Buscar:disco 2

VIBRAPHONE RECORDS PRESENTS ANOTHER STUNNING RELEASE BY TAI DAVIS !

Established in 1948 by César Roldán, Discomoda is one of the earliest record labels of Venezuela and the oldest family operated label in the country. Home to one of the most complete folkloric and popular music catalogues of Venezuela, the label also invested heavily in Afro-Caribbean and tropical rhythms that became popular in the 60s and 70s.

In the 1960s and before the Salsa era truly kicked off, Venezuela had a significant dance orchestra and big band movement. Unlike local record competitors dedicated to selling foreign productions, Discomoda achieved its leading position by recording the most important national bands, including Los Megatones de Lucho, Orquesta Sonoramica and Super Combo Los Tropicales; all featured in this compilation.

Later on, surrounding the festivities for the 400th anniversary of Caracas in 1967, the word "Salsa", which had been recently coined by famed radio host Phidias Danilo Escalona, was formalized to identify an Afro-Caribbean musical style with growing popularity in Venezuela and beyond. By then, the country was among the top 20 music markets in the world, with the local label Discomoda leading the way, responsible for one out of every five records sold in the country.

With the prolonged celebrations approaching due to the 400 years of the city, Discomoda and other labels began to capitalize on this new musical style by betting on both established and new local bands, such as Nelson y sus Estrellas, Los Kenya, Principe y su Sexteto and Los Satélites. As a result, this would kick off what could be considered a golden era of Salsa in Venezuela and which lasted until the mid-70s.

As we approach the 80s and with the emergence of new musical styles and bigger multi-national record labels funded by larger pockets, a lot of the previously popular bands begin to disband or choose to leave the country. Nonetheless, a few artists, like Rodrigo Mendoza, La Renovación and Grupo Yakambu, were still pushing out quality music.

We are thrilled and honored to celebrate one of Venezuela's and, equally, Latin America's most significant record labels, and to share a slice of their enduring influence in advancing Venezuelan-made Salsa music.

Warehouse Find!

A true studio visionary and son of Incognito's Jean-Paul 'Bluey' Maunick, Daniel Maunick virtually grew up behind the mixing desk and worked his way through the scenes of drum n' bass, acid-jazz, disco, samba, deep house and beyond. As Far Out's in-house producer his work is a key component in the consistency and transience of the label's sound, with key albums include Azymuth's Fênix, Marcos Valle's Estatica, Sabrina Malheiros' Dreaming and Far Out Monster Disco Orchestra. His latest credit on the catalogue is the next chapter of his Dokta Venom alias, Moodswings.Each track brings you a visceral dancefloor experience both sonically and structurally. Opener 'See the Sun' evokes an elevated, cloudy ether, with each kick drum another step up to the sky. Title track 'Mood Swings' deploys components of broken beat, garage, house, IDM and boogie, but shrouds them into a hazy deepness, like a dream through Maunick's musical memories. Whilst keeping the same intensity, 'I Owe u Something' ups the tempo and swings the mood. Propulsive percussion blurs the acoustic with the electric, glowing synths and anguished vocals formulate this eruptive full-floor belter that lodges somewhere in between early Pepe Bradock and Azymuth.With a solo album from Azymuth drummer Ivan 'Mamao' Conti, a collaboration between Sean Khan and Hermeto Pascoal, along with a long awaited new record from Sabrina Malheiros, 2017 is set to be an exceptional year for Maunick and Mood Swings is an inspired prelude of things to come.

...Finally repressed! No more words needed... Classic!

The original version of this gorgeous schlager techno track, released in august 2001 on Kompakt's Total 3, would put a smile on a lot of people's faces. Apart from the reworked original version, you'll get two sensational remixes: The one from Frankfurt's high-aesthete, super hipster, club- and label-owner with a three-letter name: Ata. Since the very beginning, his Playhouse label has always been a guarantee for finest German House music. It's his first (!) remix ever and his first studio work since the legendary first Playhouse release 'Holy Garage' in 1993. The 'Playhouse Mix' turns the original version into a mega-hip, late-night monster and reminds a bit of the great Larry Levan and Metro Area's congenious adaption of early-80s disco music. The 'Robert Johnson' club is going down on its knees. Wonderful. The other remix comes from one of Kompakt's in-house pioneers of pop ambient: it's Olaf Dettinger. Who didn't want to miss this chance and has interrupted his creative pause only for doing this wonderful 'Moonlight Mix'. Dettinger's cosy hi-tech sounds and Sonja Luebke's seraphic voice, both singing a duet to the moon. Very, very beautiful, indeed.

DER SMARTE HIT VON JÜRGEN PAAPE MIT REMIXEN VON PLAYHOUSE'S ATA UND DETTINGER. HERRLICH !

Hi-NRG synth pioneer Patrick Cowley moved away from his usual robotic steeliness on 1982’s “Primitive World,” drawing instead on the groove rock of early 1970s gay discos. It’s a percussion track influenced by Baba- tunde Olatunji’s 1959 hit “Jin-Go-Lo-Ba,” made more famous by Santana’s 1969 cover. Cowley updated the sound for the 1980s with electronics and drum machines but kept the playful attitude of the original. Two choirs of voices chant back and forth to each other, giving Cowley a chance to include many of his friends from the San Francisco dance music community.

