the raspy, unmistakeable vocal, chanking guitar and funkadelic, bluesy bassline. A rhythmical, funk infused JB bath bomb from start to finish. After your first listen, you’ll want to go straight back on this ride.

The Mr Man EP is a serious chunk of vinyl and LTJ Edits has found a perfect home at Samosa Records. You have this in your record box and you’re ready for anything.

Today, UK duo Audiojack release their edgy two-track ‘Stay Strong’ EP, out now via Dirtybird, marking their debut release on the label.

Embracing their unique deep house sound, ‘Stay Strong’ lives comfortably on festival main stages and underground dancefloors. Its titular track is an intricate soundscape complimented by layered synths and textured percussive elements. The companion track, ‘In Your Eyes,’ strikes a different tone with its rhythmic breakbeat nature. Ready to leave their mark on the Dirtybird flock, ‘Stay Strong’ arrives ahead of Audiojack’s upcoming debut at Dirtybird Campout this October.

Regarding the EP, Audiojack said, “We made these tracks as the pandemic restrictions were lifting and there was light at the end of the tunnel. We imagined how good it would feel to play loud music again to people who were full of joy and relief at being free again, and we tried to encapsulate that feeling in the music.”

Following the release of their second album, 'Surface Tension', Audiojack are entering what might be called the major phase of their career. This, of course, is not to diminish the solid reputation they have built over the last fifteen years as DJs, producers, remixers and label curators with original releases on labels like Crosstown Rebels, 2020Vision and Hot Creations, remixes on labels including Moon Harbour, B-Pitch Control and Diynamic, and artists like Underworld, Groove Armada and Hot Since 82 who have enlisted their talents for remixes.

Mystery Circles is busy at the moment with a great series of tapes, albums and 7"s all dropping in relatively quick succession. This one is a nice heavy 180-gram vinyl long player with only 100 copies pressed. It's Brooklyn's Tyler Gilmore, aka BlankFor.ms, at his best, if you ask us. His highly textured ambient uses gorgeous spinet piano, dusty and degraded tapes and analog synthesisers to make for something that evokes deep memories and transports you to places you had long forgotten. It is a touching record that leaves an indelible mark.

After spending his debut album exploring techno and mechanical sounds in the depths of the Pas-de-Calais mines, Toh Imago looks up to the sky, with an open breeze on his face, as tree branches and canopy filter out the sun’s rays on Refuge. All the machines used during the album recording are tuned at 432hz, carrying the mystical benefits of Earth’s resonance. Spending just seconds with the opening track, the listener is drawn into the safety that Refuge was intended to provide, and each subsequent piece pulls you deeper and deeper into the album’s forest.

Textextext - (add your write up)

‘Refuge’ was recorded on the edge of the Mormal forest, in the North of France. With nature as a setting and studio accomplice, the album features synthesizers, field-recordings, as well as the acoustic qualities of reverbs from the nearby forest. As the artist’s inner world and nature converge in moments of self-reflection, so the album’s 11 recordings harmoniously unfold in a cavalcade of machines and organic sonorities.

While the first LP 'Nord Noir’ explored his family’s mining past, ‘Refuge' is about being present and the desire to re-contextualize the relationship between nature and humans. It is a record of uplifting tones that is filled with optimism, imbued with the lightness of those who finally reconnect with nature, their roots, and the feeling of groundedness.

Like the steps taken on a walk in the woods, the 11 tracks sonically tell the story of an inner journey divided in three chapters. "Asile sauvage", "Sylve barbare" and “Avril Mormal" take the listener into a fast-paced progression of rhythms. When the heart of the forest is reached, the journey becomes intimate, revealing a sacred space where breathing becomes the leading tempo ("Locus Neminis") and the traveller becomes a spirit lost in space ("Cosmos Intra”). The journey's climax is reached with "Monde intérieur". The album closes with "Chiff Chaff" which accompanies the listener back to a reality, hopefully a more reassuring one.

Across the album, Toh Imago finds inventive ways of opening a dialogue between nature and machine, both literally and metaphorically, creating a soundscape that both feels like and was created by the natural world that surrounds him.

The album offers a shelter from a predetermined world. It’s a story told through ambience, racy and subtle electronics, and the memories of lichens clinging to shoes.

Following the April 2022 reissue of the album Shrimp Boats, We Are Busy
Bodies presents companion titles Plum and Cherry and Deeper in Black
to round out a Lionel Pillay and Basil Mannenberg Coetzee trilogy as part
of the label's As-Shams South African jazz archive series
The connection between these three albums is tight as the 1987 release Shrimp
Boats compiled unreleased recordings from both the 1979 session for Plum and
Cherry and the 1980 session for Deeper in Black. These two rare records have
been carefully remastered from their original tapes and are back in print for the
very first time in over 40 years.Shrimp Boats and Plum and Cherry capture the
extraordinary musical chemistry that existed between pianist Lionel Pillay and
tenor saxophonist Basil Coetzee in the late 1970s. The respective album
showpieces Shrimp Boats and Cherry each occupy an entire side of vinyl with
both exquisite musical journeys clocking in at an epic 25 minutes a piece. While
Shrimp Boats was an instrumental reimagining of the popular 1951 song by
American singer Jo Stafford, Cherry drew inspiration from Abdullah Ibrahim at the
behest of producer Rashid Vally, who wanted to emulate the success of the
famous track that had helped launch his independent As-Shams/The Sun record
label in 1974.
Ibrahim's hit Mannenberg had also featured Basil Coetzee and it was this zeitgeist
South African jazz recording that had given rise to his stage name. Capturing the
grace and vitality of working- class township life on the city fringe, Cherry
channels the type of laid-back Cape groove that Abdullah Ibrahim, recording as
Dollar Brand, introduced to South African jazz in the 1970s. On the flip side, Plum
appears to take its own simple chord change in the same direction before
breaking into a chugging 20-minute romp that verges on proto-electronica and on
which Pillay hangs all manner of savage keyboard riffing and experimentation.
The two distinct flavours of Plum and Cherry make for a well-rounded platter with
an iconic cover featuring the work of abstract expressionist painter and AsShams/The Sun collaborator Hargreaves Ntukwana.

When R.A. The Rugged Man dropped his first album, it seemed like he'd been around for years...and, well, he had. The Rugged Man's storied background includes early 90s collaborations with legends like Mobb Deep and The Notorious B.I.G., plus a few epic appearances on the seminal "Soundbombing" compilations. But until this 2004 masterpiece, he had never released a proper album. Thankfully, R.A. delivered "Die, Rugged Man, Die", a defiant opus that kick-started his journey from industry outcast to independent hip-hop icon. Featuring the classic single "Chains", "Die, Rugged Man, Die" proved R.A. could deliver on a full-length album, and remains an impressive body of work. Now, the previously out-of-print collection is available again on vinyl, complete with new updated artwork. Despite the efforts of doubters, R.A. The Rugged Man lives.

It's an all electronic affair, harmonically maximalist, predominantly symphonic-synthetic, requiring active listening. Some pieces function as challengers of musical structural habits, provoking the short attention span culture, others present a problem-solution scenario, collectively via a neoteric noise aesthetic and detailed melodic weaving. Ultimately, the objective was to engineer an assortment of works full of sound, euphonic and vivid in nature.

The making of this album was intentionally a very personal process, going into self therapy territory at times interpreting the composer's contemplating mind dealing with tolerance, destruction, compassion, misery, grace and tyranny in an auditory manner. Some pieces function as challengers of musical structural habits, provoking the short attention span culture, others present a problem-solution scenario, collectively via a neoteric noise aesthetic and detailed melodic weaving. Ultimately, the objective was to engineer an assortment of works, awash with euphonic sound vivid in its essence, with a deep focus on various synthesis techniques within a compositional framework.

Dedicated to Peter Rehberg aka Pita

Ata 'Sote' Ebtekar composes music with a deeply-held conviction that rules and formulas should be deconstructed and rethought. He alters musical modal codes from their original tonality and rhythmic tradition to achieve vivid, synthetic soundscapes. Over the last three decades, his work has been published by labels such as Warp, Sub Rosa, Opal Tapes, Diagonal, Mute and Morphine, among others. In 2018, he founded a new label called 'Zabte Sote', which focuses on releases by Iranian experimental electronic composers from around the globe.

Known for creating compositions that range from the delicate to the abrasive, using sounds both of acoustical and electronic origins, Ebtekar sees music as the expression of cultural habits in sound and anti-sound (silence). Seeking to expand such traditions he creates music that, while rooted in many cultures at once, belongs to none in particular. Sote's work deals with various blueprints, in particular his solo all synthetic music, his electroacoustic audio/visual group project, and his multi-channel sound installations. Sote is on the jury panel of The DAAD Artists-in-Berlin Program, and has created commissioned work for and performed at a.o. Berghain and CTM Festival (Berlin), Unsound Festival (Krakow), Cafe Oto (London), Jazzhouse (Copenhagen), TodaysArt Festival (The Hague), Bozar (Brussels), Ultima Festival (Oslo), Donaufestival (Krems), Donaueschinger Musiktage, Mira (Barcelona), Terraforma (Milan), and many more.

