Buscar:dig it

The first new material from the Delvon Lamarr Organ Trio in several years is coming in hot! They've been on the road for the last two years and just finished cutting their upcoming album for 2020 and plan on hitting the road again in a big way to support it. "Fo Sho" finds the trio right where they left off: super pocket funky organ jazz! Dig!

What does a contemporary album mean to us? Marc Pinol and Hugo Capablanca asked themselves this question when faced with the challenge of recording their first C.P.I. LP. To find the answer they went back to some of the most important records in their lives and listened to them from start to finish. At a time when the whole concept of an album might be at its lowest ebb for decades, they wanted to return to the old way of telling stories, recreating the notion of a narrative "journey" but doing so in their own original manner. 'Alianza' displays a wide range of emotions through only a few elements. There are no structures, barely any drums. It's a puzzling journey that moves through darkness and light, happiness and despair, hope and menace, as it unveils its own mysterious universe. Every track is a world in its own, yet all of them are linked by an invisible energy that reflects a coherent constellation. To achieve this, Hugo and Marc used a broad array of vocal timbres, including their own drone-treated voices, digitized vocals from an old vector synth, and those of several contributors. Most of the sounds on the album come from digital devices, as they wanted to "prove themselves" in the studio "by doing something as warm as we could while trying to avoid analogue if possible? The major part of 'Alianza' was recorded during the spring of 2018 in Barcelona, with further takes and additions recorded in Berlin, New York, Los Angeles and Switzerland. It features contributions from Spacemen 3's Will Carruthers, Tanja Siren, Veronica Vasicka, Anna Homler, Demetrio Martini and Pablo Sanchez. The album was mastered by Gordon Pohl in Dusseldorf. The artwork is by Dominic Brucia and features a picture by Tanja Siren. The album was created with the support of The Richard Thomas Foundation.

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

A very welcome reissue of this amazing LP. Beautiful deep Brazilian music that soothes the soul.. Tip!!

The self-titled debut by the duo Jaime & Nair is a revelation of all sorts. Released in 1974 on CID under the influence of albums like "Clube Da Esquina" it is an expressive album full of charm through a gesture of swing. It shows an overall dreamy lullaby vibe with subtle touches of Brazilian folk and features well-known artists such as Wilson Das Neves, Orlandivo or José Roberto Bertrami as studio musicians. The outstanding and largely hailed song 'Sob O Mar' brings us back to a pure Brazilian soft-bossanova-beat adorned by luscious orchestral arrangements. It became a popular DJ tune for those in the know after being comped in the fantastic "High Jazz" series in the early 2000s, gaining this album grail status among collectors worldwide. An essential addition to any serious Brazilian music collection.

Two years in the making, Future Ruins, TOM And His Computer’s debut album, will be released on Trentemøller’s In My Room label in October 20th. As a 20 year veteran of the Copenhagen music scene, Thomas Bertelsen has been releasing music under the sobriquet of TOM And His Computer for five years, merging the newest technologies with the old, while squeezing fresh sounds out of equipment that’s not only obsolete, sometimes it’s barely functioning at all. “I switch back and forth between the digital and the analog worlds. I’ll utilize old guitar pedals as well as the newest software,” says Thomas Bertelsen, producer behind TOM And His Computer. “It’s never about the gear, though, but rather finding that one little sound that can trigger an idea for an entire track.” Future Ruins was also co-produced and mixed by Trentemøller. While previous offerings have taken listeners to the outer boundaries of what can be considered “electronic music,” including nods to dark wave, dream pop, krautrock and modern psych rock, Future Ruins presents those influences in a new way and represents a great leap forward for the Copenhagen based producer.
The result is a genre-less collection of songs showcasing TOM’s obsession with propelling sounds of the past into the present, and future, combining noise and edginess with his “commitment to fresh ideas with a clear sense of melodies,” according to Clash Magazine. “My tastes are eclectic and I like to flirt with many different sub genres,” says TOM. “The aim was to combine various styles while trying to maintain a common denominator,” which committing to a full-length offered as an opportunity.

Red Vinyl

Almost 10 years already….Just a short moment away from its tenth anniversary, the cutting-edge Label La Belle Records unveils the second part of its One Night Stands collection.

If the first part portrayed very warm, tropical tones, this second opus feels more like the end of a party or the morning after, with a selection of tracks at a crossroad between slo-mo, synth-pop, lo-fi, ethnic groove and nu-disco like few others have done before.

This is something you've never heard before! All thanks to the insatiable digging from the master curator and co-founder of the label, Antoine Harispuru aka Golden Bug.

From Rome to Bruxelles via Paris and Vilnius, this second edition hits hard with names like Get A Room!, Rodion, Ellis Island (a world collaboration between the Italians Bawrut and Hot Spell), Rodion, Front de Cadeaux, Claap! and some other electronic gems.

Arkham Audio presents yet another delicious techno EP by renowned French electronic musician Electric Rescue alongside a solid lineup of remixers. 'Dream Warriors' follows on from Electric Rescue's recent album release on none other than John Digweed's Bedrock Records, and comes bearing more of the intoxicating rhythms that we have grown accustomed to and equally as indulging reworks by Denise Rabe, TWR72, and Arkham label head Cri Du Coeur. This record firmly establishes that his hypnotising yet adrenalizing sound is a force to be reckoned with as he unveils a relentless yet minimalistic techno sound that shows inspiration from his friend and mentor Laurent Garnier.
The rave begins with the original mix of 'Dream Warriors', which leads with an infectious beat and hazy serpentine melody that thrusts your mind into a powerful yet entrancing oblivion. Heavy percussions and lively daunting melodies set the tone for rest of the record. Cri Du Coeur's rework of introduces itself with a pommelling baseline, layers of stimulating hi-hats, and transcendental melodies that create the perfect inebriating brew. The Denise Rabe remix spices things up with a mind-numbing visceral baseline and spooky industrial sounds that echo throughout the atmosphere.
Next up is 'Einoeino' which has a playful beat that contrasts with a dark and fuzzy looping melody to create the ultimate heart-racing and thrilling experience for the listener, leaving you to imagine being chased around a haunted circus. The remix of 'Einoeino' by TWR72 delivers his signature sound that encompasses pulsing rhythms, unyielding muffled baselines, and a slightly off-beat groove that concocts the perfect smoky dancefloor track.
Bringing together an innately well-suited collection of artists, Electric Rescue showcases his industrial techno-wizardry and prowess in putting together enthralling and boundless soundscapes with his new EP 'Dream Warriors' on the newly-founded yet tenacious Arkham Audio label.

RICO PUESTEL debuts on his TIME IN THE SPECIAL PRACTICE OF RELATIVITY label with a mind-boggling journey of 41 minutes — split in two parts to fit on vinyl! HEPTAKAIDEKA is what it won't be and will be what it never was: Something from in-between worlds, a place beyond far beyond, where time dissolves into relativity...

Every modern electronic music presenter should be able to find joyful, elevated, convulsing or simply useful moments within the extent of this track that is designed to have its inherent connecting factors and starting points in place for every DJ set — letting it be just a few minutes, well-placed groove looping or bigger amounts of its entirety for diving into a long night, bringing it to an end or making it standing out in-between.

Starting off with a hazy half-grasp hint of what's to come, a mysteriously pervasive bionic loop emerges, slowly coalescing with a bone-dry groove on the rise. Taking up a first quadrant of the track, already gnawing into the long-term memory, it manages to gradually establish itself along the pathway while the "rhythmatics" endure some subtle layer-shifting with occult-like strings come sliding in from somewhere unknown like an admonitory subtext.

Being halfway through (and all the way in), everything smoothly crumbles down to its basic framework, still shaking off its own reminiscences while foregone vestiges almost perilously try to reassemble themselves. All of that leading to a clearly unforeseen yet fortunate drift into a 1980's-like synth peak time section after about 27 minutes being in that track, finally cherishing an evolving emotional felicity and the climax of its own being that tends to feel like an overarching salvation.

As everything being eventually finite, the track starts to bring to mind where it came from by assuredly falling back into a story told before with the well-established bionic loop that once used to run free, sounding somehow different and more tamed now. Ending with dignity, the consistently resurfaced admonitory strings lead the way to its conclusion and possibly new beginnings, solely leaving behind the heartbeat-like booming that carried it all, now fading away...

Coming into existence during a series of multiple productions of exuberant proportions with Rico making the studio his citadel-like stronghold, this is an extensive story of desires, instincts, pride, fall, mirth, solicitude, tension, détente and basically life itself while subtly yet versatilely entertaining on a dodgy yet accessible level throughout the wingspread of Techno, House, Minimal, Dub, Electronica and Ambient influences.

The CD version not only brings you the title track in the guise of its non-split completeness but eminently churns out the extra drumming dub treat DEKAEPTA for a pleasurable groove-delight as well as the trippy bonus beauty VOSEM' that transits as a precious component of infinity.

Favorite Recordings presents Jazz Traficantes by LE DEAL, a new musical adventure from the finest French jazzmen with Florian Pellissier (Piano & Fender Rhodes - Camaraõ Orkestra, Cotonete,
Aldorande, Setenta), Yoann Loustalot (Flugelhorn – Bruit Chic, Old & New Songs, Aerophone, Lucky Dog), Théo Girard (Upright Bass – Pensée Rotatives, Discobole) and Malick Koly (Drums - The Wallace
Roney Quintet). Needless to say, they’re used to play all over the globe and quite often to New York. During one of these
trips to the Big Apple, they discovered that the legendary Van Gelder studio (where most of Blue Note, Verve and CTI albums were recorded) was still active and opened so they decided to book a few days session.

Here is the story told by Florian Pellissier: “The tracks had been written the night before. We were going to run through them and then record. A simple plan. Van Gelder had passed a while back, but he left the keys and secret codes with his faithful assistant Maureen before heading off to create the right sound up in heaven. Nothing had changed in the atmosphere or configuration, not even the way the mics were placed. The studio and its wooden beams still exuded New York’s sixties jazz, dimly lit streets and clubs where anything might happen past midnight. Maureen knew just how to capture the ambiance of the sessions and bottle the energy without spilling a drop, taking infinite care to collect each cymbal tone, drum roll and trumpet phrase, without losing a single vibrating bass string or the slightest keyboard pause.”

Indeed, the four contrabandists succeeded to deliver an outstanding album, filled with themes that’ll get stuck in your head, just like in the 19 minutes long performance “Mexican Junkanoo Suite” and its three
parts. But more than just beautiful melodies, LE DEAL truly managed to bring a sense of drama to their compositions, going into the deepest emotions through gutted arrangements, improvising with great attention to the articulation of their ideas. From the beginning to the end, musicians and engineers did their best to emulate the proper vintage sound. Jazz Traficantes could prove once and for all that
French Jazz can indeed cross the borders. The album will be available as Tip-On Deluxe Vinyl LP but also on CD & Digital with a bonus track, “Noche en la Carcel”

Reissue of this long lost funky Afrobeat/Reggae classic from 1978
For fans of Fela Kuti, Peter Tosh, Bob Marley, Segun Bucknor

The year is 1978 and one hot thing from the musical underground is Reggae music from Jamaica, the USA or the UK, where most of the acts had musicians of Caribbean descent. Reggae had the groove, the rebel spirit, and the relaxed attitude all in one, to enchant a big part of the world’s inhabitants. And while at least Jamaica as a relatively poor and so-called "Third World“ country proved to spawn Reggae acts of the highest quality, literally nobody dared to look further and dig deeper into the underground except of a few maniacs who were not satisfied with spinning Marley over and over again. And maybe they stumbled over the 1970s Afro Beat sound from countries like Zambia or Nigeria and then got interested. What did they find in the simmering metropolises of this still mysterious continent? Somewhere in Nigeria, they would have certainly caught a glimpse of mind-blowing performances of The Sea Lions, a six-piece group mixing the then hip Reggae and Afro Beat styles to generate fresh and furious music with a hypnotizing atmosphere.