This has been DJ Hifi Sean’s year, with a best-selling album with David McAlmont , count- less live gigs and high-profile remixes to his name. His interpretation of Cowley’s “Primitive World” can be counted among his best, bringing an intense TB-303 acid house vibe that perfectly complements Cowley’s weird electronic blips and bleeps. The effect is a disorienting mix of psychedelic 70’s groove, 80s synth pop, and 90s tacky house vibes. “Primitive World,” is one of the brilliant standouts on Cowley’s final record, Mind Warp, the so-called “death album” written as his health was rapidly sinking. Hifi Sean’s new remixes pay tribute to Cowley’s genius while fusing the track even more strongly to dance music’s electronic future.

DJ Moplen has outdone himself with this reimagining of Machine’s disco classic. Sticking purely to elements from the original, he’s managed to completely redesign the song, starting with an extended version of the soulful piano intro. Punching up the kick drums and handclaps moves the track into house territory, complemented by a funky guitar riff that was completely buried in the original. When the bass enters front and center Moplen practically forces you to the dancefloor, leaving you vulnerable to August Darnell’s controversial lyrics. Fresh from a career-making start with Dr. Buzzard’s Original Savannah Band, lyricist/vocalist Darnell’s collaboration here with Machine was only months from his next incarnation as Kid Creole. Just like those groups, Darnell here fills his song with the politics of race, religion, and sexuality under the guise of a great beat. This release features that rarest of things: a dub just as good as the original. Rather than just removing the vocals, Moplen again rearranges the song, removing the slow intro and building a killer groove from the ground up. As well as the 1979 version, this 12” also features Timmy Regisford’s 1994 house mix and an alternate “acapella reprise” take of that mix, both of which capture the dark energy of the song perfectly.

Reissue of this italo disco classic from 1984. Comes with Flemming Dalum remix.

Available on vinyl LP & CD (with extra tracks). Robin Way has been making psychedelic music for decades under the name Oak Acetator. Mostly home recorded, Oak Acetator’s world of sound encompasses an intoxicating mix of psychedelia, punk, space rock and pop, with the emphasis strongly on hallucinogenic psych. ‘Power Trip’ is Robin’s seventh album, his previous six coming out on the hallowed Dig The Fuzz label, though strangely, none of his work appears on Discogs! Robin wrote, produced and played everything on ‘Power Trip’ in his Folkestone attic studio, and it is a work of crazed brilliance. Respected musician and writer Louis Wiggett summed it up succinctly when he said of Power Trip ‘Oh, that bonkers genius from Folkestone, can’t get enough of it. So good, almost sounds like a cosmic Stooges with synths and deadpan humour. Love it!’ And he’s absolutely right. Robin exudes his unique, very British style from the first moment to the last, sounding at times like Johnny Rotten backed by Hawkwind, but with touches of Gong and Krautrock thrown in for good measure, but really just like himself. It’s a total joy to be able to put this deranged masterpiece out on Blue Matter. We adore it, and we hope you will too

Orange, yellow, cyan blue, aqua blue, baby blue vinyl. Limited to 400 copies
After being out of print for decades, End Hits Records has partnered with the Swedish hardcore punk legends ABHINANDA to re-release their complete discography on vinyl. Founded in 1992 in Umea, now recognized as a European punk hub, ABHINANDA played a significant role in shaping the history and development of the 90's hardcore scene. Alongside their contemporaries REFUSED (with whom they frequently shared and swapped members), they were instrumental in the international breakthrough and popularization of Scandinavian hardcore. Much credit for this goes to singer Jose Saxlund, who, along with Dennis Lyxzen (Refused, Int. Noise Conspiracy), operated the Straight Edge label "Desperate Fight" and played a vital role in consistently releasing recordings from the thriving Swedish scene. Finally, the entire ABHINANDA discography will be available once again, this time on strictly limited vinyl: The five-vinyl box set comes in an elegant cardboard slipcase, with each individual record housed in a gatefold cover and accompanied by a large-format poster. Additionally, there are numerous never-before-seen pictures, along with detailed liner notes/interviews featuring band members and contemporaries such as Dennis Lyxzen (Refused), Vique Simba (Revelation Records, Simba Zine+Records), Sara Almgren (Doughnuts, Int. Noise Conspiracy), and Kate Tucker-Reddy (108). The box set includes the three full-length albums "Senseless," "Self Titled," and "The Rumble," as well as a double LP featuring all demo recordings, EPs, and 7" tracks. The music has been completely remastered, and the artwork has been entirely updated.

Now on 140 gram RED vinyl,. Includes: Going For Gold, Disco Down, She Left Me On Friday, On Standby, Getting Better. Exclusive Interview Recorded & Filmed at Barrowland, Glasgow, 3rd December 2002.

See Youse At The Barras by Shed Seven, released 23 February 2024, includes the following tracks: "On Standby", "Chasing Rainbows", "Where Have You Been Tonight", "Cry For Help" and more.

This version of See Youse At The Barras comes as a 1xLP.

The vinyl is pressed as a yellow disc.