2023 re-issue, 140g vinyl, reproduction of the classic Tele Music sleeve, full colour insert with liner notes and archive photographs

Wow! Tonio Rubio's Rhythms is a stone-cold killer, a heavyweight library breaks LP and the inaugural release in Be With's new partnership with legendary French library label Tele Music. Yes, you lucky people, there's lots to come. For this extremely special 50 year anniversary re-issue, we've reproduced the classic Tele Music sleeve with a full colour insert featuring rare photographs, fresh liner notes and personal memories of Tonio from the likes of Jean-Claude Vannier, Jean-Claude Petit and Janko Nilovic.

Sumptuous opener “Latin Leitmotiv” is all funky phasing effects and a killer montuno, with what sounds like piano and bass in tandem, stoking straight up Latin fire. The gritty hard funk of blaxploitation groove "Red Medium" is dripping in wah-wah attitude and head-nod oddness. The atmospheric, exotica-tinged "Dead Slow" emulates the languid, sensual afro groove of Quincy Jones’ wild masterpiece “Gula Matari” whilst the proggy, electric jazz fusion epic "Rock 73" is 9+ minutes of moody, rolling menace.

But the *real* highlight of this cult classic - and why it has long been *so* desirable - is the devastating, deep, hypnotic minimalist groove of "Bass In Action N°1". Very much in conversation with Quincy's rendition of "Hummin'", the loping, rumbling bassline and sweet electric piano over clean, crisp drums making it one of those tracks that sounds like a hip-hop beat 20 years ahead of time. Sensational. “Bass In Action N°2“ features Tonio's own vocal scat performance. Remarkable.

Antonio "Tonio" Rubio Garcia got his start playing the double bass in jazz clubs. In 1962, Tonio joined the Golden Stars, the first backing band of France’s teenage idol Johnny Hallyday. A genius musician with a unique guitar sound, he played on standards of French chanson including Serge Gainsbourg and Brigitte Bardot’s "Bonnie and Clyde", Françoise Hardy’s "Tous les Garçons et les Filles", Gainsbourg and Jane Birkin’s "Je T’aime, Moi Non Plus" and Serge and Charlotte Gainsbourg’s infamous "Lemon Incest". Tonio also lent his brilliance to such legendary figures as Janko Nilovic, Jean-Claude Petit, Hervé Roy, and Jean-Claude Vannier. The latter remembers Tonio as “a secretive, mysterious man, with an endearing personality, albeit difficult to reach out to. His virtuosity as a bass player allowed me to write very innovative basslines, because he was able to play any of my eccentricities!”

The audio for Rhythms has been remastered by Be With regular Simon Francis whilst Christopher Stevenson has brought the original and iconic Tele Music sleeve back to life in all its striking glory as the finishing touch to this long overdue re-issue.

WRWTFWW Records is deeply honored to announce the release of Chu Ishikawa & Der Eisenrost’s soundtrack for experimental action drama Tokyo Fist, released in 1995 and directed by legendary director/producer/writer Shin’ya Tsukamoto (Tetsuo: The Iron Man and its sequels, Bullet Ballet, Hiroki The Goblin, Nightmare Detective). Previously only published on CD in Japan, the cult movie soundtrack is available on vinyl for the first time ever and housed in a heavy 350gsm sleeve.
The Tokyo Fist soundtrack gorgeously blends explosive industrial music, heavy percussion, martial rhythms and noise experimentations with contemplative ambient and emotion-filled synth soundscapes, perfectly encapsulating the nihilistic pain felt by the characters of the movie and the brutally visceral rebirth they go through. Ishikawa and Der Eisenrost’s compositions hit hard, sometimes truly terrorizing, sometimes heart-gripping in gloomy and bewitching ways. This is no holds barred music, a venture into the darkest yet most strangely beautiful corners of the human mind (and heart).
The late great Chu Ishikawa was one of the innovators of the industrial and experimental scene in Japan and has collaborated with Shin’ya Tsukamoto on numerous movies. He also worked extensively with Takashi Miike, another visionary filmmaker from his home country. Ishikawa was the leader of groundbreaking Industrial-Metal-Percussion unit Der Eisenrost whose live performances around Japan left an indelible mark on the genre’s history.
This new project by WRWTFWW Records follows previous Japanese soundtracks from the catalogue: Ghost in the Shell, Patlabor 2, Evil Dead Trap…and more to come.

For nearly 60 years, John Cale has been reimagining how his music is made, sounds, and even works. MERCY, Cale’s first full album in a decade, moves through true dark-night-of-the-soul electronic torment toward vulnerable love songs and hopeful considerations for the future with the help of some of music’s most curious young minds. Cale has always searched for new ways to explore old ideas of alienation, hurt, and joy; MERCY is the latest transfixing find of this unsatisfied mind.

John Cale announces MERCY, his first new album of original songs in a decade, out January 20th via Double Six / Domino. For nearly 60 years, or at least since he was a young Welshman who moved to New York and formed The Velvet Underground, Cale has been reinventing his music with dazzling and inspiring regularity. There was the bewitching chamber folk of Paris 1919 followed instantly by the gnarled rock of Fear, the provocative and spare song cycle Music for a New Society followed more than 30 years later by mighty and unabashed electronic updates. Once again, here is Cale, reimagining how his music is made, sounds, and even works. His engrossing 12-track MERCY moves through true dark-night-of-the-soul electronics toward vulnerable love songs and hopeful considerations for the future.

On MERCY, Cale enlists some of music’s most curious young minds: Animal Collective, Sylvan Esso, Laurel Halo, Tei Shi, Actress. They’re only some of the astounding cast here, brilliant musicians who climb inside Cale’s consummate vision of the world and help him redecorate there. Cale turned 80 in March, and he’s watched as many peers have passed away, particularly during the last decade. MERCY is the continuation of a long career’s work with wonder. Cale has always searched for new ways to explore old ideas of alienation, hurt, and joy; MERCY is the latest transfixing find of this unsatisfied mind.



The writings and recordings that shaped MERCY piled up for years, as Cale watched society totter at the brink of dystopia. Trump and Brexit, Covid and climate change, civil rights and right-wing extremism—Cale let the bad news of the day filter into his lines, whether that meant contemplating the sovereignty and legal status of sea ice melting near the poles or the unhinged arming of Americans. Lessons from a life (still being) richly lived floated to the fore, too, nodded to on the previously released “NIGHT CRAWLING.” If we’re always regretting our past, aren’t we conscripting ourselves to permanent disappointment?

During “STORY OF BLOOD,” after the piano prelude gives way to a frame-rattling beat and synthesizers that feel like sunshine splashed across a snowfield, the voices of Cale and Weyes Blood’s Natalie Mering slide past one another, two phantoms trying to find a partner amid the modern din. “Swing your soul,” they both sing in aspiration. In the final verse, Cale remembers this existence is not just about himself. “I’m going back to get them, my friends in the morning. Bring them with me into the light.” The accompanying video by Emmy-winning director Jethro Waters is a mix of disturbing and serene featuring both Cale and Weyes Blood. Its deep tones and religious images emphasize the track’s dark, spiritual mood.

Cale elaborates: “I’d been listening to Weyes Blood’s latest record and remembered Natalie’s puritanical vocals. I thought if I could get her to come and sing with me on the ‘Swing your soul’ section, and a few other harmonies, it would be beautiful. What I got from her was something else! Once I understood the versatility in her voice, it was as if I’d written the song with her in mind all along. Her range and fearless approach to tonality was an unexpected surprise. There’s even a little passage in there where she’s a dead-ringer for Nico.”

New York City"s tape_hiss makes his debut on Darker Than Wax with A Linear Progression, a deep and meditative dance record born out of the pandemic"s paradigm shift. tape_hiss is an accomplished producer by any measure, with early releases on Love Notes from Brooklyn making his hardware-driven sound known worldwide, and a string of follow up releases on Axe on Wax, Just Jack, Lost Palms, and Echocentric Records solidifying his reputation as one of the deepest in the game.




b 1.2 W 4th Street Ace

One of our all-time favourite artists and extended Circus Company member The Mole returns to the label for a proper presentation of his album The River Widens. Originally a limited, cassette-only release via fellow Canadian Eddie C’s Red Motorbike, we are proud to offer this album in its full glory for the first time on all formats.
Never one to shy away from synth deep dives, or raw sample flip collaging, this collection of 21 works checks all the boxes. Ambient trippers to straight up neck-snapping instrumental beats. Not forgetting tastes of the more uptempo, highly-assured and hypnotic dance floor feels the world has come to love The Mole for. Moments of casual chillin are interspersed with effortless, emotive angles, some evoking the charm of his Little Sunshine release for us in 2017.

X-pert Profat opens the set with sly statements that give way to relaxed and subtle keys over gentle, midtempo rhythms. Things switch up nicely into easy, Northwest Coast boogie-meets-beatdown feels inBreak For Ma, followed by a solid array of almost Jaylib-schooled boom bap twists, like the aptly-titled Drums 2002 and Jo Barker. Ambient cuts like AR Dayand New Family offer a refreshing tap of the brakes, setting the scene for the gorgeous, Jarre-esque Weak Stranger. We also get treated to Repepepater’s nod to Detroit house, urban-mode Balearic feels on They Work For Mr. O, and sneak
attack lo-fi future funk in the form of UFOs Over Egypt, with Montreal co-pilot Cristobal on a wild shisha-lit vox narrative, earlier versions of which have blessed many of our label comrades’ DJ sets, from Dave Aju to Vincent Lemieux.
The River Widens expands beautifully on the breadth of unique musical directions The Mole is capable of taking us in, now spread across fresh 2x12” vinyl and available digitally for the first time, along with another limited edition cassette run - we hope you enjoy the ride as much as we do!