Polyrhythmic beat patterns build the foundation, the utterly fruitful soil for the heartwarming melodies wailed out by the guitars and the commanding vocals with their conjuring charm. Great organ work builds the link between the groove section and the melody instruments. You can imagine what a pleasant experience this band might have been live back in 1978 when their sole album "Free The People“ got released. And this album, of which copies in only good conditions already fetch prices of $450, while nice clean pieces might go up to $1200, lives up to the expectations one might have from watching a live show by the Sea Lions. The sound is vivid, transparent, powerful, and clean enough to make the music a real pleasure listening to, but earthy enough to present nothing but the band going wild here. The songs all have a similar pace, not too fast, but swinging and pulsating to spread their energy to and among the listeners. The melodies are simple but come from the depth of the heart. This feels typical for African 70s music and despite being kind of reduced, these melodies keep haunting you still even hours after the record been taken off the turntable and put back into its sleeve. They bring images of an ever pulsating city by night, warm climate, palm trees, people at the bar, a witches cauldron of sounds, smells, voice, and pictures. And you feel the magic floating through the air while this groove will not let you go so easily.

You can either dance your soul out to this ultimate reissue or you can sit down, listen and let the music tell you a story of the dark corners of the big city, the narrow alleys that lead you into a boiling labyrinth of mystical dreams. And in songs like "You Can Make It If You Try“ you will find the whole magic of the African world, a world so fascinating for us Europeans but still so unapproachable in some ways and dangerous for the weak. Do not try to resist, this is your pleasure. Grab a copy and the Sea Lions will carry you off to their place. I haven’t heard such a killer Afro Beat and Reggae album with songs this exciting and wild in a long time. If you equally love Peter Tosh, Bob Marley, Segun Bucknor, and Fela Kuti, look no further. Here is the spiritual essence of all these great artists merged into one giant act.

Timeless periods of industrial rhythm: Diarmaid O Meara and Kucera collaborate to release ‘Shadowmen’ vinyl on Gobsmacked Records

Nightclubs around Europe are shut. Even in Berlin, the clubbing capital of the world, nightlife has been reduced to a simmer. “But that doesn’t mean we can’t have a good time and connect via timeless periods of electrifying and industrial rhythms”, said Irish producer and DJ Diarmaid O Meara. Together with long-time Gobsmacked techno stalwart Kucera, the two have dropped their latest vinyl ‘Shadowmen’.

The collaboration has derived from long sessions in the Gobsmacked cavern studios in Berlin. The result: A 12” that is laid out in the style of the perfect rave – with a breakbeat electronica entry that promotes procrastination, freakish, and intensely introverted thoughts created through pulsating rhythms and ghostly frequencies, industrial rave sounds for those moments of release.

Partying is a huge part of Berlin’s identity

By listening to the vinyl featuring a dark rhythm, it becomes obvious that the duo has been heavily influenced by underground techno nights in Berlin, and also regularly sharing the stage together at international events. With the pandemic-mandated closure of clubs stretching through the summer, however, playing gigs and festivals is no longer an option. Hence, illegal parties have sprung up to fill the gap and infuriated some public health officials and politicians, also in Berlin.

“Partying is still a huge part of the city’s identity”, continued Diarmaid O Meara who has been living in Berlin for over a decade and also organising parties all over the city. “Raves are a much-needed way to blow off steam after a period of isolation but we have to consider a more proactive approach, for instance district authorities making public spaces available to party organisers under conditions that ensure hygiene measures are maintained.”

Although there has been no shortage of digital music events either since the pandemic began, clubbing is more than just watching a DJ set. “Rather it’s about the unique space that’s created by artists and the crowd that are pulled together by music”, said Kucera who has been destroying dance floors across Europe with his live sets since 2004. “In times when people are still feeling more isolated than ever, our latest vinyl with the accompanying music video aims to bring a sense of connectedness and community during the lockdown.” The video imagery has been recorded live using Kuceras machine pattern triggering whilst performing the tracks live.

Unwavering dedication to the culture of counter-culture

The name ‘Shadowmen’ reflects the work both artists have contributed constantly and consistently to the scene over the past two decades with unwavering dedication to the culture of counter-culture. The artwork, in classic Gobsmacked style, comes with a tip of the cap to the global elite who have been successfully driving humanity off a cliff. “We’ve thrown a little apparent illuminati symbol in there for those who’ve been confined too long at home and on YouTube for the past 6 months”, said Diarmaid O Meara.

Both artists are working on a multitude of new tracks and events for the post-Covid era. Of particular interest is Kuceras live visual show for Gobsmacked, with visuals triggered from his machine live-set patterns. This is something he has been wanting to experiment with for a long time now and it started to take shape in the form of visual hallucinations of industrial areas and trains he had been filming while traveling across Europe before the world stopped functioning properly due to Covid-19. Diarmaid O Meara has quite a few tricks up his sleeve, including a new politically inspired alias, where both artists will take centre stage in some wacky antics.

‘Hörtest-Edition IV - Visions of Jazz’ is a listening experience to be cherished. It offers a specially curated programme which can be compared across different media and in various formats. Enjoy an audiophile adventure in perfect sound quality: the 180gram LP, cut at half speed, has been subject to the most exacting demands during the pressing process, rendering the quality of a turntable audible. Compare the special features of vinyl with the strengths of a conventional audio CD, or alternatively feast your ears on the sound quality attainable in the hi-res world of 24-bit. For this listening experience, ACT has curated a selection from its current releases by renowned artists, all recorded and produced to the highest standards and with an uncompromising focus on sound quality.  Test… compare… but above all, enjoy the music. Under the motto ‘Visions of Jazz’, ‘Hörtest-Edition IV’ presents a multi-faceted kaleidoscope of current jazz.  This ‘Hörtest-Edition’ includes gatefold 180g LP, CD and 24Bit high resolution digital download files. Curated and compiled by Marco Ostrowski.

Record Kicks proudly presents "Damaged Heart", the first single taken from The Tibbs forthcoming new album "Another Shot Fired", that will hit the streets on November 20.

"Damaged Heart", a catchy mid tempo soulful gem, will be released on October 09 on digital streaming/download and a limited edition 45 vinyl. On the flip-side of the limited 45 the soulful album's bonus track "Ball and Chain". The 45 is limited to 500 copies worldwide.

According to the band, "Damaged Heart" is a love song and "It's about being in a relationship where something is just slightly off. Sometimes developing serious feelings for someone can be scary. Being vulnerable, and knowing that someone could hurt you very easily can be scary".

Based around Amsterdam, The Tibbs took off in 2012 working right from the start with producer Paul Willemsen (Beans & Fatback, Lefties Soul Connection, Michelle David & The Gospel Sessions). In 2016 their first LP, "Takin' Over" marked their debut with Milan based imprint Record Kicks. The singles "Next Time" and "The Story Goes" received critical acclaim on radio stations throughout Europe and North America and the 45s flew out the door in record time. The release of "Takin' Over" delivered the band far richer rewards. Playing sold-out venues in both Milan and Frankfurt. The Tibbs' profile rose further still with wonderful festival performances in Germany and Hungary, followed by a successful sold-out tour of Spain. In late 2018, Elsa decided to follow her heart and focus on a solo career. The Tibbs duly began their search for a truly worthy successor, bringing astonishing vocalist Roxanne Hartog and the band together for the first time. With new recordings in the bag and a great new album about to be released, The Tibbs are once more ready for lift off.

Sister of Groovedge Records, Mystery Booms brings together the Lyon electronic scene to show its common love to the Dub.

First appearance is naturally delivered by brother Irie Mona. He is a producer implanted in town since a decade and he perfectly knows how to inject new digi-attitude in an old school roots way of dubbing productions.

Modern weird riddims by the boy Prince Stoner! Expect 2 contemporary songs for the dancefloor, still into a respectfull dub attitude! Tuned in! !!

This is the debut release for WORQ RECORDS. An independent label out of Chicago USA. The label was an idea because of how hard it is these days to classify tracks into either House or Techno let alone one of the tons of sub genres of the two. Loving both genres and not wanting to label tracks or records with one group or the other, WORQ RECORDS was created. This debut release on 12" vinyl allows for a selector to blend these tracks into a variety of different mixes.

QUINROK1 sets the pace for what the WORQ RECORDS sound will be. A blend of House/Techno/Minimal/DubTechno. Born, raised and bred with the Chicago House sound and the underground rave scene culturing and shaping the flavor of where his House/Techno sound is today. This 6 track 12" will have something for your mix! Huge deep kicks, snappy snares, hats and claps with fat bass grooves and soul samples, its a recipe for some bangers!!

The Doors returned to their roots and were reborn a rock ’n’ roll band on Morrison Hotel, the group’s fifth studio album. Completed in only a few weeks and released in February 1970, the hard-charging album took its name from the Skid Row hotel in downtown Los Angeles that’s featured in the iconic cover photo taken by Henry Diltz.

Morrison Hotel: 50th Anniversary Deluxe Edition includes the original album newly remastered by The Doors’ longtime engineer and mixer Bruce Botnick, plus a bonus disc of unreleased studio outtakes, and the original album on 180-gram virgin vinyl. The music will also be available from digital and streaming services the same day.

For this new collection, the original album has been expanded with more than an hour of unreleased recordings taken from the sessions for Morrison Hotel. These 19 outtakes transport listeners into the studio with Jim Morrison, John Densmore, Robby Krieger, and Ray Manzarek for an unprecedented perspective on the making of the album. Botnick says: “There are many takes, different arrangements, false starts, and insightful studio conversations between the band – who were in the studio – and producer Paul Rothchild – who was in the control room. It’s like being a fly on the wall.”

Several of these unheard recordings spotlight how Queen Of The Highway and Roadhouse Blues evolved across multiple sessions. It’s especially interesting to hear how the band played with different bass players on Roadhouse Blues. Early versions include Harvey Brooks, who played on the band’s previous album, The Soft Parade. Later takes feature guitar legend Lonnie Mack on bass along with The Lovin’ Spoonful’s John Sebastian on harmonica who, due to contractual restrictions at the time, had to be credited as G. Puglese.

Among the treasure trove of unreleased outtakes are also rough versions of Morrison Hotel tracks Peace Frog and Blue Sunday, as well as The Doors rarity I Will Never Be Untrue. The collection also captures some incredible session outtakes of the band jamming on cover versions of the Motown classic Money (That’s What I Want) and B.B. King’s Rock Me.

The multi-media project Kraftwerk was started in Düsseldorf, Germany 1970 by Ralf Hütter and Florian Schneider. They set up their electronic Kling Klang Studio where they conceived and produced all Kraftwerk albums.

Kraftwerk created the soundtrack for the digital age of the 21st century. AUTOBAHN 1974, RADIO-ACTIVITY 1975, TRANS EUROPE EXPRESS 1977, THE MAN-MACHINE 1978, COMPUTER WORLD 1981, TECHNO POP 1986, THE MIX 1991, TOUR DE FRANCE 2003. Their compositions, using innovative techniques, electronic sounds and synthetic voices combined with computerised rhythms, had a major musical influence on Electro, Hip Hop, Techno and Synth-Pop. 

Released in 2011 on the compilation «Mental Beauty » on record label, Composite Records, DJ Yellow teamed up with his friends,Tiago Fragateiro and the sublime singer Tracey K, to create the song "Special". This track had major success in the clubs and on the radio, with DJ’s like Hot Since 82 featuring it on his Pirate Ship Mix, as well as it landing in the Beatport top ten.Now Poussez Music has decided to re-release « Special » on vinyl and digital including a new mix of the original , DJ yellow’s Sleep No More remix, and a brand new track « Don’t you know ».This EP will be released on 12" vinyl and digital on Poussez Music in May 2020.

Der Best-of-Klassiker „Greatest Hits” von Guns N‘ Roses, bislang nur auf CD und digital erhältlich, erscheint erstmals nach 16 Jahren auf Vinyl (als Doppel-LP, je 180g).

Das Album erschien ursprünglich im Jahre 2004 und stieg direkt auf Platz 3 in die Billboard-200 ein. In Deutschland belegte „Greatest Hits“ den vierten Platz in den Albumcharts. „Greatest Hits“ vereint 15 der legendärsten Guns N‘ Roses Tracks, darunter die drei Mega-Hits „Welcome To The Jungle“ (#7 US), „Paradise City“ (#5 US) und „Sweet Child O‘ Mine“ (#1 US), welche allesamt auf ihrem Debütalbum „Appetite For Destruction“ (18-fach Platin US) im Jahre 1987 erschienen.

Repress!