A repress of this long out of print album. 300 only LPs some on Yellow vinyl and some on Green vinyl randomly picked. Gatefold sleeves with 180gm vinyl. Discovered by friends of Martin Hannett and with input from one of his relatives,these recordings give a rare insight into his production ideas for Joy Division and his relationship with the band.,the strange things/ sound effects they recorded in the studio together etc etc. The studio chit chat and interplay between Hannett, Gretton and Joy Division members is all here as Martin left his own tape machine running throughout studio sessions. On this album we have rare alternative mixes of Joy Division that were Martin's personal favourites and he had the forethought to get the band members to give him control of these recordings. A must for all Joy Division fans.

DUST BOLT melden sich mit ihrem neuen Modern-Metal-Album SOUND & FURY mit einer geballten Ladung Thrash Metal-Vibes, schweren Gitarren, rollenden Drums und True-Metal-Vocals zurück!

Die Band ist bekannt für ihre klaren Aussagen und ihr großes Engagement, z.B. unterstützen sie Fridays for Future. Dust Bolt ist dieses Jahr für große Festivals wie Wacken 2023 gebucht. Für Fans von Lost Society, Architects oder Crisix. Ihr neues Album wird am 23. Februar 2024 veröffentlicht!

In his long and successful career Ennio Morricone composed many dance songs as it was in fashion in the late sixties and early seventies.

Themes that were usually not directly connected with the subjects of the soundtrack, but which were played in disco clubs, on jukeboxes,

turntables and on the radio.



This collection contains a selection of very cool pieces such as the brilliant main theme from GRAND SLAM (1967), the shake rock (opening credits) from

Dario Argento’s classic FOUR FLIES ON GREY VELVET (1971), the danceable from the noir film VIOLENT CITY (1970), the beat version of the opening

credits of “Pioggia sul tuo viso” by The Sorrows, from HOW I LEARNED TO LOVE WOMEN (1966), “Per Vittorio (Bossa)” elegant bossa nova with flute and

percussions from THE SUCCESS (1963), the tribal shake from I Cantori Moderni which winks at the Dies Irae from GARDEN OF DELIGHTS (1967),

“Scuola di ballo al sole” a wild surf piece from THE HAWKS AND THE SPARROWS (1966), the supreme bossa nova from ONE NIGHT AT DINNER (1969)

with the super iconic voice of Edda Dell’Orso, the shake music of “Ostinazione al limone” from WHAT HAVE YOU DONE TO SOLANGE? (1972),

“Donnabossa” from FULL HEARTS AND EMPTY POCKETS (1964), a delicate bossa nova with a prominent harpsichord.

CLAUDIO FUIANO

Building friendship through joint sonic exploration, Khang & Elias basically started having long Sunday jams right from the start when they first met in Oakland. Recorded in two live sessions, one in May 2023 in Oakland and the other in July in San Francisco using a scattered array of little boxes of synthesis and audio manipulation. "Reflecting on the recording process it felt like we had a completely nonjudgemental mindset to the sound created and discovered sonics through kind of a lens of a child entering a playground."

Alanna Royale, for fans of Amy Winehouse, Lady Wray, and The Monophonics. Introducing "Trouble Is," an album that is years in the making. Produced by Kelly Finnigan of The Monophonics, this LP showcases Alanna's powerhouse voice and emotional lyrics. This is an album that you need to deep listen to. Get swept away from the lush string arrangements and feel the beat from an A-list rhythm section. This album is steeped in the sounds of the incredible R&B artists that have came before her. Come experience Alanna's vision through the incredible sounds on "Trouble Is." You might discover something new about yourself.

This Dutch music project was created in the late 1980s by two graphic designers, Edwin Van Der Laag and Huib Shippers, who were in love with electronic music. Their debut album is divided into two parts, the first with Edwin’s music and the second with Huib’s. Obviously Van Der Laag’s songs are inspired by Laserdance, for which Van Der Laag also designed album covers, however Shippers’ part is slightly different, less aggressive, trance-inducing, which makes the whole album truly extraordinary. This is the first vinyl reissue of this album since its first appearance.

The Cherry Boppers are back with six fiery artifacts of promiscuous funk recorded in collaboration with the vocalist, also from Bilbao, Patricia Reckless, in this mini-album in 10-inch vinyl format. Pure rhythm from head to toes. As is well known, funk fuses what has historically been labelled soul, rhythm and blues, jazz and rock, and The Cherry Boppers (TCB) have undoubtedly created their own promiscuous formula based on a fine selection of styles that predate hip-hop. Active since 2004 and convinced advocates of jazz-funk and instrumental funk, there are very few examples of vocal tracks in their discography. However, in 2014 they released the EP "TCB meet Dr. Baltz" (Brixton Records-Soul Series) in which they successfully covered three classic rhythm and blues standards with lyrics in Spanish. Now, after five years of publishing drought, they repeat the experience with the stellar collaboration of the vocalist, also from Bilbao, Patricia Reckless, musically formed in the band "Bohemian Soul". The powerful and educated voice of Patricia Reckless blends perfectly, as one more instrument, into the compact rhythmic machinery of TCB, giving the 6 tracks of this mini-album (the 6-track EP thing doesn't quite fit) a structure, perhaps, more familiar to a non-specialized audience. But let's not get carried away, the textures, the silences, the "on the one!" beat, the breaks, the stately Hammond organ, the brilliant brass, the forceful bass lines, the precise percussion, the wah wah... are all 100% Cherry Boppers. "The Cherry Boppers meet Patricia Reckless" remains faithful to that analogue funk sound that makes the band proud of a long and vocational career in the genre. And it is also an album full of details, of paths and instrumental lines to be discovered on multiple listens.