Next up, a luscious cut from two of London's freshest producers, Ollie Rant and Malaika. Dreaming EP capers gleefully between buoyant garage house, old school jungle, soulful deep house and undulating electro. Each track offers a fresh take on a holistic mood, warmth and playfulness radiate from every corner. This one is perfect for almost any situation whether it be a sweaty dancefloor or a solo bedroom rave.

THE PLAYGROUND is back in the fold, inviting deep house connoisseur KEZ YM around for a second time. A side features two lush & groovy beatdown tracks that make you lose sense of time. The flip side delivers a funky up-tempo bass heavy banger with a remix by Detroit don RICK WADE.

BOO WILLIAMS blasts off on another deep space mission via TRAX RESEARCH with VIRTUAL TECH sounding like the soundtrack to house party on Mars along with CONTINOUS PLAY channeling a new style of wild pitch. Limited heavy weight colored vinyl. Collector's item one-sider

Debut solo album by Dave Rowntree, best known as the drummer in Blur. It"s a record set to surprise many people, being an electronic-based album with orchestral fringes, filled with great, tuneful songs delivered by Rowntree"s assured and expressive vocal performances. While down the years he"s provided backing vocals on many of Blur"s albums and onstage during their live sets, this is the first time the drummer has stepped up to the microphone as a singer in his own right. He says he didn"t particularly find the prospect daunting. Produced by Leo Abrahams (Brian Eno, Ghostpoet, Wild Beasts), featuring co-writers including Gary Go and Högni Egilsson and stirring orchestrations recorded in Budapest, Radio Songs is a sonically expansive, but also deeply personal record.

Red Vinyl

"Platinum Scatter is a trip along the fringes of music that could still be classified as drum and bass but without the obvious markings of the genre while meeting and merging with forms of techno or music from the wider bass spectrum. I designed this album to be something of a focused journey that should work equally as a cerebral listening experience as much as it should function in clubs. I consider this to be my most conceptual body of work to date, and I hope that you will enjoy its approach to multi-layered rhythms and minimal but striking forms."
- Current Value

BLUE MOON PHASE VINYL

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

Following on from the first edition released earlier this year, Les Disques Bongo Joe are pleased to announce "Ayiti Kongo Dub EP#2" by Chouk Bwa & The Ângströmers. Following on from 2020s acclaimed album Vodou Ale, Chouk Bwa turn up the heat for this exhilarating trip into their bush of ghosts by introducing a new stripped down line-up to fire up the dance floor, based exclusively on the drums and rhythms of the Haitian kongo rite and deep electronic dub expansions by their trusted Belgian counterparts The Ângströmers. As Afro-Caribbean polyrhythms meet bass-weight dub electronics, the two part EP has documented the group experimenting with a stripped back form which focuses on the dimension of trance. Opening with a cermonial chant and designed to enduce dancefloor delirium, the first track taken from the EP is the raw, high-octane, primordial techno of "Zemedo".

The boundless talent of Amir Alexander shines through on The 88 Keys. A three track conceptual EP that intertwines masters of classical composition and the extended Dj set, culminating in an encapsulating at home or in the club.

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

Orange Vinyl

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

Red Vinyl

It has been exactly ten years since Finders Keepers first intrepidly entered Andrzej Korzyński’s cavernous musical vault, but it is only today that we are able to proudly announce the safe retrieval on what we consider the true heavy psych holy grail of the Polish composer’s mind-bending oeuvre. By cruel coincidence this welcome event has sadly come during the same year as the composer’s tragic passing. However, in true Korzyński style, alongside his previous Finders Keepers releases, the legacy he has left behind in this one final lost soundtrack project alone has come with musical riches beyond anyone’s wildest expectations.

The comprehensive elusive archive of the deeply psychedelic soundtrack to Andrzej Żuławski’s forbidden film Diabeł (The Devil) is perhaps the most detailed dossier one could wish to find – including audio sketches, rejected proposals and pre-butchered variations that play out like an intense and veritable creative conversation between the director and the maestro, both of whom are widely recognised as true mavericks of socialist-era Poland’s fertile artistic landscape. Never intended for anything as conventional as a straightforward movie tie-in promotional disc (state owned Eastern European record labels rarely did this), the music in this archive has required special forensic inspection. Let’s say the devil is in the detail. The 7” record you are now holding is more than just a companion piece, and it is far from a selection of the (non-existent) poppy title themes to promote a full feature-length album. This standalone release is wholly unique in its own right, giving Finders Keepers listeners a final access all areas snoop into the mind of one of the pillars of our alternative musical community.

As those familiar with Żuławski and Korzyński’s long-running relationship will understand (a methodology best exemplified in the schizoid soundtrack to the film Possession), their exchanges were deeply nuanced and often complicated, with lots of artistic “tennis” thrown into the mix. The key plot in this behind-the-scene fable is that after delivering his original off-kilter psychedelic score to the director, maestro Korzyński was asked to make the music “totally unique, like something from another planet”, to which Korzyński took his tapes, pulled down the vari-speed to a guttural grind and continued to recompose over the top using avant-garde electro-acoustic techniques while deploying psychedelic skills of guitarist Winicjusz Chróst. This limited record release proudly boasts Korzyński’s original uptempo awkward psychedelic pop music prior to the doom laden growls that make the official films soundtrack a true Goliath of Eastern European soundtrack composition. Which, when recontextualised, will stand as a veritable face-melter for stoner rock fans. As one of Finders Keepers deepest conquests, we are delighted to share The Devil Tapes… What is a grail without the wine.

The increasingly vital Jorkes makes a big step up to the acclaimed Live at Robert Johnson label with her standout Sweet Dreams EP. As with all Jorkes EPs, the artwork features photography shot by Daniel Rajcsanyi.

Jorkes has been making big and bold moves recently. She is the co-founder of the unique Freeride Millenium label which is a hotbed for queer dance music. German-born but Austria based, she has an influential residency at Radio 80000 alongside ParisBöhm and is a resident at Stuttgart's Romantica where she plays a thrilling mix of disco, house, techno and everything in between. She is someone who always serves to highlight the importance of the dance floor as a place of sexual and cultural liberation and this new EP is another innovative statement that comes as she rides a wave of high profile radio, DJ and media support for recent outings on her own label.

Opener 'You Will be Mine' is a song about obsessing after an unattainable stranger on the dance floor who disappears into the night. It's a silky disco house sound with chords that sing and a floating bassline that lifts you off your feet. The melodic motifs bring charm and cosmic energy and the whole track has a lush, musical feel. The equally excellent 'Robot Lover' muses on human detachment in this technological era of internet porn, dating apps and screen obsessions and how a robotic lover might be a better fit than a real life partner. It is another elastic and disco-tinged rhythm, with elegant chords and dancing keys over a suspensory bassline. Intimate vocal whispers bring tenderness to this timeless track.

On the flip side, 'Sweet Dreams' layers up infectious claps and tinny percussion over an irresistible deep house groove. It's a widescreen, symphonic sound that brings very real but subtle joy and closer 'CDEvaLo' is the name of a crossdressing male-to-female and sex-worker friend of Jorkes. She sings the introduction lyrics in Greek and they translate as "It was a very beautiful day, while we were sitting at the park we thought of going out for a coffee and realized we have no money and are absolutely broke. So we discussed about who is gonna put the wig on to "go and make a visit“ Greek slang for sex work so we'll have money again." It is a comment on the number of young people who arrived in Athens over the years to do cross-dressing sex work after being kicked out by their Orthodox Christian homes. The track flips the script with a more playful disco sound, characterful vocoder vocals and glossy synths over a jacked house beat.

This is an expansive EP that shows off the different sides to Jorkes's unique sound.

A pure journey inward into the headspace of an artist, that reveals his gaze at the earth-ly zones he walks in: “Song for Joni”, the new album by Japanese musician Shunji Mori, brings pure natural music full of artificial nuances who create in conversation with ana-logue tones a new kind of musical nature, loaded with vibrant seasons, unknown to us, the unwise humans. moreover, the album is a fine continuation of Japan’s rich ambient leaning music traditions, carrying them into Lorren Connor’s like pending guitar galaxies.

In the 1990s Tokyo based Mori was part of the trip hop, nu-jazz, deep house, and down-tempo duo natural calamity, releasing a string of albums and EP’s on labels like legend-ary London based imprint Nuphonic, Japanese Idyllic Records or Down 2 Earth Record-ings.

In 2003 he launched the instrumental guitar duo Gabby & Lopez with his buddy Masayuki Ishii. Together they created three albums and performed live. Additionally, Mori plays improvisational concerts with Japanese musician, multi-instrumentalist, and stage direc-tor Daiho Soga and finds time to invent his very own, charismatic guitar music.

His solo work now finally gets introduced with a full-length album for Studio Mule, con-sisting of recent and a decade ago compositions, all merely recorded with the electric guitar, pedals, and field recordings.

In the center of “Song for Joni” is the guitar, spreading longing, drifting melodies. Free floating, yet deeply felt compositions, performed in an accurate journey music style. around the string notes, ambient landscapes soar and vanish.

In some moments, the guitar works like a slow-mo yacht rock lead, flying speed less over and under imaginative sonic clouds. Then, Mori’s music distributes psychedelic ef-fects in the tradition of krautrock legends like Günter Schickert, just without the echo fuzz.