Summer's in the air, and with impeccable timing, Bawrut returns with his fourth EP for Ransom Note Records! From ‘Ciquita’ to ‘Rumba’ to ‘Three Sounds’, the Madrid-based producer has been providing DJs with off-kilter dance floor ammunition for years now, amassing a dedicated following in the process. Out 13th September on 12” and digital, the Pronto Arpeggio EP is arguably his biggest and best collection to date. It’s certainly his silliest, kicking things off with a frankly absurd title track. Clocking in at almost 11 minutes, ‘Pronto Arpeggio’ is a prog techno labyrinth of fakeouts, tempo switches, thwacking kickdrums, and huge synths like if Giorgio Moroder did the music for Tomorrow’s World . So yeah, not your average mid-set toilet break tool (although if you want to use it for that, we won’t judge you). ‘Shooreee’ is classic Bawrut with a psychedelic twist, like spiking your own Negroni with mescaline. This sweaty, slow-burn acid weapon bides its time before erupting into a potent payoff. ‘Atchu’ carves its way through laser bleeps and dub FX, built around an unforgettable vocal sample that’ll be lodged in your skull for months whether you like it or not.

When it came to the remixes, we thought it was only right to enlist some of Bawrut’s biggest supporters. KiNK chisels ‘Pronto Arpeggio’ into a vlean slab of high-velocity machine funk, while Ruf Dug teases out the gentler side of ‘Shooreee’, resulting in a melodic track that feels tailor- made made for Mediterranean sunsets.

Bawrut absolutely ruled the festivals in 2018 with ‘More Cowbell’ and we’re expecting more of the same this year as he continues to go from strength to strength. Forza!

Unclassifiable percussionist and producer Chiminyo will be releasing his long-awaited debut album “I Am Panda” via London tastemaker label Gearbox Records on the 25th of September. The ten-track album is a foray into unexplored sonic territory, featuring a host of diverse guest musicians from London’s burgeoning music scene. Chiminyo's music may be rooted in the London jazz scene, but his music is transcendent of anything that could be defined as such. Whilst his joint use of analogue and digital technology meaningfully honours the manic city lights of London’s bustling scene, it remains ever-changing crossing over into hip-hop, future pop, experimental electronic and global spheres. Chiminyo's tech-heavy drum kit set-up, combines the raw, immediate live sound of percussion and the futuristic timbres of his electronic productions to create his own, daring soundscapes. Via laboriously self-coded software, each cymbal crash and drum hit triggers a synth or sample, allowing Chiminyo complete control and freeing him of all loops, click-tracks and backing tracks.However, it is important to note that Chiminyo's music is far more than just a technical feat. Whilst still highly innovative in it's composition, "I AM PANDA" is purely the result of a deep and tireless exploration of the music that Chiminyo truly resonates with to create a soulful, spiritual, and evocative record that feeds off the conflicting duality between technology and nature. Composed and arranged by Chiminyo and recorded at Konk Studios by Ricardo Damian (Jorja Smith, Sampha, Binker & Moses), the new album also features a host of talented guests including Kweku Sackey aka K.O.G, singer Dunja Botic, and spoken word artist Brother Portrait of Steam Down fame. The new album follows on from Chiminyo's 2019 debut EP "I Am Chiminyo", which served as a visceral introduction to his unique sound, and earned plaudits from the likes of Gilles Peterson, BBC 1Xtra, CLASH, Red Bull, Jazzwise, Jazz FM and more. As well as his own solo project, Chiminyo also performs and records with some of the leading figures of London’s music scene, including spiritual jazz-leaning outfit Maisha and psychedelic energy bomb Cykada. He has also previously collaborated and recorded with Gary Bartz, Nubya Garcia, Shabaka Hutchings, Theon Cross, and Zara McFarlane.

More glorious heat from the vaults of NYC's Disco powerhouse - P&P Records!

One of many labels operating under the equally legendary tutelage of Patrick Adams and Peter Brown, two truly colossal figures in NYC's music scene, the P&P records catalogue is still fascinating underground dance music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds its way into the playlists of respected DJ's and selectors across the globe. This latest repress from the vaults is a real biggie - a true NYC underground disco CLASSIC!

Cloud One was one of Adams' numerous studio outfits, featuring a ridiculously healthy dose of the man's virtuoso keyboard and synth playing. This was a progressive Disco sound, the pairing of extremely danceable funk and R&B with some spaced out over-dubbed analogue synthesizers and keys made for a heady concoction indeed, especially in 1976 when this cut was released. This was one of many Cloud One trademarks and one of the things that make these records still sound so way out today! 'Atmosphere Strut' could not be a better title for this immense slice of true NYC space Disco - it's got it all - the driving rhythms of the Cloud One band, the killer vibes, celestial vocals and Adams' totally wigged out synthesizer workouts. On top of all this goodness, the main man Kon, Boston's editor supreme and self confessed DIsco fiend and digger, has dropped a stellar and respectful edit of Atmosphere Strut' for all your disc jockeys out there, featured here across the length of the B-side thus making this an essential repress of this legendary 12". If you don't know this jam, and you're a Disco head - you're in for a treat! You're gonna fly......!

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Phase One Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Jazz / Funk / Fusion 45" from the Italian collective 291out. Comes with a premium brown paper sleeve and pantone label. Mastered and manufactured by Timmion Cutting.

Gennaro Giamundo AKA Genny G launches his new record label “Parsimonia” with the first instalment Parsimonia EP.

The package is comprised of 4 original tracks plus 1 remix by Artizhan. Vastly different in their presentation the tracks explore the fringe of deep and house music with bouncing synths, vocals, percussion drums all tied together with fretless baselines.

Limited of 250 copies handmade with insert and artwork (incl. digital code for download release + 2 bonus tracks).

Following the first episode, Drivecom presents the second part of the Generative Operations series. It continues with the dark,

technical and minimal concept of music mixed toguether with contemporary, cinematic elements and experimental sounds and textures.

The vision and workflow keeps up the same vibe as with the first ep and you will find more synth lines involved into a generative structure from complex and massive modular patches. The sequencing is always different each time every track is being played back giving us a unique listening.

About the sound design all the tracks have a cinematic vibe as in the first 12”. Always looking for a situation where cinema meets electronic music as being planned as a film sound track. Also constructed from the point of view of a minimalistic vision, you’ll find long progressions and small details focused in electro rhythms as a basic and main structure.

In the other hand all the tracks have a common target: a cinematic vibe. As if they were composed thinking about to fit in any sci-fi thriller movie. Again we can hear massive granular sythesis pads, background noises, experimental compression routines that help to fullfill the Generative Operation series.

The limited edition vinyl has been pressed in 180gr. keeping up the analog character sound in this format, meanwhile the digital version will be a clearer and clinical one.

Hotspring presents the LP ‘Obit For Sunshade’ on Mood Hut Records.

Obit For Sunshade is digital technology half buried in the soil, transparent emotion in the intertidal zone; ferns growing by night out of a 4x4 flatbed. Brought to you by Scott Gailey.

Escort digs back in their catalogue for some classic material, delivered on 7” now for the first time ever!

The title track of their 2015 LP 'Animal Nature' graces the A side, a slow-burning groove with throbbing synths, incendiary guitar riffs and soaring vocals. On the flip, Italian editors Tiger&Woods deliver a quintessentially T&W-style cut up and pumping rework of the anthemic 'Barbarians'.

Record Kicks announces a reissue of mega in-demand Calibro 35 legendary self-titled debut LP.

Record Kicks proudly announces the reissue of CALIBRO 35 self-titled legendary debut full length. The publication is part of a trilogy that will see the Milan label reissuing on wax and digitally the first 3 mega in-demand albums of the Italian cinematic-funk cult band. "Calibro 35" will be reprinted on a limited edition LP on October 2nd and it will released digitally on a Deluxe Edition version on September 25th. The Deluxe Edition will be available on all digital stores and it includes 5 bonus tracks such as "La Polizia Sta A Guardare" by Stelvio Cipriani, the original recording "E Nessuno Si Farà Del Male" and an alternative version of the Calibro's seminal hit "Notte in Bovisa". Going back to where it all began, Calibro 35's mythical debut LP is an explosive homage to groovy 1970's Italian-cop-film soundtracks, and to the golden age of Italian Soundtrack music by likes of Ennio Morricone, Luis Bacalov, Franco Micalizzi and Armando Trovajoli. Originally released in 2008, the LP is super rare and impossible to find on vinyl. By popular demand, a reissue finally sees the light of day on a limited edition Gatefold LP that includes digital download of the bonus tracks.

Active since 2008, CALIBRO 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their ten-year career, they were sampled by Dr. Dre on his "Compton" album as well as by Jay-Z and The Child of Lov & Damon Albarn, they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, among others, PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 can now count on a number of aficionados worldwide, including VIP fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

Official Mr Bongo coloured vinyl re-issue for Record Store Day 2020

Asha's debut self-titled album is a wonderful fusion of jazz, soul, blues, and disco. It includes an outstanding cover version of J.J. Cale's ‘Right Down Here’; a track which Asha has made very much her own by flipping it into a deep-funk groove with sultry ethereal vocals and a drumbeat almost ready-made for samplers of the future.

The record was produced in the UK by Del Newman, who had worked with Carly Simon, Cat Stevens, and Elton John to name a few. It was released on London CBS records in 1973. Shortly after the release of the record, Asha (who was born in Mumbai), was banned by the Home Office from working in the UK for a period of time due to visa issues. These obstacles along with problems with her recording contract did not hold her back. Asha moved on and continued her musical journey elsewhere. This resulted in further astounding creative works that Mr Bongo will also be presenting soon.

For this special RSD special edition we have pressed on sky blue vinyl to bring out the colours of Asha's stunning dress that she wears for the cover portrait.

Good Company Records awakens from a deep slumber to present two new West Coast dreamscapes, proudly written and recorded on Noongar boodja (its local country). Up first is GCR009, the debut LP from Leaving (Rupert Thomas), featuring deep drones and gutsy ambience recorded between 2013 and 2017 - available digitally and as a limited edition 12” (release forthcoming). Thomas’ inimitable wavescaping is complemented by local photographer Duncan Wright’s aerial landscape on the cover, and speaks to the record’s special connection to its country – sound and image forming the perfect package for a cheeky meditation on your morning commute, first brew of the day in hand, or cuddled up somewhere comfy, resonating harmoniously with your beloved.

It's been three years since the last vinyl by Ntogn was unveiled and now we're glad to share with you the result of his venture through the recent winter.

'Smedjan' is inspired by the dwarven craftsmanship of Norse mythology. It is made completely with organic sounds gathered from, and recorded in, the forests of Bålsta which is rich with northern heritage. Everything you hear is either processed textures of birch wood blocks, layers of a custom made Ukrainian artisan mouth harp or the artist's own voice.

There is no synthesis in this record. The kick drums are made by hitting these pieces of wood against each other with contact microphones. Bass layers are extracted from bark scraping against bark. Hi hats are crafted by recorded fire of the same wood logs burning and ambiance is built from the forests where the trees grew and from the woodshed where the artist chopped the wood during winter to keep his cabin warm. The rhythms and sounds in this shed is what inspired the making of this record.

By shaping these sounds of wood and metal Ntogn strives to create a sonic experience that connects the listener to the old Norse stories of the dwarven craftsmanship of Svartalfheim. It is they who made the famous trinkets and weapons that empower the gods of Asgård through stories of trickery and despair which has later inspired tales and literature for over a thousand years.

The record has been distilled from material that was meant to become a two-hour live set specifically made for Mo:dem festival which was unfortunately cancelled due to the corona pandemic. It was also the foundation of the artist's thesis at the university of sound design where he made a study of the effects of organic sound on an electronic expression such as techno music.

It will be released digitally and as a 200 copy limited edition black vinyl adorned with an artwork drawn by the artist's partner Gabriella Holmström using the ashes of the same birch wood blocks that was used to make the sonic content.

The record has received early support from Francois X, Takaaki Itoh, Abstract Division, BLNDR and Rambadu to name a few.

*:･ﾟ✧*:･ﾟ✧

Ntogn en'togg-n is a conceptual electro-acoustic project developed by Hypnus Records' founder and sound design graduate Michel Iseneld (b. 1988, Sweden). It aims to breath life into a fascination for magic with the use of contemporary and classic sound design techniques. This has resulted in what Resident Advisor's William Lynch describes as 'fierce, artistic techno that sounds like little else out there' and a discography ranging from earth-shattering techno to dark, throbbing ambient excursions.

After spending nearly three years in isolation, deeply lost in literature on history, philosophy, occultism and epic fairy-tales; Michel developed an inner world which eventually found an outlet through the means of music in 2013. By the use of field recordings and various samplings of his voice and surroundings, something peculiar sprouted as his inner images started to manifest and mature into an organic sound inspired by the emerging hypnotic deep techno scene.