Thee Alcoholics are the brainchild of Rhys Llewellyn, a longtime Rocket Recordings alumnus whose background leans as heavily into the bassbin-shaking realms of electronic music as it does the tinnitus-inducing world of howling, cranked-up ampstacks. Not content with hammering drumskins for numerous floor-shaking records on the Rocket discography from the likes of Hey Colossus and The Notorious Hi-Fi Killers, he’s also been responsible for brain-rearranging electronic works under the Drmcnt and Acidliner monikers. Thee Alcoholics, however - which initially gestated as a result of Rhys himself wanting to pursue the somewhat hostile sound in his own head during lockdown - maps out a collision course between all of the above. Cranky and cantankerous yet lysergically aligned, Feedback is mesmeric rock with swagger, warped into sci-fi shapes by the spirit and sonics of bass and soundsystem culture. The psychedelic shapes here are redolent of the ur-klang of The Fall and the monolithic lurch of The Heads, the motorik malevolence less an uplifting trip to the heavens than a drill down to the earth’s core. Discernible in these jackhammer beats, grimly murmured vocals and delirious dirges to certain heads may be the trash futurism of Chrome, the decomposed stomp of unsung legends Earl Brutus and the electro-punk attack of Six Finger Satellite, yet all of the above co-ordinates are waylaid effortlessly by a balls-out intensity and a 6 fearsome intent on aural oblivion at all costs. Feedback may be elemental and primal, yet this is no psych comfort-blanket nor retrofetishism, rather a repetition-driven journey headlong into intimidating territory unknown. Get on board and strap yourselves in for a bumpy ride.

DirtybLends edition 10 is a Chicago slab of ruff business!

the A-side comes from new member of The Klan of The Beatheadz Grizzly Knuckles with ‘Caviar’ an influential continuation concept from the early days of trax records for 1 of the nastiest productions to come from The Sensuous Man & Woman Goes Disco laying on top of a drum machine rhythm that gets to the heart of the cut and the message!

the B-side comes from the leader of The Klan of The Beatheadz: The Jak himself re-creating the drum rhythm of Jesse Saunders with his Kpr machine from scratch, then applying influential sounds from his keyboard to sound like DJ Rush from his proto release on relief records by creating a new blueprint for Jakbeat CHICAGO style of slam dance and mosh pit chaos that happened at The Reactor or Medusa’s (for those who remember)

Groove To Grave Records is back with a second vinyl release, and for this one they are welcoming the Parisian trio Kitchen Plug.

From ghetto house to break and minimal these 3 silly boys love to produce tracks with nasty bass, metallic acid and raw drums. For their first solo EP on vinyl, they wanted to add a early 2000’ electro vibe to their ghetto style for a brainless result. Get ready for 4 bangers, including a tremendous remix from Karaba.

Our travel start with Hm that bass that tells the delicious story of a young pretty cuistot who discovers the secret for a round and saucy gourmet bassline. Next we have Amor da Franceca who is the class clown of this promo. Ready to throw all hopes of a bright future away only to entertain the class. Despite its quite chill demeanor, Meleee packs a devilish punch and boisterous accents of childhood, lost but not forgotten. And last, Karaba’s remix for melee, emphasises the french cancan aspect of our 3 majorettes. Dark red light, pale skin, round booties, dark blue eyes on a shady scene.

Having been lost in the Discogs realms for many years, the elusive Piroman returns to re-release another one of his old gems. This time coming in the form of his 'Sweat Songs' EP, previously released on Fragments at the end of the 90’s.

The A side consists of a different approach to normal, stripped back, down tempo breaks/electro accompanied by a classic vocal. The B side however is more like the normal Piroman - US inspired, crazy harmonic breaks ready to be played in parties all around.

Thanks to Mr Piroman for letting this EP resurface again.

Repress!

Get ready for an electrifying revelation as we delve into the mind-blowing credits of this extraordinary record! This record has an outrageous lineup as Moplen is let loose to brilliantly remix and reprise Loose Change’s timeless masterpiece, “Straight From the Heart. A track that emerged from the creative genius of none other than Tom Moulton, the legendary maestro behind legendary Donna Summer’s iconic hits. But that’s not all! Enter the realm of Thor Baldursson, the brilliant mastermind known for his groundbreaking concepts and awe-inspiring arrangements. Together, the three of them form a disco dream team!

Following the huge succes of “Serious”, remixed by Michael Gray, we now dive into the enchanting world of “Joy & Pain,” a timeless masterpiece penned by the legendary Frankie Beverly of Maze-fame. The brilliant Donna Allen and expertly remixed by the maestro himself, Dr Packer. With his trademark nu disco groove, Dr Packer unleashes an irresistible sonic force, propelling you into a realm where Donna effortlessly takes the reins with her divine R&B prowess. Together, they embark on an awe-inspiring journey, catapulting you into the very heart of dance floor ecstasy. Dr Packer unveils a package of unparalleled excellence, breathing new life into this classic gem and ensuring its enduring legacy. Get ready to surrender to the irresistible allure of pure dance floor heaven!