Additionally, in warm vibrating seconds, his creations remind on the calm flashes in the musical work of English photographer, musician, and artist designer Steve Hiett, while Mori’s ambient spheres come close to the magic vibe of records like “Pier & Loft” by his fellow countryman Hiroshi Yoshimura.

A mixture, that transports considerate listeners into the meditative world of Shunji Mori, a calm island of bliss, made for all those that follow the heedful path of life.

Soul Jazz Records are releasing Count Ossie and The Mystic Revelation’s seminal 1975 album Tales of Mozambique in an expanded double album/single CD/digital format, fully remastered and with the inclusion of two bonus rare single-only tracks, full sleevenotes, exclusive photographs and interview.

Count Ossie is the central character in the development of Rastafarian roots music, nowadays an almost mythical and iconic figure. His importance in bringing Rastafarian music to a populist audience is matched only by Bob Marley’s promotion of the faith internationally in the 1970s.

Count Ossie’s drummers performed on the first commercially released single to integrate Rastafarian traditional music with popular music: the vocal group The Folkes Brothers’ groundbreaking song ‘Oh Carolina’, recorded for producer Prince Buster in 1959. In 1966 his drummers greeted the momentous arrival of Haile Selassie at Kingston airport.

His legendary jam sessions up in his Rastafarian compound in the hills of Wareika, Kingston, are famous for the many Jamaican musicians who attended including The Skatalites players – Roland Alphonso, Don Drummond, Johnny Moore, Lloyd Knibbs – and many others.

The Mystic Revelation of Rastafari formed in Kingston, Jamaica, in 1970, a union of Count Ossie’s Rastafarian drummers – variously known as his African Drums, Wareikas or his Afro-Combo – and the saxophonist Cedric Im Brooks’ horns group, The Mystics.

The Mystic Revelation of Rastafari are the defining group in bringing authentic Rastafarian rhythms into the collective consciousness of popular music, their unique music is at once rooted in the deep traditions and rituals of traditional drumming and chanting alongside a forward-thinking, even avant-garde, artistry influenced by the likes of John Coltrane, Sun Ra, Pharoah Sanders and other pioneering African-American jazz artists radicalised and charged by the civil rights movement of the 1960s.

Tales of Mozambique is a truly unique and fascinating ground-breaking album.

Count Ossie and The Mystic Revelation of Rastafari are the central group featured on Soul Jazz Records recent "Rastafari - The Dreads Enter Babylon” a collection showing the influence of Rastafari in Reggae and Jamaican popular culture.

Soul Jazz Records will also be releasing Count Ossie and The Rasta Family 'Man From Higher Heights’ in the near future.

* Bonus tracks

REVIEWS

" All roads in Rastafarian roots music lead to Count Ossie.He’s the lead character in this compelling subplot, the musician who was one of the first to put Rasta tenets into the heart of popular music.

He did so from his camp in the hills above Kingston, Count Ossie and his drummers casting a spell on the musicians who gathered to check him out and then went on to spread the word about the powerful nyabinghi rhythms and mesmerising percussion.

This is a reissue of the 1975 album Count Ossie made with his Rastafarian drummers and saxaphonist Cedric ‘Im’ Brooks’s group The Mystics.

It’s a groundbreaking, majestic work, by turns righteous in tone and joyous in execution. It’s the sound of Ossie and his ensemble narrating a history lesson and you’d be daft not to want to find out more." IRISH TIMES

Formed in 2014 in Chicago by partners Joshua Condon
and Eliza Weber, Glyders have kept busy, lighting up
shows around town and country ever since then with their
mystery sound, on the road when and where they could
from here to Europe, taking time also to self-release a
couple of EPs (‘DIM’ and ‘Lend a Hand’).
 Fuelled by Josh’s spectral vocals and the liquidity created
by his guitar and Eliza’s bass, Glyders’ mazy spacecraft
takes to the air from the empty parking lot out back of the
roadhouse and finds in its arc an anodyne of the trippy and
the wiggy / ghostly places lost and found. Glyders have it
both ways, rocking the white line with fervour but also
stopping to soak up the fragrance of the purple sage and
the queen of the night by the side of the road.
 They’ve cut their records at home, with Josh delving deep
in the pleasures of analogue recording, finding the
embodiment of their subterranean fascinations with twists
and turns of the dial in a space they’ve dubbed the Juicy
Lagoon. Steeped in the pop and psychedelic enigmas of
rock and roll yore, the buzzing of tubes and transients and
uncontainable rumble, Glyders make it shake and live in
front of the tape machine and real audiences alike with a
flexible, expansive palette of sounds and a tight bunch of
songs.
 For their first vinyl full-length, the watchword, as ever, is
‘maximal minimal’. These kids are up around the bend and
in it for the long haul. After a few line-up shifts over the
years, they’re settled down with drummer Joe Seger and
are fixing their sights on the far horizons. If you see
Glyders choogling down the track, pull up and get set for
‘Maria’s Hunt’.

Formed in 2014 in Chicago by partners Joshua Condon
and Eliza Weber, Glyders have kept busy, lighting up
shows around town and country ever since then with their
mystery sound, on the road when and where they could
from here to Europe, taking time also to self-release a
couple of EPs (‘DIM’ and ‘Lend a Hand’).
 Fuelled by Josh’s spectral vocals and the liquidity created
by his guitar and Eliza’s bass, Glyders’ mazy spacecraft
takes to the air from the empty parking lot out back of the
roadhouse and finds in its arc an anodyne of the trippy and
the wiggy / ghostly places lost and found. Glyders have it
both ways, rocking the white line with fervour but also
stopping to soak up the fragrance of the purple sage and
the queen of the night by the side of the road.
 They’ve cut their records at home, with Josh delving deep
in the pleasures of analogue recording, finding the
embodiment of their subterranean fascinations with twists
and turns of the dial in a space they’ve dubbed the Juicy
Lagoon. Steeped in the pop and psychedelic enigmas of
rock and roll yore, the buzzing of tubes and transients and
uncontainable rumble, Glyders make it shake and live in
front of the tape machine and real audiences alike with a
flexible, expansive palette of sounds and a tight bunch of
songs.
 For their first vinyl full-length, the watchword, as ever, is
‘maximal minimal’. These kids are up around the bend and
in it for the long haul. After a few line-up shifts over the
years, they’re settled down with drummer Joe Seger and
are fixing their sights on the far horizons. If you see
Glyders choogling down the track, pull up and get set for
‘Maria’s Hunt’.

Barely heard in his lifetime (1961-2002) but hailed as an outsider hero of ur-punk since 2009’s ‘Cosmic Lightning’ compilation, J.T. IV strikes back!

15 unheard-of tracks found on an obscure cassette tape make the schizo split in his music - rabid rock & roll fantasy and cold-eyed acoustic introspection - an epic. ‘The Future’ is J.T. IV’s mad magnum opus.

The 2009 comp LP, ‘Cosmic Lightning’, cast his tragic silhouette up on the big screen
for all to see: the lost boy, alone in the world, standing before the mic and releasing
his inner star with glee and vengeance, his antisocial visions flying high atop a raging
funnel of distorted guitars and blunt rhythms. Or couched, childlike, within a heart
breaking billow of acoustic guitars - a schizophrenic split that only magnifies the
display of his deep emotions.
‘The Future’ goes even further, excavating fifteen recordings from a previously
unheard-of cassette entitled ‘The Best Of Johnny Zhivago Retrospective 1979–1993’,
and adding four more uncollected tracks from his slim (and impossible to find
anyway) discography.
Of these nineteen tracks, eight are covers - and J.T. IV’s picks, from Velvets to Mott
the Hoople, Roxy Music, Lee Hazlewood, The Kinks, Eno and Stephen Sondheim,
sharpen our image of the misfit adrift; on the outside looking in, but maybe just a few
steps away from his goal.
‘The Future’ unfolds like an epic, as both sides of J.T.’s persona - the street-smart,
damaged rocker and the heart struck poet of the scene - live on together in the best
performances of his short career.
A punk of the old order, John Henry Timmis IV was born in 1961 into a dysfunctional,
abusive and eventually broken family. By the mid-70s, he was desperate to get out,
running away from his mother’s home several times while still a teenager living in the
greater Chicagoland area. At wit’s end, she had him committed to the Menninger
Clinic for a year or so. Released on his own reconnaissance, he began his meteoric
ascent to the mythic level of self-aggrandizement in which he appears here. Inspired
by the underground, proto-punk sounds in the air (the likes of which any sharp-eyed
young thing might chance upon in the back pages of Creem, Crawdaddy, Trouser
Press, etc.) and desperate to be heard himself, J.T. presented like the scabby
younger brother of Bangs and Laughner: born only to rock, his musical conception a
rabid personality crisis of proselyte elitism and nihilist excess.
Now, 20 years on from his passing, ‘The Future’ is ever farther away from the world
in which he struggled so mightily - but his stinging iconoclasm, whether screamed
from Marshall amps or mic-ed up close, feels ever more powerfully infused with his
unique breadth of illness and essence.
These songs represent the two sides of J.T. - and while they emanate from the 80s,
they find themselves potently renewed in the polarized world of today, making ‘The
Future’ a worthwhile destination for everyone who ever had a heart touched by the
transgression and freedom promised by rock & roll.