Today, all music is released on his own imprint Tome in order to preserve the projects' artistic freedom and originality. After two years of sound design studies at the university and a new-found passion for modular synthesis; there's plenty of music in store aimed to satiate the curious minds.

"Lugar Alto's newest project is the idiosyncratic album MUMIA (portuguese for MUMMY). Never released before, it is a work that was originally recorded on cassette and combines elements of post-punk, industrial and ambient music.

Kodiak Bachine and Celso Alves formed the ephemeral and eponymous duo in 1988. The partnership resulted in a single recording derived from improvised sessions using minimal amounts of electronic equipment at Celso's country house, located in the interior of São Paulo.

Bachine was an important figure in the São Paulo underground. His most renowned project was the band Agentss from 1981, which also consisted of Miguel Barella, Eduardo Amarante, Elias Glik and Lyses Pupo (later replaced by Thomas Susemihl). In its brief duration, the band released only two seven inches that were considered seminal artifacts in the Brazilian post-punk scene: “Agentes / Angra” from 1982 and “Professor Digital / Cidade Industrial” from 1983. These two rare records are highly sought after by collectors and DJs from around the world for their inventiveness and originality.

Similar to Agentss, MUMIA brings with it extreme authenticity, managing to extrapolate the barriers of more traditional Brazilian music and interact with unorthodox elements. The lyrics are a mixture of Portuguese and English and it is still possible to identify picturesque fragments of Spanish, French and German. In addition, sonically, the record portrays aesthetics from the eighties and dialogues with themes relating to LSD. Another notable feature is the fixation on Egyptian post-mortem themes, providing a cinematic and lysergic experience of the desert landscapes from the African country.

It is a recording with comic passages which provokes an unpretentious reaction from the listener. However, it still has more ethereal and atmospheric moments, such as the opening song “Ave do Deserto”. In the final two tracks, it is possible to enjoy a darker MUMIA, which with “Massacre da Serra Elétrica I” and “Massacre da Serra Elétrica II”, provide a sound experience capable of accompanying intense scenes from the macabre productions by Tobe Hooper and George Romero.

The striking new artwork was created by the Sometimes Always studio, a partner of Lugar Alto and responsible for diverse graphic collaborations with artists, venues and parties in Brazil. The album, mastered by the prolific Arthur Joly, also has a booklet containing Kodiak’s texts in Portuguese and English, in addition to the lyrics, which serve as a logical exercise for further understanding of the album.

MUMIA was unearthed by the renowned Brazilian DJ Millos Kaiser, who in addition to kindly curating this album, put together the compilation “Onda de Amor: Synthesized Brazilian Hits That Never Were (1984-94)”, released by Soundway Records.

Now, after 32 years in its tomb, the MUMIA has risen and thanks to Lugar Alto it can finally be celebrated and appreciated."

After six years, The Notwist return with three new tracks on Morr Music. It’s both an exposition of the the band’s musical variety and a prospect on a forthcoming album.

Six years have passed since The Notwist released their last regular studio album, but that doesn’t mean that the members of this outstanding band have been idle in the meantime. There have been side projects, movie scoring, and other activities, like programming four editions of „Alien Disko“, a festival taking place in Munich, Germany. One of that event’s regular guests was the Japanese duo Tenniscoats – and a lovely side effect from that was an evolving friendship between the two bands. It lead to various collaborations: most recently in a new album by international band „Spirit Fest“ (featuring Tenniscoats singer Saya & The Notwist’s Markus & Cico) & a deep digging compilation of Japanese indie music called „Minna Miteru“.

The title track of this new EP is another step in this collaboration – and a first step to an upcoming album by The Notwist – as it features Saya, who lends her voice to the percussive song. It is build around a slightly detuned synthline, which is contrasted by more pragmatic guitar work. „It neither sounds like The Notwist, Tenniscoats, nor Spirit Fest“, tells Markus Acher. „Just like Saya is saying in the lyrics: ‘I want to go outside, I want to meet people’, „Ship“ is another chapter in what The Notwist always tries to do: redefining itself, exploring something new, integrating different styles of music and collaborating with musicians they admire.“

The second song „Loose Ends“ is, in contrast, more classic Notwist material. A gently expanding ballad, this time featuring the distinctive voice of Markus Acher. The song came out of recording sessions for the soundtrack for „One Of These Days“, a movie by Bastian Günther. The EP then closes with „Avalanche“ a carefully optimistic instrumental.

With its variety of styles, „Ship“ also serves as an outlook on an upcoming album, which will be influenced by the band’s experiences from their detailed work of creating sounds and moods for film soundtracks, and it will include more collaborations with international guest musicians.

Since the digital only release Happiness with Gloria Burger on Kalvaberget. We've waited for more.
Kiss Me is a vinyl only release including four tracks.

The tracks are nearly impossible to put under a genre. It's house of course. It's Chicago like. Raw and funky. The tracks got elements of Jazz, 60's Afrobeat, Dub and Soul.
This is highly danceable!

A dramatic, string-drenched epic, James Ralph Bailey’s Just Me ’N’ You has been a sought-after soul masterpiece for decades. A lush suite of beautiful songs, it was conceived as a concept album; a sophisticated paean to love.

Originally released by MAM Records in 1974, Just Me ’N’ You is a breathtaking jazzy soul album. It’s similar in style to Marvin Gaye’s What’s Going On - particularly the performances, orchestrations and chord progressions - but dealing with a different universal subject matter. If What’s Going On was about romance instead of politics, it would sound like this.

Fans of Marvin, Leon Ware, Donny Hathaway, Leroy Hutson and Willie Hutch will love this record. Not as well known - this is definitely an underrated gem - the work of James Ralph Bailey is no less mind-blowing. It’s got to be one of the best soul albums of all time.

The original productions were made on a basic home tape machine and enhanced with strings, rhythmic overdubs and a variety of other instrumentation. These are beautiful arrangements of strings and jazzy horns. Rhythm guitars and bouncy bass serve as the groove foundation, congas provide a Latin feel whilst the vibraphone and harmonica add colour. And then of course there’s JR’s voice.

His style recalls Hathaway, with a delivery akin to Marvin at the time. As he scats and sings, accompanying himself in sweet harmonies, there is still a rawness of pain and longing in his voice, the rawness familiar to all deep soul.

As an album, Just Me ’N’ You is no mere collection of songs. The tender, smooth tunes flow perfectly together into a fluid, single artistic statement. This is one where it’s hard to pick out any standouts. You may have heard the soaring title track before, maybe on Gilles Peterson’s Digs America compilation. The opening track “After Hours” sounds as fresh now as it ever was and segues beautifully into the majestic “Heaven On Earth”. Recorded by Hathaway the previous year, Bailey’s original of “Love Love Love” is incredible and arguably the definitive version. The powerful, dreamy, sax-and-harmony-laced “All Strung Out Over You” has echoes of the Chi-Lites, it’s that good. Goosebumps. And we could go on.

Mastered by Simon Francis, cut by Pete Norman and pressed at Record Industry, this Be With edition of Just Me ’N’ You sounds every bit as brilliant as it should. A joyous celebration of love, this album is perfect in every way. If you don’t already own a copy then now is the time.

2025 Repress

Comet Records presents the Tony Allen & Afrika 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket. Recorded with Afrika 70 at the height of their power as Fela Kuti’s band, these are seminal recordings in the pantheon of Afrobeat history. Once again, Comet Records has the opportunity to shine a light on the sheer musicality and originality of the humble drumming giant. Tony Allen’s passing in April 2020 sent a shockwave across the world, as fans and collaborators from Lagos to Brooklyn and everywhere in between mourned the loss of a generous and powerful being, the kind of being we thought would live forever. Thankfully, we have the gift of Tony’s timeless music, starting with these four special solo albums, through which his musical voice guides our dancing feet and full hearts forever. Progress showcases Afrika 70 doing what they do best: digging deep and bringing the force, but always with
remarkable restraint and swagger, propelled by Tony’s steady hands and feet. The title track, “Progress” starts with a bang and never loses steam - a performance so fierce that it stands alongside Fela’s most
powerful anthems. The second track, “Afro Disco Beat” shows Tony Allen at one of his creative peaks. He tells: “What I was saying on Progress was that instead of fighting Fela for money, I was trying to progress and create on my own. Progress is what a hard worker is looking for I had to look it for myself” (Taken from Tony’s autobiography by Michael Veal). Tony Allen possessed magic within him, which he spent his entire life sharing with us through his drumming hands, tapping feet and generous heart. That magic is ever-present and strong on these formative solo albums - they are must-haves for Afrobeat fans across the globe.

We Release Jazz is delighted to announce the official reissue of Ryo Fukui’s final album, the very personal contemporary jazz offering, A Letter from Slowboat, sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD.
Known for his miraculous albums Scenery (1976) and Mellow Dream (1977), legendary Hokkaido pianist Ryo Fukui, with the help of his wife Yasuko, opened his very own jazz club in Sapporo in 1995, Slowboat. This is where Ryo Fukui spent the latter half of his career, playing again and again, welcoming peers for unforgettable sessions, and perfecting the craft he lived for: jazz.

A Letter from Slowboat is a poetic, soulful, and honest love letter to Hokkaido, to Fukui’s jazz club, and to endless hours of practicing artistry in a place called home. Backed by longtime collaborators Takumi Awaya on bass, and Ittetsu Takemura on drums, Ryo Fukui flows through classics and originals with natural class, fluidity and absolute precision, expressing a smooth balance between skills and heart. Slowboat, full of breathtaking solos and exquisite moments of clarity, is another crucial piece in the career of one of the most fascinating jazzmen to ever grace the piano. It was released in 2016, sadly the year Ryo Fukui passed away, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come, and Slowboat, where the magic still happens to this day.

This is reissued in conjunction with Ryo Fukui’s Ryo Fukui in New York (1999), also available via We Release Jazz.

Triangulating a slinky signal to a square mile off the Swan River, Glowing Pin bring us ‘Pentagon Palette’, a master blast of frequency adjusted house, swamp stomp and chakra charmers from Australian newcomer Jonus Eric.

Though opening brace ‘The Cult’ and ‘Collect’ made first contact back in 2014, a loose connection between Perth and Hamburg hindered progress before ‘Mirrors’, ‘Emulator’ and ‘Waterfall’ walked across the web in 2019 to round out a dope debut release from this house auteur. Specialising in mind altering sound design and melodic flair, Jonus generates a neon swamp on ‘The Cult’, serving up a psychoactive roller caked in radioactive fuzz and insectile fizz. Thick bass swells and circular marimba make for a hypnotic rhythm, while a shapeshifting vocal and moody keyboard riff drag us back towards terra firma. The paradisiac refrain of ‘Collect’ soon sounds out through the jungle with a euphoric haze,

its sub-tickling bass and acid gurgle riding hyperactive drum programming as the track warps in the humidity. Soaked in serotonin and brisk at 137 BPM, ‘Mirrors’ burns off the mist to offer an airy update on the French Touch template. Though frazzled circuitry and dislocated vox serve this one with a twist, the chiming pianos and bouncy beat are still best enjoyed in a Golf GTI in the summertime. Jonus reaches for the lasers via the restless rhythm and rave sirens of ‘Emulator’, a fresh take on the funky house of the late nineties updated with unexpected breaks, squealing feedback and treated vocals usually found on a Four Set banger.

Next it’s off to the chillout room for ‘Waterfalls’, a fourth-world tone poem describing crystal caves, undiscovered wildlife and a holographic waterfall. Ditching the doof, and letting those colours tesselate, Jonus offers a +2 bump to your mana, before the post punk bassline, growling EBM vocal and off key organs of ‘YR Mind’ combine for a confrontational bonus track, only available in digital format.

Reactivated is the label’s fifth vinyl reference. For this work, ART21 has the participation of six artists: Hd Substance (Spain), Filip Xavi (Servia), Romain Richard (France), Pedro Pina (Spain), Kalter Ende (Spain), and dietriangle (Italy). Reactivated is a dancefloor focused dark mental techno LP that features hypnotic sounds created with both modular and analog synthesizers giving it the right warmth of sound. It is a work that invites us to reflect on the current pandemic we are going through and invites us to continue fighting and enjoying life. «As I didn’t worry about being born, I didn’t worry about dying» . – Federico García Lorca

Ivaylo’s music has always been rooted in house and its myriads of forms, from the deeper soulful sounds from the US of A to the more recent plinky plonky style from the romanians and the chileans. With a pinch of his bulgarian roots and a splash of Full Pupp (Prins Thomas co-produced, played instruments and helped mix down the record) this mystic brew comes highly recommended. “Ensom Kraft EP” will be released as a vinyl 12″ containing 5 tracks from the 8 track digital only album “Ensom Kraft". The full album will be included as a download code.