World Of Echo are proud to announce the long-awaited reissue, on 17th February, of the self-titled debut album by Bristol’s Movietone. Originally released in 1995 by Planet Records and reissued on CD in 2003 by The Pastels’ Geographic Music imprint, this is the first time Movietone has been reissued on vinyl. An expanded double-LP edition, it includes the extra tracks from the 2003 CD (their first two singles, and an unreleased demo of “Chance Is Her Opera”), and adds three more unearthed gems: demos of “Alkaline Eye” and “She Smiled Mandarine Like”, and an early take of “Late July”, recorded in a garden by Dave Pearce (Flying Saucer Attack) in 1993. Taken together, this is the definitive collection of music from the first phase of one of Bristol’s most remarkable groups.

Movietone was the cumulation of a series of events, explorations, and discoveries, starting at secondary school – the group’s core membership of Kate Wright, Rachel Brook, Matt Elliott and Matt Jones met at Cotham School in Bristol. As for many other groups, their early years were all about experimenting, and finding ways to ‘make do’, a DIY sensibility that would inform Movietone through their decade-long lifespan. From formative rehearsals in a shed in the garden of Brook’s family home, to recording early material to four-track in Redland Library, and on into the Whitehouse and Mr Grin’s studio sessions for their debut album, Movietone’s music fell together in a creatively unpredictable, yet conceptually rigorous manner.

By the time they released Movietone, they’d found a home with Bristol’s Planet, run by author Richard King and James Webster, who had both released their first two singles, “She Smiled Mandarine Like” and “Mono Valley”. There was other music happening around them in Bristol, too, from the Jones brothers’ avant-rock outfit Crescent (who were Movietone’s closest conspirators), through Elliott’s jungle/electronica project Third Eye Foundation, and Brook and Elliott’s membership of Flying Saucer Attack. A closely knit community, Movietone are the centre of this nestling architecture of groups.

The vision in the music, mostly, belongs to Wright, but Movietone ran in democratic creative consort. Listening back to Movietone, you can hear this democracy in action through the wildness of the music, which is balanced by the poetics of Wright’s lyrics and melodies. Full of half-captured memories and entangled abstractions, there’s an elliptical, ruminative quality to much of the writing here that shows the deep influence of the Beat Generation writers, along with a twilight environment captured in the songs that’s pure third-album Velvets, Galaxie 500, early Tindersticks, Codeine. Unpredictable interventions – the crashing glass in “Mono Valley”, the sudden explosions of “Orange Zero” – point towards the noise blowouts of My Bloody Valentine, the unpredictability of Sonic Youth; Wright’s understated vocal cadence suggest a deep, embodied understanding of John Cage’s Indeterminacy.

Movietone would go on to make three fantastic albums for Domino – Night & Day (1997), The Blossom Filled Streets (2000) and The Sand & The Stars (2003) – and their Peel Sessions were released early in 2022 by Textile. Still held in high regard by artists like Steven R. Smith, and The Pastels, whose Stephen McRobbie once described them as “one of the great unknown English groups,” it’s an absolute thrill to listen to Movietone anew – still inspired, still seductive, still magic, still mysterious.

As the fable goes: pre-discogs, intrepid disc jocks would often take trips to Italy (many tricking their spouse into believe it was a ‘holiday’!) to source records from the seemingly endless supply of top tier Italo, disco and cosmic record shops across the country. According to legend, the classified sections of local yellow pages and information booklets which would contain the addresses of the record shops and dealers in the area would often be ripped out unscrupulously, thwarting – or at least making it more difficult for – the next vinyl tourist to source out the rare gems amongst the rich seams – a wild west vinyl gold rush if you will.

Such stories are a rarity these days, with youtube making some of the most underground tracks common knowledge, and discogs almost making any record obtainable – at a price of course. Upgrading his digging methodology, Bosco has developed a secret New Technique to side-step the machine and in doing so obtained a clutch of amyl-soaked fluffers that are so rare, that upon writing they aren’t even listed online! Seriously, he must be communicating with some interdimensional, upper echelon Italo overlords; taking us on a primo-thrust tour through the most unexposed recesses of the Italo disco galaxy.

Don’t be hoodwinked by their sheer obscurity however; we wouldn’t give a toss if they couldn’t tear the arse off the dancefloor. But they’re all fuckin rhodium grade tackle peeps! Eight neon-drenched late night roman candles of Italo disco decadence that’ll defo have you jizzing rainbow skittles over the dancefloor as you search desperately through the fog for another huff of poppers off Darren.

Total Discogs market value: as yet undetermined

Pharoah Brunson’s Pyramid Points: 9999999999999

Warehouse find!

Since emerging in the early 2000s with releases on the seminal Merck label, Proswell (Joseph Misra) has proven to be one of the most original voices in IDM. People Are Giving And Receiving Things At Incredible Speeds (PAGARTAIS), his debut on Sheffield's Central Processing Unit, is another Proswell record which overflows with creative energy. Containing five widescreen electronic epics, PAGARTAIS showcases some of the most ambitious work in the discographies of both artist and label.