Sacrifice is Motörhead’s 12th studio album and was originally released on 27th March 1995. It is the second, and last album to feature the four man line-up of Lemmy, Phil Campbell, Würzel and Mikkey Dee. Lemmy, proud of the album is quoted as saying “This is a very good album. Put it in your system and your girlfriend’s clothes fall off.” The title track was still a live favourite up until the band came to an end. BMG are reissuing this album as orange vinyl and digipak.

Composed of rhyme-vets Pawz One and Evolve are Random Act Of Violence! The duo's self-titled release is chock-full of grimy bars over bangin' beats for the head-nodders.

Lead single "Sixteen Shots" is a boom-bap bar-brawl set to a crackin' instrumental (produced by EQ) with DJ Eyeball adds cuts to and featuring additional lyrical firepower from none other than Copywrite.

Another track from the project is "Vaultures". Speaking on that track Pawz revealed "the concept of that one was inspired by seeing a lot of these types in the game. The hook was inspired by Mobb Deep, these half-way-crooks bunched up to make each other feel tough and validate themselves."

Hailing from Los Angeles Pawz One has been repping the real and releasing music for the past decade. Most recently he teamed up with 90's West Coast vet Mykill Miers for the aptly named "Double Homicide" album and has also appeared on tracks with such notables as Ruste Juxx, Sadat X, Percee P, Shabaam Sahdeeq and DJ Rhettmatic.

Based out of Donna, Texas, Evolve has released over twenty albums through his Boom Bap Masterpiece Records label. He has collaborated on tracks with such notables as Chino XL, Fatlip (of the Pharcyde), Esoteric, Mickey Factz, Blueprint and many more. Touring the country over the past decade he has also shared stages with the likes of Raekwon, Murs, R.A. The Rugged Man, Masta Ace and Immortal Technique among others.

Red Vinyl

Adrian Borland and Graham Bailey might be better known as members of legendary post-punk group The Sound, but the two were childhood friends and had been playing together even earlier in The Outsiders, and continued their deep musical rapport as a duo, creating these intense and engaging songs as Second Layer at the same time as their higher profile band output.

Combining their early recordings, including the 1979 Flesh As Property EP and 1980 State Of Emergency EP, Courts Or Wars takes its title from the first song that served as the pair’s introduction to listeners. Right from the beginning you are enveloped in what The Quietus described as, “a monochrome worldview morbidly obsessed with the dehumanizing effect of war, nuclear weapon annihilation, and the fracturing and negation of the self within an increasingly distorted and technologically mediated society.” Where The Sound fit snugly next to Echo And The Bunnymen, Second Layer had far more in common with the pulsing menace of Suicide.

Borland’s familiar vocals and sense of melody hold a connection to his other songwriting, but within these songs he takes far more risks in his guitar work to suit the subject matter. What really drives everything is Bailey’s propulsive bedrock, formed by his homemade pre-drum machine rhythm generators, creating an innovative mechanical approach that somehow inserts a jittery neurotic touch that merges perfectly with his electronic layers driven by the wasp synth, various unique effects boxes or tape loops. Adding in Bailey’s own distinctive bass playing, the results feel personal and experimental, pointed and harsh, while also bracingly accessible and covered in dark manic energy.

Over forty years later, these recordings feel shockingly appropriate. In painting a bleak reality and frightening future, there is real desperate beauty here.

Distant Echoes returns to non series with his second solo ep on the label on a stunning, deep and hypnotic 5 tracker ep.

Welcome to the realm of creator and mentor Michael Wadada, the man behind the exotic manoeuvres of Suns of Arqa, one of the most sought after world beat fusion project of the early eighties. His main goal was to increase the vibrations of classical Indian raga with the rhythms of Niyabinghi drumming, epitomized in England by contemporary dub producers. Released in 1980 on Manchester’s own Rock Steady Records, Revenge Of The Mozabites is an essential masterpiece paving the way for future over the border contamination. Deeply informed by cosmic mysticism the album still reverberates with the hidden sounds of earth & soul.

New release on 0 Records by hashman and c3d-e - deeply recycled full record length electronic outings of all formats - a lot of music to listen to. I mean, I know that there is a lot of shit out there on this stuff. The only thing that sucks is how easy it is. I mean, you look at a bunch of new music, we're just so small, so… shit. Anyway, the thing that actually sucks is there are so few tracks in this song that don't have the right mix, I mean, listen to every single thing! So, there are so many different things out there.

BBE Music continues its highly acclaimed J Jazz Masterclass Series with Kemo Sabe, the
debut album from pianist Masao Nakajima. Recorded in 1979 on Yupiteru Records, it’s an
elusive beast in the field of J Jazz and balances delicate and refined playing with power and
vigour.
The Kemo Sabe album features bassist Osamu Kawakami, who has performed and
recorded with such J Jazz figureheads as Sadao Watanabe, Isao Suzuki, and Kunihiko
Sugano. Sax duty is by Toshiyuki Honda, leader of the popular fusion group Burning Waves.
On drums is Donald Bailey, the noted American drummer most known for playing on classic
Jimmy Smith Blue Note sessions. Bailey lived and worked in Japan for a number of years
from the late 70s and recorded several album dates with local artists such including Keiko
Nemoto, Isao Suzuki and George Kawaguchi.
Recorded at the height of the electric fusion era, Kemo Sabe is an avowedly acoustic album,
which may account for the small sales and low profile of the album at the time. The
propulsive title track, written by New Zealand jazzman Mike Nock, was gifted to Nakajimsan when they briefly met and was featured on J Jazz: Deep Modern Jazz From Japan vol 3.
The reissue’s liner notes features an exclusive interview with Masao Nakajima himself,
discussing his career and background to the album.
The BBE J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden and is
dedicated to presenting the very finest in Japanese jazz. The series features rare, long-lost
and unreleased material presented in the highest quality reproductions of the original
releases, fully licensed and authorised.

Dj T-Kut y Dj Player proudly present a essential tool for begginner and advanced deejay players. You can practice skratch endless. 12 Loop tracks. You can find 2 different speeds 100 BPM and 133 BPM for UltraPich use, optimizing at maximum the use of the vinyl. This is a new limited version presented in 7" format in colour highlighter yellow vinyl to enjoy in both ways of this wonderful LP. Great release for the veteran guys in the house.

Acclaimed producer and in-demand collaborator (Lee Ranaldo, Rosalia, Lina_Raul Refree) Raul Refree returns with his second solo album for tak:til/glitterbeat. A kaleidoscopic but seamless mashup of soundtrack music, post-classical meditations, Iberian traditional elements and experimental strategies. Deeply immersive

On their transformative debut album Nakshatra, violinists Trina Basu and Arun Ramamurthy reach both deep into their past and high into the celestial realm, culminating in a lush and spiritual collaboration that bridges traditions and defies genres

A Sanskrit word evocative of constellations, stars, and interconnectedness, nakshatra perfectly encapsulates the album's expansive sound, which quite surprisingly, is made by just two violins vibrating together in sublime harmony.

Profoundly intimate yet bearing a cinematic gravitas, this work five years in the making conveys a feeling of two souls in conversation spanning hundreds of years into the past and the future. Basu (Karavika) and Ramamurthy (Arun Ramamurthy Trio) are deeply rooted in traditions of South Indian classical music, Western chamber music, and jazz, uniquely positioning them to create a sound that feels ancient, orchestral, and contemporary or as The New Yorker put it, "free- flowing and globe- spanning.

Through the duo's grounding in tradition paired with their fluency in improvisation, the compositions on Nakshatra have a clear architecture, which allows space for
their two violins to be deliciously indiscernible while shining individually. Basu
says of the duo's collaboration, our hope for our music is to be a meeting point for
the tradition of South Indian classical music raga music that Arun comes from
and Western classical music and creative improvisation that I come from, and
bring these pieces together in a way that creates a sound that reflects who we
are, a sound that reflects our multicultural background, and our experiences in
this world."

Celebrating a momentous five decades in the industry, legendary
musician and songwriter Paul Carrack, who's 'Golden Voice' features on
numerous classic world wide hits such as 'How Long' (ACE') ,
'Tempted' (Squeeze), 'The Living Years', 'Over My Shoulder' ( Mike and the
Mechanics) teams up with the GRAMMY Award-winning SWR Big Band &
Strings on epic new album " Don't Wait Too Long"
The covers album celebrates the pioneering golden era in music from the 50s and
beyond spanning blues, gospel, country and jazz. The first single "Cryin' Won't
Help You" out in Jan 2023 is Paul's tribute to the legendary BB King.Paul has a
deep love of R&B songs from the fifties and beyond. For him, 50s music was filled
with intense emotion, it was wildly kinetic and had a profound impact on his
career. In Paul's mind, it's where all modern pop music began, the sounds were
spectacular and revolutionary. Days when the change from jazz to pop was
stretched via pioneers and great singers like Bobby Bland, Ray Charles, Aretha
Franklin, and Lloyd Price..These artists always resonated as fantastic performers
with stylistic records that had such joy and intensity.
The 50s were not only a time for musical revolution but a social and generational
upheaval of vast and unpredictable scope. The power of this music is as vital
today as it ever was with the power to change lives forever.
After working with the SWR band on a number of projects, Paul and his producers
had the idea to find and record a selection of these time-warped classics, some
well- known, others not so much, and the title track , a modern song that harks
back to those times called 'Don't Wait Too Long'. The result is an impassioned,
compelling album. Honest, epic, touching, the album showcases a great vocalist
who is at home with his art and talent.
NATIONAL TV & RADIO.BBC Breakfast - Will take first week Jan / BBC Radio 2 -
Cerys Matthews - First Week Jan / Talk Radio - 2nd week Jan / Sky News - Beth
Rigby Interview - Second Week Jan / Greatest Hits - First Week Jan / GB News -
Live Interview via Zoom First Week Jan / Talk TV - Live Interview via Zoom first
week Jan / Ch 5 News - TBC week 2 Jan / ITV News - 2nd week Jan

Following the release of the limited edition gatefold edition last summer, Ferry Djimmy's obscure afro masterpiece 'Rhythm Revolution' sees its original-form reissue for the first time on 20 January. Number 2 among Rough Trade's 'Reissues of the Year' for 2022, this edition is pressed on red vinyl. The album was originally recorded in the mid-1970s in support of Benin's revolutionary leader Mathieu Kérékou. Rumour has it that less than two hundred copies survived a late-'70s fire. It is one of the toughest and deepest slices of African funk ever cut, combining raw African rhythms with distortion, energy and wit. In spite of obvious nods to James Brown, Fela Kuti, George Clinton and Jimi Hendrix, Ferry managed to create something very unique.