Taking the baton from MW for the second volume of Casting Shadows we invite The Hague mainstay, Intergalactic Gary, to let us peep into his crate of secret gems.

A true music archaeologist and one of the leading lights of the Netherlands’ West Coast scene for over 30 years, his knowledge spans across genres and decades.

Opening proceedings on the A side, we go back to one of Andrea Benedetti’s acid classics – this time revisited at 33RPM, morphing it into a slow-burning dancefloor grinder.

On the B-side, Italo disco duo GAG get a re-airing of their lost classic Flyin’ Bolero. QUAD, the UK duo formed by Mark Carroll and Pete Diggens, closes the EP with a deep breakbeat excursion originally released on Kinetix.

For years, Frente Cumbiero has served as the torchbearer of a new wave of experimental exploration in the diverse modern-day cumbia canvas. Led by Mario Galeano Toro, a Colombian native and accomplished veteran of Bogotá's rich music scene, the group first connected with listeners outside of South America via their head-exploding 2010 debut on Names You Can Trust. "Pitchito" would become a cult favourite, a catalyst for the Brooklyn-based label, and soon after a bonafide rarity. Those beginnings of Frente Cumbiero focused on an honorary recognition of the massive musical impact that the many formations of cumbia have had over the decades within Colombia. Subgenres such as gaita, porro, vallenato, and caracolito, to name just a handful, have all played their part within the evolution of the country's tropical music lineage. That deep-digging determination coupled with a truly unique and talented musicianship has informed Frente's music, some of the most forward-thinking and reverential examples of the current tropical scene. It has led to some incredible opportunities and collaborations in Europe, Asia and the States, including genre-defying recordings with London's Mad Professor and Japan's Minyo Crusaders.

Still, Galeano Toro's assemblies with Frente Cumbiero have been scarce amongst his other exploits, splitting time as player and producer in other ground breaking projects like Ondatropica and Los Pirañas over the recent years. After three 45 single releases together with NYCT, the time away has left everybody wanting for more. Now, reassembled and seasoned with years of touring and gigging in a multitude of projects, the group's current quartet of Galeano Toro (keys and synths), Pedro Ojeda (timbales and percussion), Marco Fajardo (tenor sax) and Sebastián Rozo (bombardino) is a stripped down powerhouse of unadulterated psico-tropi swing, a beautiful Colombian musical stew, incorporating a host of flavors from the melting pots of the Pacific, Caribbean and Atlantic pathways. The final result is of course quite unclassifiable, simply a new breed of good music and a dancefloor delight.

After the successful digital release, Discodelic Edits Vol. 1 is finally out on Vinyl. Two fresh Disco edits by Peter LC are going to fire your dance floors. You can’t miss the well known Italian House edit “Tentami & Rubami” (A Side) with its funky sonorities and disco grooves. “Stay With Me” (B Side) will make you dance no matter what.

The different seeds that have been planted throughout the life of Croatian Amor come to bloom on 'All In The Same Breath,' affirming an equilibrium that's all its own. Spiralling through the half-light electronics are gentle bumps and breaks that are layered into moments of elevation. A coarse edge remains just an arm's length away, but there is an unmistakable element of celebration throughout the album's 10 tracks. As the syncopated terrains ring out, their perpetual rhythmic motions call a medley of human voices that speak in security. They sing to everyone just as they sing to themselves. In the years since the seminal Croatian Amor album 'Love Means Taking Action' Loke Rahbek has strode a twofold path. There are the delicate, meditative compositions that he has made with Frederik Valentin; setting acoustic instrumentation against affecting digital treatments, each of their collaborative albums are an exercise in the magnificence of subtle restraint. And with the sharpest of turns you'll find Rahbek's parallel universe of rave-shocked rhythms and kinetic helixes that eddy through genre and tempo with few constraints. Collaborations with Varg²™ have yielded the wildest of this, and remain ongoing, yet the traces were already apparent across much of the previous Croatian Amor album 'Isa' with its treated vocalizations and cascading rhythmic mechanics. 'All In The Same Breath,' arrives as a steady handed synthesis of these divergent instincts. Elaborating the distinct techniques and themes that form the wistful essence of the project, the album's quiet composure is a sign that these familiarities have been set adrift to settle into their own private ecosystem.Small vessels travel in a perfect array. Light following shadows, following light. Every movement a signal, every second is camouflage. 'All In The Same Breath' is perhaps more than anything an invitation to be open to wonder.

The King & City reissue series continues with Paul Robinson's disco boogie jam Come On Sister. Moving from the Lovers sound of his early productions, his first solo recording was aimed straight at the blues, clubs and pirate stations of South London and beyond - a prolific artist on the rise.

Appearing as a 13 year old protegee drummer in The Simeons, recording for the legendary Freedom Sounds label out of Kingston; to forming the influential Roots / Lovers Rock outfit One Blood; then vocalist in the Nick Straker Band; and through to a 30 year career as "dubplate" producer / singer Barry Boom, Robinson is a man of talents and serious legacy.

This highly sought after debut, part of Neville King and Lee Laing's family of labels, followed releases in One Blood and productions for female Lovers groups Blood Sisters and Charisma. A pure disco boogie party cut, Come On Sister sees the Robinson family hit the Brit funk.

In label style, the flip is given the Discomix treatment, here by up and coming digger, dealer and producer, Bruno (Perfect Lives). Letting the horns, dub bass and drums build in anticipation before the keys and guitar join and it all drops to Robinson's vocals - Come On Sister.

Westcoast Goddess first came to our attention at the end of 2018 following his debut release on Canadian label Heart To Heart, but his productions actually date right back to ’93 (under various different guises) when he first began making music with his trusty Roland DR550 and Kawai K1. With a fresh and distinctive sound, WG successfully fused soulful touches and late 80’s-era digital synths with raw, punchy grooves and a euphoric, ravey atmosphere. Since then, the Berlin-based producer has built a solid following amongst underground house heads with subsequent releases dropping on esteemed labels such as Omena, Slam City Jams and Let’s Play House.

Opening up the EP we have Step Inline (The Narcotic Soul), which is a piano driven, uplifting slice of house heaven. A simple repeating 2 bar chord pattern lays down the foundation for soaring strings, cascading chimes and seductive echoing vocal hook.

Next up we have The Devil In Mr Holmes (The Erotic Soul) which once again goes heavy on the piano stabs but this time developing the arrangement into something that feels more like an instrumental dub of a long lost Prelude release. Crystalline synth lines come and go, whilst electronic tom hits add pace and energy to the unrelenting house groove.

Flipping over we have the epic I Might Be Ok (The Faithful Soul) coming in at over 9 minutes and being all the better for it. A dirty Moog bassline leads the charge with beautiful synth lines layering up on top, creating a blissed-out vibe which can’t fail to lift your spirits.

This new compilation, a statement of intercultural music production, features collaborations of Slikback (PAN), KMRU, Tite (Fragile), Jinku, Pier Alfeo (Backwards) ... recorded during a residency in Elefant Studio, Nairobi.

The compilation will follow a 45mn documentary dedicated to the Kenyan Scene.

After two vinyl releases highlighting two musical currents rooted in an era and a territory - Benga in Kenya and Tarantismo in Italy; Flee Project unveils its sub-label, Extra Muros, linked to an itinerant creative residency program that aims to bring together innovative and creative artists from all around the globe for a two-week long production and writing camp. Open to all, it promotes underground sounds and artists in search of sonic experiments and discoveries. Is held every year in changing locations and countries.

Extra Muros - Kenya, is the result of the creative residency program organized by FLEE in September 2019 in Nairobi at the Elefant Studio. For three weeks, seven musicians: Slikback (KE), Karun (KE), Jinku (KE), KMRU (KE), Flexfab (CH), Pier Alfeo (IT) and Tite (FR), and producers from all over the world and from Kenya came together to produce and to create this unique sound that emerged from a large variety of artistic environments and soundscapes. This compilation is a statement of intercultural music production in the digital age.

‘Alterity’ is compilation of fifteen warped, experimental and deconstructed club music tracks featuring artists from almost every continent. It pieces together shared sounds that connect disparate scenes across the globe. The music is fuelled by a desire to dissolve borders and transcend perceived norms to promote the existence of alternate viewpoints, lifestyles and identities.

The listener travels to a parallel plane through amorphous techno wormholes, caverns of industrial beat science and colossal panoramas of glistening hyper-stylised trance. Each creation espouses local sounds and adapts global musical styles creating a singular, holistic map of modern dancefloors that champion diversity and inclusivity.

The cover art of a manipulated city shows an ordinary urban landscape remodelled as another world. It hints at an endless, borderless macrocosm concealed within.

The gatefold double LP is pressed on yellow vinyl and comes with a digital download code and printed inner sleeves.

Lina & Gwen Wayne have become notorious for their techno sets throughout Germany and Europe, maneuvering from insider to headliner depending on the premises. We are pleased to announce their first EP "Genug gelabert" will be released on 4th September 2020 via Hold Your Ground on 12" vinyl and digitally.

Worm & brutal, like falling face first onto the concrete floor on a warm summer night, is the first track "Palaber" by Lina & Gwen Wayne. For six minutes, the ground feels like the sky, lying feels like falling, dancing feels like breathing and beyond your immediate surrounding there is nothing. This is techno and for the moment these two producers from Hamburg and Berlin are your new horizon.

The two DJs started producing together in late 2019, with their no frills & dark, but fun style translating effortlessly into their own productions. "Genug gelabert" ist the title of their first EP, meaning Enough said, and we are gonna keep it at that. Come marvel at the beautiful brutalism. Incl. Remixes by Moog Conspiracy and Innacircle & Metatext.

Vital Sales Points:
DJ promo by Cutthenoize, German print & online by Audiolith Inhouse, UK/international online

2020 marks the 30th Anniversary of ‘Bossanova’, the third studio album by Pixies.

The band continued to work with Gil Norton after collaborating to such success on their platinumselling second album ‘Doolittle’; this time choosing to record in Los Angeles over their native Boston
(the track ‘Blown Away’, however, was recorded at the Hansa Tonstudio in Berlin during a European tour in 1989).

Their third album in as many years, 1990 was a particularly fertile time for the band with Kim Deal also having success with The Breeders, who released their debut album ‘Pod’ just a few months prior.

Featuring the singles ‘Allison’ (a tribute to jazz and blues pianist Mose Allison), ‘Dig For Fire’ and ‘Velouria’, plus the first cover to feature on one of their albums, ‘Cecilia Ann’ (originally by The Surftones), ‘Bossanova’ showed a less primal side to the band, with surf and space rock rising to the fore. Lyrically, Black Francis is even more cryptic with a recurring sci-fi theme running throughout, which in turn influenced Vaughan Oliver’s classic planet design for the sleeve.

To celebrate ‘Bossanova’ hitting its third decade, 4AD are releasing a special red vinyl edition with the original 16-page booklet being reinserted, having previously only been available with the initial UK LP pressing.

Just in time for summer! Some serious heat from the darkest corners of the TK Disco vaults, dug up, re-mastered and brought back to life for your listening and dancing pleasure!
To say Trama's sole LP is a rarity is an understatement! Released on TK offshoot CAT Records in 1977 it's swaggering street-funk attitude, tight ass rhythm section, blistering arrangements and stellar vocal performances from a young Donna Allen has left beat digging, Soul, Boogie and Disco freaks hot under the collar for over 3 decades!
Often selling on-line for tidy sums (£250 +) this LP is a true gem, now is your chance to own a %100 legit, TK Disco sanctioned, vinyl copy of this killer Soul LP. Re-issued just the way it originally came out in 1977, no tricks. Essential!

They say you can't judge a book by its cover, and going by 'Jazz Rock', nor a record by its title. Though entering into jazz territory and featuring some distorted guitar, 'Jazz Rock' is more a beautiful marriage of funky breakbeat drumming and spiritual jazz instrumentation, combined with traditional Min'y music performed on the koto and shakuhachi.