The core sonic palette of PAGARTAIS is one schooled in the IDM and electronica sounds of imprints like Rephlex Records, B12 and Skam. These tracks are helmed by thick washes of keys, an array of playful synth tones and drums so deft it's sometimes hard to tell whether they have been programmed or played live. However, across almost forty minutes of music here Proswell explodes preconceptions about genre and form, his music gleefully jumping from one new sound to the next while assimilating electro, prog, computer game music, post-jazz and pretty much everything in between.

Opener 'PAGARTAIS I' sets the tone for the rest of the record. This is a track which never sits still - beginning with a distorted melee of drums that comes off like a strange new version of breakbeat, 'PAGARTAIS I' moves through some thrillingly idiosyncratic takes on Rephlex-school IDM, stargazing Detroit electro and The Comet Is Coming's futurist electronic jazz across its near-ten-minute runtime. Following number 'PAGARTAIS II' is no less impressive, referencing the hyper-modern computer sounds of Iglooghost and Kai Whiston while containing a driving opening section which could have soundtracked one of the legendary Wipeout games.

Although this fabulously unpredictable record often zips along at high speeds, Proswell is also able to dial things back when he needs to. Indeed, the second half of PAGARTAIS finds him slowing down a tad in order to deliver some of the album's most atmospheric material - 'PAGARTAIS III' blends cutting-edge electronics with sonorous jazz harmonies and fizzing improvised lead lines, the mysterious 'PAGARTAIS IV' is a sort of freeform variation on the maximalist, colourful electronica of Galaxy Garden-era Lone, and the slinking computerised Braindance number 'PAGARTAIS V' recalls Calum Gunn's recent CPU drop Addenda.

Really, though, none of these comparisons quite do justice to the inventive capacity of this music - Proswell's in a lane of his own here. An incredibly innovative fusion record that takes in IDM, prog, computer music, electro and plenty more besides, People Are Giving And Receiving Things At Incredible Speeds (PAGARTAIS) is the sound of a unique musical mind in full flight.

RIYL: Calum Gunn, Kai Whiston, Iglooghost, Rustie, Bogdan Raczynski

We’re kicking off the new year in style with a fantastic new double header by RAXON. This Egypt-born, barcelonese powerhouse has left his scent marks all over the place in recent years. He has developed an instantly recognizable sound and that’s no small feat in these times shaped by so much formulaic dullness. “Your Fault” sees our Catalan hot shot in an exuberant disco mood. Mind bending chord progressions foiled with Raxon’s trademark vocal stutters guarantee for wonderfully twisted hands in the air moments. With “Beskar” we’re entering Star Wars nerd territory. Jedipedia says, Beskar is a uniquely resistant iron that develops a wide range of properties—and colors—in the hands of skilled metalsmiths. Alright. Musically speaking, we’re dealing with a stealthy, funky as hell trance-not-trance juggernaut. 2024 is off to a good start:)

Wir beginnen das neue Speicher-Jahr stilvoll mit einem fantastischen neuen Doppelwhopper von RAXON. Dieses in Ägypten geborene Kraftpaket aus Barcelona hat in den letzten Jahren überall seine Duftmarken hinterlassen. Er hat einen Sound entwickelt, den man sofort wiedererkennt, und das ist keine kleine Leistung in diesen Zeiten, die von so viel formelhafter Langweiligkeit geprägt sind. “Your Fault” zeigt unseren katalanischen Draufgänger in ausgelassener Disco-Stimmung. Verrückte Akkordprogressionen, gepaart mit Raxons Markenzeichen, der Stotterstimme, sorgen für wunderbar verdrehte Hands in the air Momente. Mit “Beskar” betreten wir Star Wars Nerd-Territorium. Laut Jedipedia ist Beskar ein besonders widerstandsfähiges Eisen, das in den Händen geschickter Schmiede eine breite Palette von Eigenschaften – und Farben – entwickelt. Nun gut. Musikalisch gesehen haben wir es mit einer verstohlenen, verdammt funkigen Trance-Not-Trance-Rakete zu tun. 2024 hat einen guten Start hingelegt : )

2024 Repress

Get Up! Time to release this beast on 7".

Breakwater’s earth-shattering “Release The Beast” is unquestionably the standout song from their 1980 funk masterpiece LP Splashdown. It also came out as a now-hen’s-teeth-rare 7" in the same year and when it came to putting it out as a 7" again we just had to do it in a miniature version of the Splashdown sleeve. It’s one of the best album cover shoots of all time.

For the b-side, we’ve backed Breakwater’s biggest track with Be With’s favourite: the quietly majestic gem “Let Love In”, another winner from the same LP.

Possessing a sound and a feel that was lightyears ahead of its time, “Release The Beast” is a showcase for Breakwater’s phenomenal power-funk capabilities. The energy is astounding. It rips out of the grooves on a deep funk tip, with speaker-smashing, room-shaking drums competing with distorted funk-rock guitar, bumping bass and space-age synths. But it’s not without its compellingly haunting elements too. What else can we say? It’s a genius piece of music.

And, yes, of course this is the tune Daft Punk sampled for their 2005 track “Robot Rock”. Let’s be blunt, they lifted the Philly act’s funk-rock vamping pretty much wholesale. But to be fair to them we wouldn’t have messed with the perfection of the original either and those Parisians shone a much-needed spotlight on an innovative band from the halcyon period of post-disco funk.