Back in the early days of GAMM we used to release Hip Hop reworks of classic golden era favourites.

After tons and tons of Disco, Jazz, House and Latin reworks we thought it was time to bring it back to the streets of the American east coast with a three part 7" inch series produced (not edited) by the mighty Lee Gomez aka Wipe The Needle.

The beats are all brand new production but you'll probably recognise the vocals.
Over the 3 releases you'll hear shades of inspiration from classic producers like Pete Rock, DJ Premier, Dilla and DITC.
It almost sounds as if these are the original productions. No joke...it's that strong!!

Back in the early days of GAMM we used to release Hip Hop reworks of classic golden era favourites.

After tons and tons of Disco, Jazz, House and Latin reworks we thought it was time to bring it back to the streets of the American east coast with a three part 7" inch series produced (not edited) by the mighty Lee Gomez aka Wipe The Needle.

The beats are all brand new production but you'll probably recognise the vocals.
Over the 3 releases you'll hear shades of inspiration from classic producers like Pete Rock, DJ Premier, Dilla and DITC.
It almost sounds as if these are the original productions. No joke...it's that strong!!

Hot off the heels of Official UK no.1 and soundtrack to the first summer after lockdown Afraid To Feel, skyrocketing duo LF SYSTEM satisfy fans' cravings for a powerful disco anthem with follow-up single Hungry (For Love).

Still relishing in the success of Afraid To Feel, the duo have now earned over 150M total global streams, landed Clara Amfo’s ‘Hottest Record’ on BBC Radio 1 and certified Platinum, all before being crowned the Official UK no.1 after rocketing past Beyonce, Harry Styles, Drake, George Ezra and knocking Kate Bush off the no.1 spot.

Remaining there for eight consecutive weeks as the longest running no.1 record of 2022 behind Harry Styles, Afraid To Feel is the longest running dance no.1 in chart history, matching Calvin Harris’ One Kiss and cementing the nation’s appetite for a credible dance smash.

Now set to share a slice of Scotland across the UK with their new release, LF SYSTEM will host the ultimate pattie parties with pop up raves at independent fast food chains across Edinburgh, Manchester, and London. Meanwhile, later this month LF SYSTEM will give 100 fans a chance to hear Hungry (For Love) for the first time in an exclusive live set at Metropolis Studios with a special vinyl pressing that features Afraid To Feel on the b side, marking the first time the smash hit will be available on vinyl since its release.

For Conor Larkman and Sean Finnigan of LF SYSTEM, their success follows humble beginnings in the Scottish countryside, playing football against each other as teenagers on rival teams and raving at Scotland’s best clubs. They give credit for their dance hits to home village parties, soundtracked by Motown where Sean's Dad would share classic 70s records with them to dig into. Naturally, LF SYSTEM soon dropped disco edits of their own in 2020 including Dancing Cliché, which Danny Howard discovered and played for nine weeks on his BBC R1 show, earning over 4M streams and further plays from Sarah Story and Charlie Hedges.

Since then they have captured the attention of the whole industry and have played a bucket list headline Boiler Room set in Edinburgh, marking a full circle moment for the lads who were previously club residents for its promoters FLY CLUB. Continuing a flourishing tour schedule across the summer, LF SYSTEM graced BBC Radio 1’s Dance Party Weekend in Ibiza, played b2b with Danny Howard at Amnesia and sold out their first headline show at Night Tales in London.

Hungry for their next anthem, LF SYSTEM demonstrates a soaring dexterity of two ambitious producers deep in their creative prime, now whisking up a weapon exuding vibrancy and disco-edged orchestral joy. Sampling Sandy Gang’s bubbly 70s record Hungry and featuring warm sonic textures blended with rousing strings, Hungry (For Love) is set to leave fans drooling for more.

LIXTP, the collaboration between Love International Recordings and the Test Pressing website, yields its second release following 2021’s label debut from Fantastic Man.

This time it falls to Test Pressing founder Paul Byrne AKA Apiento to open 2023’s account with the simmering ‘Escape Reality’ EP.

Having carved out a prestigious career over the years, as A&R for Junior Boys Own, International Feel and Test Pressing labels, and releasing his own Apiento productions on Music For Dreams, World Unknown and World Building, Apiento goes in deep across six tracks of esoteric electronica and transcendental dance.

The influence of Detroit techno can be found in the complex drum work and dreamy synths of tracks like ‘Those Busy Circuits’ and ‘Axis’, whilst hedonistic dance vibes are served up on ‘Everything Move’. Presenting a broad palette of moods and tones, Apiento delivers an allencompassing release for lovers of the real electronic groove.

‘Escape Reality” by Apiento is released on Love International Recordings/Test Pressing from 10th February 2023.

Warped vision; the time spill is source of our distortia, in recognition we recalibrate. It neither predicts an age nor remembers an era, the function is the flow - not parallel but actual. The set points swim in a fever dream, a pink mist which echoes both signal and version. Detangled, decrypted, explained - it could be primal truth, except for endless reality...New message from the Mirror Zone, signals here cast by DJ Ungel who summons mystic breakbeat and shamanic acid from deep fractal wells of pan-consciousness. Charged mantras echo and gate amongst pulsating Megadog trance, whilst waves of ERP and Stinsonian electro roll into the ambient dub of Higher Intelligence Agency, Universal Egg, and other Artificial Intelligence like Banco De Gaia and Sandoz

On his debut 12" EP, Chicago producer and bike messenger DJ HANK captures the feeling of racing against traffic and, as he puts it, "trying to make it out alive with the chaos of the city going around you."

DJ Hank grew up in North Carolina, Eastern USA. As a teenager, he began making rap beats on pirated music software while also DJing and playing keyboards in experimental punk band Whatever Brains. In 2011, at age 18, Hank moved to Chicago to pursue a career as a bike messenger. In a city dominated by 21+ clubs and venues, Hank gravitated to the famous footwork hub Battlegroundz due to it's all-ages inclusivity and raw energy. DJ Rashad, DJ Spinn and other luminary figures of the footwork community spun weekly, while dancers spanning multiple generations and crews battled it out on the dance floor every Sunday.

Through the underground network of Chicago footwork events, Hank became a close and frequent collaborator with international footwork collective Teklife. He has released music on Teklife's record label but isn't a member of the group itself. In similar fashion, he's loosely affiliated with dance group Take Ova Gang (TOG) founded by DJ Manny. Hank maintains a fluid relationship with the footwork culture from which his sound draws. Beyond collaborating with his friends, Hank has collaborated with Chilean rapper Catana, Berlin-based DJ Paypal, and Floridian DJ Orange Julius.

On "Traffic Control," however, Hank explores a wide range of sounds, from melodic to experimental, influenced by everything from UK Garage and Grime to Ghetto House and Snap music (or Southern Hip hop production in general). Artists like Kode9, MachineDrum, and Sherelle have been supporters of Hank's music, playing his tracks throughout multiple recorded sets. In a live setting, Hank has shared the stage with such influential acts as Loefah, DJ Deeon, Sporting Life, DJ Spinn, Traxman, and pioneering footwork artist Jana Rush, who has been both a friend and mentor to Hank during his formative years in Chicago.

Reissue of Amédée Ô Suriam's banger 'Hot Shot' in editted form, comes with two very dope remixes by 'Manoo'.. Sourced from the master tapes and properly remastered!

Amédée Ô Suriam was one of those flamboyant souls touched by grace. Percussionist, author, composer, singer, stylist, sculptor, the Martiniquan put his divine inspiration at the service of a hybrid and visionary creation. His sudden death in 1992, while in his thirties, left behind him "Tension Hot-Shot", his only solo release from 1989. A resolutely avant-garde track, whose fusion of traditional African and Caribbean music with the beginnings of the house movement in Europe is underlined by the subtitle "Afro House" on the A side of the EP, a term that was barely used until then. It is this mysteriously precursory track that Chineurs de House has found, remastered and reissued today, finally shedding light on the fascinating work of an artist who had fallen into oblivion.