Originally released in 1973, the record sounds simultaneously vintage and contemporary. It is akin to something Madlib might dream up whilst lost in Japan collaborating with Min'y players at a recording session. The record features some amazing shakuhachi (bamboo flute) playing by Hozan Yamamoto, which gives the music a haunting, dreamlike atmosphere. You can almost visualise the long grass blowing in the wind, and ear the bamboo rustling in the distance on a long hot summer's day. Takeshi Inomata, Tadao Sawai and Kazue Sawai anchor the session. Takeshi's exceptionally funky-drum work will almost certainly get some producers dusting off and firing up their MPC's. Whilst Kazue and Tadao work their magic on the koto (a traditional string instrument). Though certainly not an ambient record, 'Jazz-Rock' has the same meditative, other-worldly quality that invites you to sit back, listen and be transported somewhere else. Unfortunately, until now the 'Jazz Rock' album is a scarcity that commanded a high price-tag only for the most hardened of record collectors. So it is pleasure to make it accessible to all, and we hope you dig this lost, obscure future classic as much as we do.

This limited edition bundle of Keope's 'Triangulo' contains the original LP as well as a 7" with versions from Trikk and Dixon that have only been released digitally before. The versions will be available exclusively on the 7" and it will not be available separately.

Following the Turner Street Sound collaboration with Rings around Saturn, Melbourne producer and DJ Midnight Tenderness presents his second offering to Butter Sessions, Digi Modes. Throughout, Midnight Tenderness maintains his fixation with dub-wise rhythms and heavenly melody, delivered with his signature silky smooth production.

Digi Modes begins with the complementary pairing of tracks Crosswinds and Dub Dreams which feature on the limited yellow 7". Crosswinds is a bright medley of garage breaks against hazy synth-work that gently inhales and exhales. Dub Dreams, as its title affirms, is a mirage of sweeping synth loops and chattering rhythms. Elastic Dub is a more traditional homage to early dub works of the 1980s, marked by persistent echoes and rumbling bass that divides and conquers. Reflexitones, and the EP's endnote Regent St Dub, both add a sprinkle of house and electro, primed for a discerning dance floor or perhaps for now, a dance at home. As a whole, Didi Modes is an affirmation of Midnight Tenderness' mastery to adopt and adapt acquainted sounds in a unique way.

‘Life Guarding’ offers a first glance into an upcoming album by Wolfgang Tillmans. The song finds Tillmans in open waters, lyrically exploring wor(l)ds as they appear like undertows and tie in the listeners by his candid approach to accept whatever the drift throws at him and leaving him exposed at his most vulnerable. It seems no coincidence that the video Tillmans’ shot and directed for the song finds a similar approach to ‘liquidity’ in visual language. Shifting the lens between micro and macrocosms, collages of body parts, fruit and insects, we find him equally paying attention to the waves of the Atlantic Ocean as well as to the ’same’ water in the form of drops, evaporating on a hot kitchen plate. This current shape of ‘Life Guarding’, in equal measures upbeat and melancholic, emerged in sessions with Tillmans’ long term musical collaborators Tim Knapp and Jay Pluck in early 2019 at Trixx Studios in Berlin, that were further developed and produced by Tim Knapp and Bruno Breitzke. ‘Growing’ was originally part of Wolfgang Tillmans’ sound, light and video installation ‘South Tank’ at Tate Modern in 2017. This summer finally sees the independent release of this collaboration with the L.A.-based duo Wreck and Reference. The song also features excerpts of Fred Weyrich’s lyrics for German singer Alexandra’s 1968 hit ‘Sehnsucht’ (Longing). ‘Growing’ involved the band placing samples of Tillmans’ singing and spoken word over a kick drum-driven techno track made with synthesizers, acoustic drum recordings converted to digital drums, and noisy samples of jangling keys. ‘Wreck and Reference’ are an experimental music project from California by Felix Skinner and Ignat Frege. Drawing upon the blown-out intensity of black metal and noise rock, they eschew traditional guitar-centric instrumentation to construct songs with digital samples, drums, and voice. To date, the band has released four EPs and four full-length albums, and has contributed to the producti

Adeen Records 006 Introduces Bari born by way of Italy producer Nico Lahs. The South Italy producer delved deeper into his roots and returned using an array of vintage analog and digital hardwares, to give life in total freedom (as the name suggests) to his own sound and trademark.
The 2xLP album is the result of an unceasing and steadily research of one of the Italian music innovators, who doesn't just make house, but he's just as adept making hip-hop, downtempo, technoish and ethereal stuff deeply rooted into Chicago and Detroit history that starts with mellow atmospheres to then go up and down, skillfully juggling among samples, hardwares and artistry, showing his abilities with the sole purpose of calling out all the music heads, regardless of their taste, and unite 'em under one only message. Simply something for everyone!

Multi award-winning saxophonist and composer Nubya Garcia is back with her much anticipated debut album, SOURCE. Her first release on Concord Records, under the iconic Concord Jazz imprint. The album follows her 2018 self-released EP, WHEN WE ARE, the title track of which was described as “effervescent” by The New York Times and named one of NPR’s Best Songs of 2018. Her debut EP, NUBYA’s 5IVE, released in 2017, was hailed as “exceptional” by The Vinyl Factory and sold out on vinyl within 24 hours. In 2018, Garcia also featured on five of the nine tracks on WE OUT HERE, the Brownswood compilation project celebrating London’s young and exciting jazz scene. She won the Jazz FM Breakthrough Act of the Year Award and the Sky Arts Breakthrough Act of the Year Award in 2018, and the Jazz FM UK Jazz Act of the Year Award in 2019.

A collection of sonic mantras to live by, SOURCE is a deeply personal offering in which Garcia maps cartographies around the coordinate points of her identity, her family histories, grief, afro-diasporic connections and collectivism. SOURCE is fundamentally about getting grounded within yourself, so that you can be present with others. It's about a realization of personal and collective power: the evolution of the saxophonist’s values as she re-connects with herself, her roots and her community. Garcia digs deep to present an album with a global outlook: from London to Bogota, Caura to Georgetown, it's a record drawing inspiration from the many places Garcia calls home.

The founder of Modern Obscure Music (MOM) presents this release which culminates a creative process that has led him to work during years with labels as respect- ed as Hivern Discs of John Talabot to Mathematics Recordings of Hieroglyphic Being.
Pedro Vian surprises us with a an album that is impossible to categorize into a single musical style. This LP guides its audience through musical scenes typically attributed to the artist, with atmopheric tracks like Pandora or Paradiso (available on the digital version). But it also travels through abstract, sonic labyrinths in songs like Maia or Nine is Nine, accentuates the rhythm with techno tracks such as Le Fou, Invisible Objects or Indian Strings, and even submerges us into the depths of pop with 801 Nite, where Pedro Vian collaborates with the young and talented singer of Mourn (Captured Tracks/USA) Carla Pe´rez Vas. Another cut that resonates is the influence of the Cocteau Twins.
Beautiful Things You Left Us For Memories is the most mature work signed by Pedro Vian, where he clearly manifests all of his influences and distances himself from the introspection prominent in his last EP’s, where he collaborated with artists like Inga Copeland from the Hype Williams Duet, or Pye Corner Audio. This is a bold move forward on an international trajectory that has received robust recognition from specialized, international critics.The new project will be published through a digital version with twelve originals; and through a reduced vinyl version where photographers Adria Can~ameras, artist Irene Royo and graphic designer Marc Monguilod have collaborated, and audio engineer Josh Bonati has mastered the sound. This is a kaleido- scopic work, adamantly supported by artists like Gold Panda, Laurel Halo, Barnt, bRUNA, and the north-american producer Chris Taylor (Grizzly Bear) among others

Duñe and Crayon have been working together for a few years now. Crayon, discovered by Kitsuné is a close relative of FKJ and Kartell. Duñe, on the other hand, has evolved with the duo Saje.

It was within the Roche Musique family that they met and naturally started working on a joint-EP in 2016, soberly entitled Duñe x Crayon. Both self-taught producers, Crayon and Duñe, former inhabitants of Parisian suburbs located at opposite positions, yet quickly found each other.

For their first album, they lock themselves in their studio day and night, until they choke. It would take them several years - interspersed with a few solo projects - for the two artists to give birth to Hundred Fifty Roses. An album through which they expose themselves, both in production and in writing but also in interpretation. On rhythms sometimes inspired by Anglo-Saxon sensuality, but with a production that is indie enough to infuse more warmth. A groove with a soft pop feel to which Thomas Clairice, former bass player of HER, also contributes. To accompany Duñe, bright voices were invited on six of the album's thirteen tracks : We hear French singer and rapper Ichon‘s velvet voice (whom Crayon also produces) on "Pointless"; Gracy Hopkins brings his soul on "Your fruit". Ph Trigano - another artist who produces Ichon - participates in "PS" along with Swing.
Lossapardo - with whom Crayon had already recorded on his solo projects - close the album with "Slowdiving". On the English side, we discover Jadu Heart, a duet signed on Anchor Point, Mura Masa's label, giving the replica on "Invisible". More than perfection, Hundred Fifty Roses resolutely seeks emotion. The album is the musical result of an open discussion in an intimate context, halfway between the live experience and the digital exercise.

La vita nuova - a prospect for a new life - draws strength from extreme vulnerability. Produced by Christine and the Queens and Ash Workman, the EP is out now on all digital platforms via Because Music, and available to pre-order on CD and vinyl editions. La vita nuova arrives with an accompanying short film of the same name, imagined by Christine and featuring the EP’s five new songs in as many sequences. The 14-minute film is an inward journey that sees the artist invest Opéra Garnier, the world-famous Paris opera house, filling it with stories of ghosts and mythical creatures. Through the lens of long-time collaborator Colin Solal Cardo (Robyn, Charli XCX) and with choreography by Ryan Heffington (VMA Award 2014, Grammy Award nominated), Christine and her dancers appear in succession on the Opéra rooftop, its grand stage and most secret recesses, culminating into a feverish moment with Caroline Polachek, a collaborator on the EP’s title track.

Wow, this one's a biggie! Some smoothed out modern Soul for the discerning right here... dig it!
Released in 1980 Charles Johnson's ‎"Baby I Cried, Cried, Cried / Never Had A Love So Good" is a formidable double-sider, the A-side is a sweet slow jam where Charles lays it on the line in true grown man's fashion over a slick backdrop that is not a million miles away from some Philly style loving. The B-side is the big one though, a proper modern dancer, lovely production and the band is fully in the pocket. Drop this one and watch the dance light up, real music for the dancefloor! This particular 45 has long been a collectors item, and on a good day it can fetch hundreds on the Soul scene. This is a fully legit reissue, and features the classic golden Alston label artwork. A truly beautiful record, with each side primed to be played at the right time. Don't sleep!

Released with love and respect by: Above Board and TK Disco, Miami FL. 2020.

Digging deep into the annals of Gospel now, the name Pastor TL Barrett should be familiar to the eagle eyed crate diggers amongst you. An extremely "colourful" character from Chicago's Southside neighbourhood who found himself on the wrong side of the law for his involvement in some activities of a dubiously illegal nature, more importantly, besides this the pastor was widely known for his community activism and positive sermons preaching love and responsibility. Shady past aside, this fantastic 1976 LP entitled "Do Not Pass Me By" is a real Gospel beauty and features 8 tracks of resplendent hands in the air rejoicement. Having never been reissued before this rare as gem is finally back out in the open, complete with it's incredible untampered with sleeve artwork and design. Barrett's unique voice and message is timeless and instantly recognisable, you can't help but become one of the congregation whilst listening to these wonderfully rousing and positive paeans to the lord almighty. Saying that, even if you find yourself to be a non-believer, the soul, funk and jazz stylings (with the odd flourish of synth!) the good pastor is laying down will be equally as alluring to those of you who dig those particular sounds. "Do Not Pass Me By" was originally released on Miami's TK Disco offshoot Gospel Roots, it's the Pastor's second release on the label and is a beautiful snapshot of how things might have gone down at his "Mount Zion Baptist Church of Universal Awareness". A unique LP with with a somewhat lo-fi charm, the tracks contained run the gamut from slow, downtempo ballads to roof raising, danceable Disco-esque anthems.
This is the first time that "Do Not Pass Me By" has been reissued on vinyl, fully remastered from Gospel Roots/TK's original tapes, represented the way the the LP was issued in 1976 with all original cover and label artworks intact. Now, almost 40 years after it's original release the album has now been made available again for 2016, fully licensed in conjunction and with the full permission of Henry Stone music / TK Disco, Miami, FL.