On the flip, “Let Love In” is a smooth, easy glide that demonstrates Breakwater’s superb, sophisticated musicianship. The tight horn section and irresistible bass make for an undeniable groove. However, it also reveals a depth to their lyricism that’s often overlooked. In these dark days, the sentiment of the opening lines is truly one to we should all take to heart:

“It feels good to be friends with everyone, Walk around and the feeling’s in the air, No more hate can’t you see, This is really for me.”

A feel good hit for the summer if ever there was one.

Remastered for this vinyl reissue, we’re delighted to present this modern soul double-sider. Essential in every way.

2023 Repress

Frank Maston’s Tulips is a sample-ready film score to the best 70s movie never made. Originally a super-limited self-release on his Phonoscope label in late 2017, Tulips has already become incredibly sought-after. Be With were introduced to Maston by mutual friends Aquarium Drunkard and it didn’t take long before we decided this modern classic deserved a reissue.

Inspired by the deep-grooving soundtracks of Italian cinema - think Morricone, Umiliani and Alessandroni - Maston conceived the entire Tulips project as a continuation of these revered works. Frank designed the artwork and made two 16mm films to accompany the music: “It wasn’t just the LP… it was kind of a whole vibe I was trying to create. Not really trying to emulate the things that influenced me but more trying to make something that could sit alongside those records on a shelf. I’m still very proud of the project.”

There’s a distinct library music feel too, with wiry organ, spacey keyboards and loping 60s guitar hinting at KPM and DeWolfe. Like the best library music, Tulips creates a cinematic universe through sound alone, evoking moving images in the listener’s technicolour imagination. It turns out that was accidentally on purpose: “I was discovering a lot of library music for the first time… listening to a composer’s entire catalog or finding all this obscure stuff. I wasn’t entirely conscious of the influence until I started making this music and realized I was channeling the vibe. That’s when I began focusing more on weaving melodic themes throughout the record to make it function more like a soundtrack”.

Tulips was recorded between 2015 and 2017 in a small studio in a village called Zwaag in Holland, during downtime from Frank’s touring duties with Jacco Gardner’s band. “Tulips” comes from the title of the very first demo he made in Holland, it was the first thing that came to mind. Makes sense.

Recording in Europe with some very European influences in mind, Frank wanted to eschew any American influences. But we can still feel the studio wizardry of the likes of Brian Wilson and Harry Nilsson in there somewhere. A psychedelic bedroom-pop song-cycle, full of hypnotic hooks and dusty drums, Tulips manages to sound charmingly homemade yet wholly widescreen.

Dreamy opener “Swans” is an exquisite soul instrumental and recalls the soft-psych of Koushik, which Be With loves of course. Tropicalia influences abound in the cool and breezy “New Danger” and the KPM-references are loud and proud on the lush organ pop of “Old Habits”. Fast-paced “Chase Theme No. 1” manages to be both tense and laid back, decorated by acid-drenched spaghetti Western guitars. The glorious Gainsbourg-esque melancholia of “Infinite Bliss” is all gauzy flutes and happy-sad vocalizing and the title is almost perfect: it’s bliss, no question; *if only* it went on forever. Side A closes with “Evening”, a subtle bossa nova beat thing. Gorgeous.

Side B opens with the heat-shimmer guitars of “Rain Dance”, evoking an unreleased Byrds or Buffalo Springfield backing track. Yes, it’s that good. “Sure Thing” is music to accompany an elevator ride you never want to end, but in a good way! The ornate “Garçon Manqué” is as beautiful as the instrumentals on Pet Sounds (think “Let’s Go Away For A While”) and the wistful “Turning In” starts like a stroll in the park before Maston introduces a scorched-Earth guitar solo that would startle if it wasn’t so pitch-perfect. “Chase Theme No. 2” is a briefer, more keening counterpart to what we hear on side A. The head-nod bass-drums-keys funk of “Hues” rounds out this staggeringly assured set; still opening each phrase with a plaintive strum, but using vibrato and heavy reverb to accent the electric organ melody. Sublime.

All these top drawer musical references might sound like just more of the usual release notes hyperbole, but there’s a reason that this still-young LP already changes hands for big money. It really is that good. Of course that first pressing didn’t hang around for long and Frank’s regularly been asked about a re-press pretty much ever since.

Re-issuing Tulips on Be With made sense to Frank “because the record would fit in so well with the catalogue”. Having already delved into the archives of KPM and Themes, and beginning to do the same with Coloursound and Selected Sounds, the collaboration “just makes sense and seems inevitable”. We agree.

Frank wasn’t sure a record of instrumentals with obscure soundtrack references would be an easy sell when it was originally released, and was surprised when Tulips turned out to be exactly what some people wanted to hear. We reckon its timeless beauty ensures that it’ll *always* have an audience.

The record was originally cut to be played at 45rpm, a technical quirk that grants the home listener the opportunity to go deeper, for longer. Played at 33rpm, the more languid unfurling of the tracks proves just as wonderful a trip. As a psilocybin-soaked case study from Aquarium Drunkard back in January of 2019 describes, some of the songs sound as if they were intended to be heard that way. The slower speed allowing the listener to step inside and perhaps even “crack the code” of the music’s meaning.