Vocals (Tension Hot-Shot) : M.C. Kann, Amédée Ô Suriam & Marie-José FA
Chorus-Keyboard (Tension Hot-Shot) : Luther Pérau
Chorus (Tension Hot-Shot) : Prosper St-Aimé, Rémi Laposte
Synth-Bass (Tension Hot-Shot) : Fred Montabord
Saxophone (Tension Hot-Shot) : Pietro Lacirignola
Structure (Tension Hot-Shot) : Allan Dee, J.C. Broche

Mastering : Perception Mastering
Remix (Tension Hot-Shot) : Manoo
Remix (Laissez Yo) : Jonquera
Remix (Roulé) : Manoo

Written & Composed by Amédée O Suriam

Recto picture : Rail Production
Verso picture : Bruno Resdedant
Graphic Design : Patrick Richard re-arranged by Clara Carpentier
Stylists : Joseph Zim & Amadéus

Special Thanks
Joëlle Suriam, Baptiste Heiles, Gildas Lointier, Aurélien Lévêque

Mystery Circles is busy at the moment with a great series of tapes, albums and 7"s all dropping in relatively quick succession. This one is a nice heavy 180-gram vinyl long player with only 100 copies pressed. It's Brooklyn's Tyler Gilmore, aka BlankFor.ms, at his best, if you ask us. His highly textured ambient uses gorgeous spinet piano, dusty and degraded tapes and analog synthesisers to make for something that evokes deep memories and transports you to places you had long forgotten. It is a touching record that leaves an indelible mark.

Another Terra Magica release is coming! The new ‚Axisdance‘ - Various Artists (TERRAM003) double-vinyl 12″ compilation coming out this summer August/September on Terra Magica Rec.

With artists from all over the world such as Poly Chain, Mogwaa, Jacques Satre, Jai, DJ Normal 4, Imogen Soundsystem – Ilija Rudman and Antonio Zuza, Gee Dee, Rambal Cochet, Listensport, Johnmon and Hektisch Sprengen DJs.

Every track has its own spirit, in a kind of a 90s journey way. The compilation is a fascinating mixture of weird cosmic and slow goa vibes to more emotional places with powerful bassdriven downtempo techno and slightly trance influenced anthems as well as distinctive tribal acid easiness with epic melodies. Furthermore it involves faster loaded minimal hypnotic synth sounds and dark UK-House with a big-beat touch to it. Raw liquid floating old skool breaks melts into rave stompers which are inhabited by sensitive living microbes vibrating jungle atmospheres.

Italian Producer and part of the r²π trio PRG/M lands on the label with a five track EP. With a mixture of deep and club orientated tracks the EP follows and refines the sonic direction of the label. In addition to four original tracks, Switzerland based producer Mod21 completes the release with an extended remix showing his signature sound.

One of DEEWEE’s newest family members, 25-year-old Belgian musician and producer, Mozes Mosuse aka Movulango shares news of his debut EP “Mirror In Man” - out 18th November.

“We’ve always called him the psychedelic romantic of the studio,” say David & Stephen Dewaele, founders of DEEWEE / Soulwax.

“Mirror in Man” is proof that you shouldn’t put a time limit on creativity. An utterly forward-thinking five-track musical adventure taking in psychedelic folk jams, woozy electronica and looped-up beats, it is the culmination of a five-year process for Movulango. A journey that has seen Mozes transform from dancefloor-slaying producer (his previous credits include being one-half of Ego Troopers and Future Sound of Antwerp) to a kind of West Coast pop art Balearic troubadour.

Defected continues to commit the label’s biggest digital releases to wax, delivering some of the best house music on vinyl for the very first time. The thirteenth EP in this series brings some of 2022’s biggest tracks together while spotlighting the experienced producers behind them. The A-side celebrates Harry Romero & Inaya Day’s collaboration ‘Rise Up’, originally released in June, the duo brightened the summer that followed with this instant club favourite. The A-side continues with the Deep In Jersey remix of ‘Rise Up’, offering a deeper and dubbier version of the original for selectors. The B-side showcases two cuts from the industry’s best, ‘Push The Feeling’ by Spanish selector and Urbana Records boss David Penn, featuring expertly layered vocals from Leon Stanford. Next up, ‘When The Dust Clears’ is a soulful collaboration between Defected favourite Mike Dunn and songstress LOA., demonstrating the producer’s revered hip-hop inspired sound.

Club Night Club is excited to present its latest release via Bristol’s Cleyra.

‘Ruk’ (A1) is a spatial builder. The glitched-out mover presents a delicate exercise in restraint, its skeletal rhythms gradually enveloped within a haze of sound design and dubbed out synth lines.

In six short minutes the track builds into a continuous ascension of synthetic tension, resulting in a deceptively lethal club joint.

A2’s ‘Uninvited’ is a frantic club screamer. A real shake-the-rave bouncer capable of serious floor damage. Pro-tier mixing holds together a speed demon barrage of percussive hits and shrieking resonance. This deadly cut, much like the record as a whole, manages to sustain a flare of intimacy even in its most punishing moments.

The B-side counterbalances the deadly with the delicate.

‘2b’ (B1) leans into the warm and melodic, perhaps the most direct manifestation of the EP’s title. A heart wrenching bloom unfolds, enveloping the listener like a warm hug as the lights come on in the wee hours. The track is an immaculate sketch of raw emotion, deep tenderness mapped out through Cleyra’s distinct brand of innovative composition. ‘Triumph’ closes out the record with some wonky no-nonsense chug action. A hypnotic low-slung groover which packs a final sting towards the end. One for the headbangers.

From start to finish ‘Soft Bloom’ is a striking feat of sonic creation, guaranteed to subvert listener’s expectations and dancer’s footsteps alike.

Finnish producer Aki Latvamäki also known as Artificial Latvamäki is not a newcomer to Goldmin as he already appeared on two compilations of the label. Notably with the sensational and distinctive track called "Symphony of a Metropolis" which was one of the true highlights of the Goldmin 5 Years Compilation. Yet we were desperately hoping for a proper album of him one day, checking the very few demos he was sending to us with a lot of curiosity and interest. Suunta is the result of years of creativity and of Aki's very own mastery at seeking cultivate the uncommon, and the rare sounds, might it be through an hyperactive electro-track or an organic deep techno ballad like "Baumwolle" is, he is always transposing difficulties and trumping the constraints, making techno not only a functional music for clubs but a full member medium of expression, capable of sarcasm, irony and rebellion and so all throughout a fragile and precarious melody. Has Aki escaped from this scene? That's all for the best, as he as also escaped from all these easy, prefabricated structures and schemas and is still doing his own thing as he always did.

Oslo-based four-piece Legs 11 return to Beatservice Records with their third studio album, serving seven beguiling tracks on the delightfully off-kilter 'Welcome Home'.

Comprising of deviant players Sigmund Floyd, Torstein Dyrnes, Nils Tveten, and Audun Severin Eftevåg, Legs 11 have been Beatservice mainstays since making their label debut back in 2016. Fusing a disparate blend of esoteric sounds that include synth-pop, post-punk, new wave, house and more, the quartet journey from the murkiest depths into the pop-leaning stratosphere, taking in all manner of mind-altering detours along the way. Throughout their production journey, they've revelled in the unexpected, and 'Welcome Home' masterfully continues this aberrant trajectory.

Kicking things off in energetic mood, the new wave swagger of 'Flawless Logistics' dives deep into late-night rave abandon, Unhinged vocals and throbbing synth bass drive the cut through a futurist landscape of stripped rhythms and sinister tones before an atmospheric sax solo rises in to augment the searing lyrical message. Casting a critical eye on consumer-driven culture and mercenary musical forms, the vital composition is at once an unmissable social commentary and an irresistibly floor-filling groove.

Next, the glistening synths and sing-along vocals of 'Coup' saunter over bouncing bass notes and crisp machine drums. Acid licks rise in to add thrust to the club-primed groove while brooding pads and sultry spoken words meander through the sonic space. Elegantly sashaying into post-punk swirls, the hallucinatory swagger of 'Sax Consensual' bursts with theatrics. Seductive dart across the hyper-atmospheric backing track of pointed instrumentation, with glassy synths and fizzing drums joined by an evocative sax solo to vividly conjure late-night moods.

'Into The Darkness' bubbles with sinister intent, as striking bass and stripped rhythms charge through nocturnal synths, the serrated vocals purposefully projecting through the powerfully vivid subterranean mist. Maintaining the floor-focused tempo, 'This Is Your Home' sees sleazy vocals soar across an alien landscape. Distorted toms drive the groove as mysterious swirls and metallic textures fizz across the off-world horizon. Growling bass arrives alongside a searing sax lead as the endlessly-morphing rhythm undulates and evolves.

'The Crawley Within' sees darkly suggestive vocals enveloped by ominous synths and snarling acid licks, the determined rhythm steering the sparsely-woven instrumentation across alien topography as sensual whispers permeate the groove as the music undulates to an aberrant climax. Finally, completing a strikingly coherent collection, 'fuckboi' brims with attitude, with unhinged synths joined by growling rhythm guitar as the erotically-charged vocals project the steamiest of post-club invitations.

This is entirely unique work from Legs 11. Deviant, potent, and fiercely energetic, each track is propulsive enough to ignite dancefloors while embodied with more than enough profundity for headphone immersion. Utterly compelling.

Ellen Allien und das We Are Not Alone Kollektiv sind zurück mit einer zweiten Ausgabe der 'We Are Not Alone' Serie. Eine 36-Track-Compilation, aufgeteilt in drei Teile mit jeweils 12 Tracks, die der berüchtigten We Are Not Alone-Eventreihe und den besten Berliner Underground-Techno-Talenten gewidmet ist.