Albert Ayler’s 1969 album New Grass has been misunderstood from the day of its release. The album fi nds Ayler experimenting with soul music and digging back into his R&B roots (he started his career playing saxophone with Chicago bluesman Little Walter), fusing it with the avant-garde free jazz (the one element of the record which garnered consistent praise) and adding the vocals of Rose Marie McCoy, The Soul Singers and Ayler himself. As if predicting the divisiveness of the record to follow, Ayler speaks directly to the listener and explains that New Grass is nothing like his albums before — that it is of “a different dimension of his life” — in the album opener “Message from Albert.”

New Grass deserves reconsideration, if not for the heavy grooves and surprising arrangements, then for its bravery in challenging norms of the time; by the ‘60s, jazz was well-accepted as a uniquely American art form, while soul as a genre was very much still seen as primitive. Ayler melds them together and creates something novel, adventurous, and completely his own. At the time of its release, despite its divisive reception, New Grass helped break down the unnecessary walls dividing genres and revealed music’s potential freedoms. The album has gone on to infl uence generations of Jazz, R&B, Funk, Hip Hop, Post Punk, No Wave and unshrinking artists like Pharaoh Sanders, Alice Coltrane, Funkadelic, Jungle Brothers, Red Krayola, Sonic
Youth and Mark E. Smith.

Third Man Records can’t recommend this record highly enough. We are confi dent that it won’t take but one listen for you to understand New Grass is an undeniable healing force

Italian Disco remixer extraordinaire Moplen is back at the controls with a super sublime reworking of a wonderful and rare early 80's Leroy Burgess jam from the Salsoul vaults. 'Heartbreaker' is an underground classic, seeing Burgess back in the studio with longtime collaborator Sonny T. Davenport and Kiss FM mastermixer and producer Shep Pettibone on mixing duties. A tight and flawless early 80's production sensibility and the incredible vocal arrangements and lyrical performance of Leroy Burgess make this one a definite essential in any DJ's box. This is the real deal. If you dig that post-Disco electronic sound this one is for you, simply perfect in every way and quite tough to track down these days in its original form with copies reaching high figures on the second hand market. Needless to say, Moplen injects his own personal style into his remix and adds his unique flair creating an essential new version of this classic on the B-side. Always understanding, respectful and fresh, Moplen pumps 'Heartbreaker' in all the best ways, crafting a drum and bass heavy DJ version and new arrangement that you will be hearing for many years to come! Disco bliss.

This remix and reissue is 100% supported by Leroy Burgess, who dug Moplen's new vision of this 1983 classic. Fully licensed, sanctioned and released by Above Board distribution and Salsoul Records, 2020. Accept no imitations!

Will Saul, DJ/Producer and Aus Music label head primes the 150th release for the longstanding British label with a stellar cover of the 1990 seminal techno record of the same name by Yolanda on seminal label Underground Resistance.

With the original record being one of Saul's all time favorites and UR being a constant source of inspiration it was beyond a dream to get his version fully approved by Mike Banks to celebrate the landmark anniversary. Saul then worked with Berlin based vocalist Gilli.jpg - who has recently worked with Cinthie - to re-vocal Yolanda’s song.

As a former intern at Skint in the late 90s heyday, this up-streamed anthem feels extra special finally landing digitally on the label where Saul began learning his trade over twenty years ago. The vinyl will be released on Aus. There is also a version expected later this year which see's Saul collaborate with Paul Woolford and additional remixes by Move D and Space Dimension Controller that will land shortly. The release features artwork by Trevor Jackson, the man behind the Output label, who’s releases launched careers for huge artists like Four Tet and LCD Soundsystem to name just a few. His iconic, pop art influenced work has been seen on releases including the undisputable 80’s dance classic, Raze ‘Break 4 Love’ and S'Express 'Theme from S'Express'.

Chra is the artist moniker for Austrian Christina Nemec (Bray, Shampoo Boy). SEAMONS is the latest missive in her ongoing exploration of suffocating abstract audio. At once designed and falling apart SEAMONS is rough and crude, a stumbling and staggering electronic expedition where nothing presents itself explicit in intent. It’s a tense obscure record that teases you into it’s peculiar vortex from it’s suggestive nature of exploring the enigma beyond it’s haunted facade.

VICIOUS WATER REGIMES stutters along as an ‘ugly’ mass of grey electronica. CAST(O)RO shines from light from the depths with it’s occasional foray into glistening tones. COLONIA MARINA SERENELLA is a dank squelching backdrop for a dark age. CAST twists tension with flickering electronics chaotic in their perpetual design of order confronting inevitable collapse. LET SHARKS SLEEP is not only a great title but a mind tickling adventure of descending/rising digital dance that builds in intensity with it's relentless repetition. WIDOW WALKS gallops and creaks along a path veiled in whispers. ENGE lunges through time with an air of deep uncertainty. SEAMONS hovers on the outskirts, crawling out of the speakers with endless surprising turns, few of them comfortable.

SEAMONS is progressive ambient, not the kind that makes you escape, but rather one you can't escape from. SEAMONS crawls into the very guts of sound to uncover and unravel the uneasy and unsettling underbelly within.

Ryan Lee West aka Rival Consoles announces details of his highly anticipated new album Articulation, released on Erased Tapes on 31 July 2020.
‘Articulation’, the lead track and album centrepiece, links the record back to the analogue fluidity and colour of 2016’s Night Melody. The division of varying time signatures, intertwined with a complex structure of notes, creates an expression of a moving structure and conjures a dreamy motorik energy. Ryan Lee West explains, "The title track is about articulation and playfulness with shape and time. Its structure is very machine-like, but I was really interested in how melody and sense of story could develop out of this, and it became an exploration of mathematical structures - patterns and shapes having a conversation. I love that something on paper can appear rigid and calculated, but then take on new meaning based on the context that surrounds it, or how it changes over time."
Articulation (which follows 2018’s Persona) was conceived with a very visual way of thinking, unusual for the London musician and producer. During the writing process Ryan drew structures, shapes and patterns by hand to try and find new ways of thinking about music, giving himself a way to problem-solve away from the computer. The album title references a piece by the avant-garde contemporary composer Györgi Ligeti, though not for its music, but for the non-traditional graphic score that accompanied it.
“I find electronic music is often battling to say something with integrity because technology and production can easily get in the way. I think the goal of a lot of electronic composers is to find a balance between the vision of the idea and the power of possibilities on the computer. With a pen and paper sketch you can compose and rethink ideas without technology getting in the way, so for me it acts as a very helpful tool to refresh the process.” - Ryan Lee West
The idea of using analogue drawings and tools to bolster digital creations can be heard in the structure of the pieces that make up Articulation from the broody techno opener ‘Vibrations on a String’ all the way to the album’s boundless closer ‘Sudden Awareness of Now’. While the anthemic rise and fall of ‘Still Here’ and the beatless ambient meditation ‘Melodica’ evoke a certain nostalgia, ‘Forwardism’ achieves the very opposite by burying its melody within the fast-paced rhythm of its pulsating synths.
Rising out of birdsong heard from his studio window, ‘Sudden Awareness of Now’ has a particular urgency about it and seems to perfectly capture a longing for escape. Built around a simple and repetitive melodic theme, expanding and retracting over the course of its seven-minute odyssey, Lee West explains; “I like the fact that if you say something over and over again in music, then over time it can become something else, something reflective.”
Since the release of Persona, Ryan Lee West has taken his captivating live A/V set to all corners of the world. Last seen live on stage with 17 players of the London Contemporary Orchestra for a sold-out orchestral performance at Southbank Centre’s Queen Elizabeth Hall in January 2020.
Meanwhile Lee West has kept busy. After contributing an exclusive track titled ‘Them Is Us’ to Adult Swim’s coveted Singles series, he recently shared the beautifully textured solo piano piece Winter’s Lament on this year’s Piano Day. He has also been in high demand as a composer, scoring Charlie Brooker’s much talked about Black Mirror episode Striking Vipers, composing original music for Secret Cinema presents Stranger Things as well as renowned choreographer Alexander’s Whitley’s groundbreaking new work Overflow which was set to premiere at London’s Sadler’s Wells Theatre this spring.
Articulation will be available worldwide on 31 July, with live activities to be announced as soon as the situation allows safe event planning

Late 20th Century outsider music from the outskirts of Buenos Aires featuring Alan Courtis, Pablo Reche, Quum and many more artists from the Argentinian underground.

Setting out as an archaeological excavation, literally exhuming material which has been under the surface for more than two decades, this special compilation features work by established and under the radar artists that helped set the now fertile Argentinian underground.

All tracks were directly digitized from the original cassettes masters (half of them never previously released either). The emphasis being to maintain the original sound quality as it was produced at the time (hence the cassette format). The compilation also showcases a broad spectrum style of music that was done at a specific time with very primitive gear - not by choice but because of the obvious economic restrictions of accessing sophisticated equipment forced these musicians on the DIY road. Domestic tape recorders making cassette loops, broken record players, toy keyboards and the noisy ‘fingers on circuitry’ long before Nicolas Collins championed it on Hand-made electronic music.

Whilst some artists actually had access to professional synths and drum machines (Unoxuno, Quum, Jaime Genovart), they still lacked of standard recording equipment. A crucial document then showing how their unique approach to music making influenced the forthcoming experimental scene of South America making these artists influential cult figures of the underground.



Compiled by Juan José Calarco y Pablo Reche
Digitized & Mastered by Juan José Calarco

Denise Rabe has quickly attracted attention with her distinctive approach to techno: powerful percussive force, detailed sound design, and slowly modulating compositions crafted to induce dancefloor hypnosis. Following acclaimed releases on Arts Collective, Stroboscopic Artefacts, and her own Rabe label, Denise joins Blacklabel Distillery with a new 12” that digs deep into the hypnotic dimensions of her sound. “Brilliance” is a shimmering monolith, serpentine sounds woven through head-nodding beats. “Outta Body” delivers on its promise of transcendence with slowly evolving drones unfolding over a driving rhythm. Perc brings things back down to earth with a relentless remix that conjures images of malfunctioning, mutating machinery, while Sverca freezes “Brilliance” into suspended animation, captivating with just a few layers of sound. The digital tracks highlight Rabe’s exceptional compositional skills, exploring subtly shifting alien soundscapes on “Spacetrouble” and mesmerizing with the massive cosmic sounds of “Fully In”. Track list 12″ A – Outa Body AA – Brilliance B – Outa Body (Perc remix) BB – Brilliance (Svreca remix)

If you are passionate about local music scenes as much as we are you might already know about the current brood of great bands going on in Cardiff, Wales.
Chain Of Flowers were the first to hail from the Welsh capital, followed by related side projects such as Night Thoughts, more recently came Private World of which the two boys we’re about to introduce are also live members of.
A new wave/synth act from the same city called Plastic Estate is emerging this year.

The duo composed by Nicholas James and Stanley Fouracres have released a few digital singles in 2019 as they’ve opened for The Murder Capital at Sŵn Festival and played alongside the likes of M!R!M, Josiah Konder and The Love Coffin. This Place is their first physical release and it’s due on 7-inch vinyl and digital on June 19.

On the two songs that compose the single, Plastic Estate clearly draw influence from the best UK new wave and pop artists such as Dave Gahan, Paddy McAloon, Roddy Frame and yet there is a sophisticated casualness and an innate freshness in their songwriting that makes them not sounding dated at all.
Amazing composition skills for such a young band and a perfect balance between electronic dance elements and acoustic instruments allow them to pay homage to the above-mentioned masters and to be a perfectly contemporary group at once.

Although it’s possible to pick out some darker lyrics, the overall feel is up-beat and breezy. It’s a contrast that runs through a lot of their music – like a dichotomy between dark, melancholia and happier, brighter feelings.
Whether it’s a happy pop synth riff mixed with sombre lyrics or vice versa, the young Welsh duo is delivering the best 80’s-inspired modern pop craft.
RIYL: Echo & The Bunnymen, Prefab Sprout, Depeche Mode, Orange Juice, Wild Nothing.

The next release in the Phonica Special Edition series comes from Ukrainian duo Asyncronous who first came to our attention after hearing their critically acclaimed debut on Berlin label Slow Life, 'The Art of Fighting In A Dream'.
A Phonica favourite, it provided the soundtrack to many days in the shop throughout the year, culminating in its inclusion in our top ten Best Singles of 2019!