One of These Nights occupies an important, unique place in the Eagles' discography given it represents the final album the group made before releasing the bajillion-selling Their Greatest Hits (1971-1975) compilation. The timing is telling. A coming-out party for Glenn Frey and Don Henley's songwriting skills, the studio record – the band's fourth, and its first to hit #1 on the charts – signifies the group's ascent to superstar status. Home to three massive singles (the title track, "Lyin' Eyes," and "Take It to the Limit") and nominated for four Grammy Awards, the quadruple-platinum 1975 effort solidified the Eagles' Southern California-reared sound and made the band a household name.

Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and limited to 10,000 copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set takes One of These Nights to the limit. And then some. Playing with reference sonics and a practically indiscernible noise floor thanks to MoFi SuperVinyl's special formula, it provides a rich, dynamic, transparent, and three-dimensional view into a release that moved country-rock ahead by leaps and bounds – and paved the way for the Eagles' ascendancy to global superstardom. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and presentation of the UD1S One of These Nights pressing befit its esteemed status. Housed in a deluxe box, it features beautiful foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes. As much as any Eagles LP, the connection between the imagery and the music and the band on One of These Nights runs deep. No wonder it led to a Grammy Nomination for Best Album Package.

Devised by West Texas artist Boyd Elder, the striking skull-and-feathers themed piece gracing the front of One of These Nights represents where the Eagles have been and where they were headed. Album art director Gary Burden explained: "The cow skull is pure cowboy, folk, the decorations are American Indian-inspired, and the future is represented by the more polished reflective glass beaded surfaces covering the skull." Moreover, Elder had met the group years earlier when Henley and company performed at one of his gallery openings in California. MoFi's UD1S box set allows Elder's vision (and Burden's debossed treatment of the image) to pop and appear as if it was a stand-alone object.

Of course, what's inside the sleeves, and in the grooves, proves equally compelling. Though One of These Nights marks the final appearance of band co-founder Bernie Leadon on an Eagles LP and contains three of his tunes, the record's tremendous success owes to Frey and Henley's timeless contributions. Taking the next step in their maturation and evolution, the pair crafted several songs while living together as roommates in a rented house in which they converted a music room into a recording studio.

The duo's bond and chemistry pulse throughout the record – particularly in the tight arrangements, tasteful instrumental flourishes, and seamless blending of the folk, country, and rock elements. The musical combinations and partnership not only produced the Eagles' first million-selling single (the slow-dancing "Take It to the Limit," co-written with bassist-vocalist Randy Meisner) and the Frey-led cheating classic "Lyin' Eyes," but the famed title track, which nods to the era's nascent disco scene as well as Kenneth Gamble and Leon Huff's Philly soul platters.

Frey named "One of These Nights" as his favorite Eagles composition of all-time; Meisner's high harmonies alone send the track into a galaxy of its own. Speaking of the latter, Leadon's instrumental "Journey of the Sorcerer" ventures into another universe and was soon used by Douglas Adams as the theme to his "The Hitch-hiker's Guide to the Galaxy" radio series. Inspiration and creative experimentation also dragged the Eagles into the blues. Another Frey-Henley gem, the self-probing "After the Thrill Is Gone" serves as a response song to B.B. King's signature track and more evidence the band was turning the lens inward for lyrical narratives. Like everything on One of These Nights, the song confirms the Eagles were breathing rare musical air.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

2023 generic sleeve repress

Out of the dark, into the spring with Gantz's colourful 12" EP.

The combination of exotic instruments, deep off-beat rumblings and Rider Shafique vocals, deliver an almost hypnotik journey through Gantz's mind.

Poolblood, the musical nom-de-plume of Toronto's Maryam Said, is an
ethereal spirit of punk rock, swirling and dancing in the air with a
collection of gorgeously orchestrated bedroom pop music
Raised in a religious household at arm's length from popular music, they
nonetheless found themselves drawn in by the music of Yusuf Islam (Cat
Stevens), who left an indelible imprint on their relationship to music and
songwriting. The results of their upbringing "time spent practicing chords in guitar
class, learning about hardcore from friends after school and honing their
songwriting as an early teen "is a winding path of melody, making stops along the
way to dabble in everything from noise rock to lush and gorgeous pop hooks.
poolblood is a pastiche of genres and styles working in blended harmony.
poolblood understands the tender urgency in crafting stories around deep and
abiding intimacies, romantic and platonic, that run so far below the surface they
become the root of everything that grows on the surface. These stories have
come together to create the ethereal bedroom pop songs on their debut LP
"mole" out on Next Door Records.
It is fitting that on an album so much centered around the connectivity of deep
and abiding friendships that "mole" is awash with collaborators, each bringing
their own unique talent and skill into the mix. Louie Short and Shamir Bailey
worked with Maryam as producers on the project, and played on a number of
tracks in addition to a cadre of musicians filtering in and out of each song.
Not afraid of letting their sly sense of humor bleed through the layers, poolblood's
"mole" is rife with humor and wonder, dancing playfully along. Pressed on Aubade
Blue Color vinyl.

'Confection' is a surprise-album from the talented composer Sebastien Tellier released on October 14, 2013 by Record Makers.

Apart from one song, ‘Confection’ is an entirely instrumental piece that Sebastien conceived like a motion picture score. Several romantic musical themes are showcased in different versions, orchestral or acoustic. Their sequence brings the listener on a succession of subtle climaxes, creating powerful emotions and leaving room for fantazised images.

The recording session of 'Sessions' was definitely old-school, as decided by the maestro. The very team which helped Tellier create his cult classic song 'La Ritournelle' 7 years ago was reunited for the occasion:

Tony Allen, of Fela fame, on drums. Rob, keyboardist for Phoenix. Emmanuel d'Orlando on string arrangements and Philippe Zdar mixed the record. He is also responsible for mixing albums for Phoenix, Cat Power, Beastie Boys, or Kindness and part of Cassius

The album artwork and ‘L’amour naissant’ video are from Jean-Baptiste Mondino.

'Confection' is an album as close as possible to Tellier's soul, a testimony of his deep musical skills. it showcases his outstanding composer talent as rarely before, reminding of his early albums such as 'L'incroyable vérité' or 'Politics'. 'Confection' is a love letter for a film that doesn't exist yet.

To celebrate the release of 'Confection' and for the first time in his career, Tellier will perform a special concert with an orchestra, in Paris on October 12.

Baroness will release their eagerly-awaited new album ‘Gold & Grey’ on June 14th via Abraxan Hymns.



“Our goal is, was, and will always be to write increasingly superior, more honest and compelling songs, and to develop a more unique and challenging sound,” offers Baroness founder, guitar player and vocalist John Baizley. “I’m sure we have just finished our best, most adventurous album to date. We dug incredibly deep, challenged ourselves and recorded a record I’m positive we could never again replicate.



I consider myself incredibly fortunate to know Sebastian, Nick and Gina as both my bandmates and my friends. They have pushed me to become a better songwriter, musician and vocalist. We’re all extremely excited for this release, which includes quite a few ‘firsts’ for the band, and we’re thrilled to be back on tour to play these psychotic songs for our fans. Expect some surprises.”



While ‘Gold & Grey’ found the band once again working with Purple producer Dave Fridmann (The Flaming Lips, Mogwai), sequestering themselves at Fridmann’s remote upstate New York Tarbox Road Studio. The 17-track album ushered in two significant changes: a decidedly different recording process and guitar player Gina Gleason’s debut on a Baroness recording.



The band, who tracked portions of the vocals, guitars and overdubs in Baizley’s home-basement studio, another first for them, eschewed their normal routine of entering the studio with meticulously detailed plans and instead opted for a looser, more improvisational approach that resulted in their most collaborative and emotionally evocative release to date.



Featuring John Baizley (vocals/guitar), Gina Gleason (guitar), Nick Jost (bass) and Sebastian Thomson (drums), Baroness received a GRAMMY Award nomination for Best Metal Performance for ‘Shock Me’ from the 2015 album ‘Purple’.

repress limited edition white 180gr vinyl !

Remastered Vinylerstveröffentlichung des ikonischen, selbstbetitelten 1994er IDM/Techno-Meisterwerks des Duos rEAGENZ, bestehend aus Jonah Sharp (Spacetime Continuum) & David Moufang (Move D, Deep Space Network), die sich bei einem Konzert ihrer Helden Autechre kennenlernten. Ein wunderbarer Hybrid aus satten Ambient-Strukturen und komplexen IDM/Techno-Rhythmen mit markanten und einprägsamen Ergebnissen, aufgenommen zwischen San Francisco und Heidelberg. Limitierte Auflage auf neon-grünem Doppelvinyl.

Magnetically energetic and eternally hopeful, Dayglow (the project of Austin, TX based Sloan Struble) excels in creating catchy, carefully crafted, effervescent indie pop. His home-recorded 2018 debut album Fuzzybrain featured the Platinum Certified single “Can I Call You Tonight?”, which went on to be hailed as 2020’s biggest independent alternative hit. Following up with his sophomore album Harmony House in 2021, Dayglow generated a mountain of indie buzz and critical acclaim anchored by lead single "Close To You". Now, after racking up over a billion streams and selling out headline tours around the world, Dayglow returns with his third album People In Motion. Fun and colorful, People In Motion meditates on the ideas of commitment, inner peace, and movement, while inviting the listener to the dance floor to leave the chaos and noise of our current culture behind.