The Phonica Special Edition series is focused on one-off projects, special remixes or collaborations, highlighting music that is slightly left of the dance floor and pairing it with unique artwork.
This time featuring a beautiful piece by celebrated Ukrainian artist, Mykyta Storozhkov.
The pair initially joined forces in an effort to explore human imagination and life experiences through music, focussing on creating feelings and atmosphere rather than be constrained by genre limitations. The result on this EP is a hazy cosmic trip through their universe of synth swells, deep sub bass and meticulous percussion.

The journey begins on 'Padma Kirtanam' with a constant drone providing the backbone to a building tension scattered with drums. The tension releases and makes way for A2 'Shinkansen', a beautiful track with minimal drums and dubbed out synths which echo around the listener's ear. Closing the A side 'Volta' continues this aesthetic but adds a 4x4 kick drum upping the groove to a cosmic deep house jam.

'Avalanche' kicks off the B side of the record with a syncopated bass line and skitterish hi hats. The energy is at its highest level here and only stops to make way for the next track 'Blocks of Despair'. The tempo drops and drum hits reverberate above stretched out bass notes creating arguably the most heartfelt tune of the release.
The EP ends with 'Midnight Sun' an ambient excursion that invites you to drift off with Asyncronous into outer space.

Today we have many opportunities to discover the world and travel through it without leaving your own room. In the age of globalisation, with the help of knowledge, technology and imagination, you can instantly teleport yourself to mystical temples of India or see the sun above the polar desert at midnight. No more borders - we are connected like never before, as if we are not at different ends of the globe, but on a single and indivisible continent that is not mapped but exists in a plexus of global events, information flows and digital environment.
This is our common home. Our new Pangaea.

30D Records sublabel ‘Close Encounters’ publishes its third release ‘Third Contact’ EP on April 24th 2020, (initially on digital release) bringing together a range of artists to express their musical vision as a virtual union, somewhat reflective of the globes current confinement. ‘Third Contact EP’ delivers four tracks from an alliance of artists who are at a peak in their careers; Denise Rabe clearly defines her dark, hypnotic trade-mark aesthetic in ‘We’ll Meet In Shanghai’, a timeless track even before its release. Geistform combines industrial-electro with a raw techno drive, continuously channelling his masterful energy in ‘3C 273’. A more dancefloor-oriented B side features ‘Stolen’ from Temudo, delivering rolling groove and distorted bass-lines, Adriana Lopez closing the EP with her high energy, spellbinding ‘SMV’, both B-side tracks perfectly geared toward a wide variety of DJ sets. 30D Records are thrilled to debut all four artists on this special release and all the artists are equally happy to be able to share their creativity and vision through music with you at these strange times.

Mint Condition continue their mission excavating the outer fringes of classic House and Techno. Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have been on your wants list for years! Dig in....

Back to 1994 and Charles Webster's lesser used Together Trax alias brings us 4 tracks of that deep, soulful and slamming garage house sound. Released on UR's much celebrated Happy Soul sub-label, famed for its gospel soaked, piano driven uplifting jams, Together Trax serves it up in fine style. Strange for UR to sign 4 cuts from a guy from Derbyshire, but once you hear both sets of mixes of 'Celebrate / Ain't Nothin' Wrong' it all makes sense! Both tracks could have come from the deepest, darkest basement session in downtown Detroit no problem, and it's obvious why Mad Mike signed them. This is old-school house, for the connoisseur who remembers how it used to be, way back. When dance music was fun and put a smile on your fave. Often a rare catch, this 12" fetches tidy sums in the netherworld of Discogs and the like, but now it's here again, lovingly restored and ready to make its way into your record bag once again.

Together Trax has been legitimately re-released with the full involvement of Charles Webster and was remastered by London's Curve Pusher from the original DAT's especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition!

According to the feudal system which was introduced into England by William of Normandy, the king was an absolute monarch, so he could do whatever he liked.
(from Origins of the Magna Charta).

In a cardboard media background, where cliche is law, where the digital essence of the personal data is more meaningful than the person itself, the Bait e Borghi project arises. The natural environment beyond anthropization, the technic and technologic strained clutch inside the places that inspired the album. The traveller meant as the one that makes the trip his own life, and that inevitably moves so far away from common archetypes that defeats every possible storytelling but the sound evocation. A sound that becomes the last unreal notebook like the matter which dreams and memories are made of. An unlikely but possible distopia where our last Thule remains the passage between body and machine, cyberpunk myth yet beautifully imagined and illustrated during the eighties. Not by chance Bait e Borghi share the same starting point, the same region that assumes twisted features if observed from the mid Adriatic offshore oil platforms point of view. Squalo, Giovanna, Ombrina are the point at issue, monumental media short-circuits, disclosed and hidden truths at the same time

Ramrock Red Records are incredibly excited to present Kameelah Waheed – straight outta New Jersey. Brought to our attention by London DJ/promoter, Barry King, Kameelah immediately delighted us with her direct, no messin’ delivery, compelling, earworm hooks and beautifully crafted lyrics.

Teaming up with Kelly Murray on co-production on the ‘Original Version’, Kameelah unleashes a stripped back, jazzy hip-hop vibe punctuated with a Donald Byrd’ish trumpet riff. The North Street gang take the Donald Byrd flavour a step further with a full on nod to the Mizzell Brothers in the first North Street West dusty funk production. Releasing digitally around April 24th as a five track EP with a further 7” vinyl release around May/June, ‘Holding On’ is set to tick a lot of musical heads boxes.

Growing up in an Islamic household, sneaking snippets of worldly music into her household was close to pulling off a major heist during Kameelah’s teenage years. She was introduced to the world of sound from MTV, rap and house music and the live bands of the 80's courtesy of her older sister, along with tribal and island music that her mother played. Kameelah was encouraged to consider song writing as a career option when she received an opportunity to write for Bunny Sigler of Philadelphia International Records. Heading up the hip-hop rock band band, Gov’t Cheaze in 2000, Kameelah performed at Philadelphia’s Black Lily Film Festival as well as a set at the very first Roots Picnic.

Previous releases have included ‘Traveling’ by Kameelah Waheed & GC, produced by Larry Gold, featured on the ‘Beat Generation Compilation’ released on BBE, making the Top 10 Most Played on UK urban radio stations. In 2011, Kameelah Waheed and Government Cheaze signed with indie label, Philly Through My Ear (PTME) founded by Will Smith Sr. The self-titled CD can be found on iTunes.

ANNA HOMLER & ALESSIO CAPOVILLA - VASI COMUNICANTI

Vasi Comunicanti is the oneiric record born from the collaboration between L.A. performer and avant-garde artist Anna Homler and Alessio Capovilla, co-founder of Gang of Ducks.

Alessio Capovilla (1985, Turin, Italy ) is an Italian composer interested in sound modelling.
Imperfect sounds, unpunctual distortion and unsuitable atmospheres are constantly researched by Alessio.
A dialogue between ancient tools and new technologies through synthesis, computer music and field recording, crossing beats and genres towards something not easily definable.
Co-founder of the collective Gang Of Ducks, on which he's published two releases ("NO" and "Eocity") under the moniker of XIII, alter-ego through which he mainly examines the most tactile and digital part of his sound.


Anna Homler is a multy-disciplinary artist working on a blurred line between music, performance, spiritual and visual arts and giving birth to several different projects.
In 1985 she released, in collaboration with composer Steve Moshier, the seminal album "Breadwoman & Other Tales", shamanic and meditative songs brought to life with astonishing live performances.
The record was then re-released in 2016 by NYC label RVNG Intl, bridging the gap with a new generation of listeners, discovering the universal and unique world of Homler.
Capovilla, who was born in the same year of the original release, is one of them. His work focuses on imaginary landscapes and oneiric feelings. He has released two records on Gang of Ducks with his XIII moniker, dedicated to his digital and more computer-oriented sound.
The two of them met for the first time for an improvised live performance in Torino in 2017, after which they decided to spend studio time together exploring where this connection could lead.

The record flows along 5 tracks, with Capovilla taking care of synths, drums programming and audio engineering, and Homler singing in her melodic phonetic language, mixing unique voice and sound effects .

"De'la cocce" moves around on a slow quasi-dub rhythm accompanied by whistle and vocal interventions. In "Ricordo" Anna's voice is more prominent, travelling through a digital dimension made of flutes, Buchla Music Easel sequences and rainsticks.
The B side starts with "Bread Dance", where different layers of vocals and drums repeat themselves in an obsessive and haunting atmosphere.
"Be'ya Sa'di" is an ambient and cinematic piece, which quietly introduces "Mem", the most emotionally and intense song of the collection, transporting the listener into a different dimension.

The whole record creates a world with no geographical coordinates, where humans meet their primary feelings in a suspended time, escaping the present and the intelligible world.

Can you truly believe this record was released in 1965 ? Forging a brand new hybrid of space-age, easy listening and spy jazz the American pianist and composer born in New York in 1927, put together one of the cornerstone of the genre. Before switching to the Moog synthesizer ( right on time with the moon landing in 1969) he had some very influential theme music releases on MGM Records and Command. But The Man From O.R.G.A.N. was a monster in itself. How could you go wrong with this trio of guitars, a bassist and three guys playing percussion? And Dick himself bringing the Lowery Organ (and the Theater model in particular) to the front of the stage ? Dig yourself !

We are happy to welcome UK-based producer Native Cruise on Slam City Jams. The guy was on our radar since his releases on No Bad Days and Fruit Merchant that easily combined house music with new-age synths, a wave/EBM touch and balearic sounds.
His „Human Nature“ EP is no exception with five outstanding tracks that differ in tempo and vibe.
The opener „Crew Talk“ is a percussion heavy tune with lots of cowbells, a funky DX7 bass line, deep pads and dramatic chords that build up and up towards the end.
„Elsewhere" is the most housey track on this record, with four-to-the-floor 808s and bittersweet strings that burst out into euphoria. Closing down the A-side is „Fooled Again“, a balearic cut that feels like a day in the sun with it's little synth blips and arps.
On the flip we find the title track „Human Nature“ that might be the hidden jam on this EP. Hard hitting Linn Drums, digital synth bells and those haunting vocals we can’t get out of our heads. Finally we have „Not Long Now“ a perfectly atmospheric deep tune, that sits somewhere between ambient and reggaeton and will make fans of DJ Python more than happy.

Los Angeles based hardcore punk band Entry shall release their debut full length, Detriment via Southern Lord on 17th July on LP and digital formats. This follows their sold-out 7” No Relief on Dune Altar.

Entry started as a project between Sara G and Clayton Stevens (of Touché Amoré) inspired by the likes of Discharge, Minor Threat, Converge, Tragedy, The Cramps, and The Exploited. The punk community at large is as inspiring as it has ever been to them.

Compact and ferocious, Detriment is a diverse album and a breath of fresh air in the genre. The debut showcases Entry’s appreciation for different aspects of punk and hardcore, and their imaginative songwriting that is condensed into nine succinct musical statements of intent.

As a collective, Entry firm belief in the power of punk and the uniting nature of music, and with Detriment they reflect themselves and their community with integrity and authenticity, this caught the ears of Southern Lord label owner Greg Anderson.  He remarks "The unhinged intensity of Entry’s live performance at the last Power of the Riff fest blew me away.  They embody many of the characteristics of powerful underground music that I have been obsessed with since my youth!.”

Entry are:- 
Sean Sakamoto- Bass Guitar
Sara G- Vocals
Chris Dwyer-Drums
Clayton Stevens- Guitar

Bass player Sean Sakamoto plays in the indie pop band Sheer and is a recording engineer in LA, while drummer Chris Dwyer is also a recording engineer in LA, Sara’s musical origins come from punk bands in Pennsylvania, and Clayton also continues to play guitar in Touche Amore on Epitaph Records.

Entry have played the Olympia Hardcore Festival, and Ceremony's Homesick festival in Los Angeles. Opening for bands like Career Suicide, Krimewatch, Sunn, Dangers, Despise You, Sect, and Show Me The Body.

Introducing Idle Minds Workshop / Melbourne based duo Hooves & JPS debuting on Plasma Audio. Staples of the Melbourne music scene, working together as the production outfit "Idle Minds Workshop". Dropping with a slung half time beat "Take Time" features dubbed out lyrics from Rider Shafique, alongside "Opportune" a driving dancefloor half time riddim. Original hand drawn calligraphy brushed by Akane Ito of QQQ Design brings essence into the package giving the feeling of beautifully crafted release, pressed on 10" Vinyl and digital/steaming available on 26th June.