Mastered for this vinyl reissue by Simon Francis and featuring alternative burnt orange artwork from Maston himself, this Be With pressing is limited to just 500 copies. Hypnagogic it may be, but please don’t sleep.

Immerse yourself in a unique narrative experience, embarking on a vibrant journey that will awaken your senses and evoke warm memories.

Play as Mimi, exploring the precious recollections of your childhood and the times shared with your late grandmother. As past meets present, confront your adult choices with fond childhood memories to uncover lost family secrets.

For the OST, SUPERNAIVE brothers oscillates between melancholy and wonder. They build a strong narrative throughout the songs, taking the listener by the hand to discover their unique poetic universe.

Die musikalische Liebesgeschichte des Duos begann im Sommercamp, wo die beiden in der Schweiz geborenen Musiker ihre Playlists miteinander teilten. Das Teilen von Playlists führte zum Teilen von Träumen, und so wurde Psycho Weazel geboren. Ihre Musik ist ein retro-futuristisches Elektronik-Spektakel, das Indie-Dance, Cold Wave und EBM miteinander verbindet. In ihrem Studio am Ufer des Neuenburgersees haben sie einen beeindruckenden genreübergreifenden Katalog geschaffen. Diese ansteckenden Tracks bringen die Tanzflächen rund um den Globus zum Glühen - "Mains d'argile" wird da keine Ausnahme sein.

From Star Wars, Harry Potter, Gladiator, Pirates of the Caribbean, Munich, Madagascar, Sherlock Holmes, come and rediscover these cinema masterpieces like you've never heard them before.

Bringing together the 15 musicians of the vibrant Curieux Orchester, this unique experience offers an immersion that is both intimate and dynamic through the major works of these two genius composers: John Williams and Hans Zimmer

Mit dem smoothen Groover "Fall For You" und dem eindringlichen Funker "Viper Flames" auf der Flip gibt der Brite James Alexander Bright seinen Soloeinstand bei Athens Of The North - ein Vorbote seines Mitte 2024 erwarteten, dritten Albums. Zuvor veröffentlichte Bright zwei Alben auf !K7 Records, zwei Kollabo-LPs mit den Flying Mojito Bros und Tom Findlay (Groove Armada), Mixsets für BBC 6Music sowie einen Beitrag für die "Too Slow To Disco"-Serie.

Bella Brown & the Jealous Lovers Unveil "Soul Clap" LP: A Fusion of Retro Soul/Funk and Modern Grooves

Los Angeles-based retro soul/funk sensation Bella Brown & the Jealous Lovers are set to ignite the music scene with their highly anticipated LP, "Soul Clap." Born from the creative genius of Grammy Award-winning vocalist/songwriter Carol Hatchett, Bella Brown emerges as a diva with a fiery stage presence, drawing inspiration from the likes of Tina Turner and Sharon Jones, and channeling the empowered female leads of 70s Blaxploitation films. Led by producer/bassist/songwriter Daniel Pearson, The Jealous Lovers assemble an impressive ensemble of A-list musicians, boasting pedigrees that include names like Mick Jagger, Elton John, Whitney Houston, Prince, and Stevie Wonder. This musical collective is on a relentless quest to redefine the boundaries of music, infusing soul and funk with elements of jazz, rock, and Afro-Caribbean influences.

The essence of "Soul Clap" is derived from the cultural phenomena it is named after—a shared and improvised rhythm-making by a collective. The LP, spanning 40 minutes of pure musical bliss, invites the audience to immerse themselves in the groove and discover their individual truths in the music.

The title track, "Soul Clap," and the infectious "Living Proof" serve as funky dance bangers, echoing the spirit of Bohannan and The Tramps. These tracks, punctuated with jazzy improvisations and soulful horn arrangements, are simple yet joyful expressions of shared humanity and self-love.

"Coming For You" is Bella's audacious response to the soul/funk classic Apache, boldly announcing her and The Jealous Lovers' arrival on the modern soul landscape. "I Found You" takes a northern soul love song approach, reminiscent of Gloria Jones with a touch of modern influence, giving it a distinct Amy Winehouse feel.

Bella Brown seamlessly weaves social commentary into her art. "Bang Bang Bang," an uptempo, funky Motown groove, cleverly uses Curtis Mayfield's sense of sarcasm to reflect on American gun culture. "Lady Time" takes a driving afrobeat groove, employing brassy horns and reggae-like echoes to address the issue of homelessness.

However, the album is not without its lighthearted moments. "Fast As Lightning" celebrates a cleaner future by imagining Jimi Hendrix joining Ike and Tina Turner's band to create a classic Chuck Berry car song. "There Is Love" blends horns, strings, and vocals reminiscent of The Stylistics over a Chi-Lites style rhythm section, to create a lush message of support to those among us that may find the world a bit overwhelming at moments. Finally, "What Will You Leave Behind," is a revamped version of the group's sold-out vinyl 45 release. This track serves as a powerful call to action for a better future, delivered over a straight-up Motown groove with a funky Sly Stone finish.

Bella Brown & the Jealous Lovers have crafted an album that transcends genres, embracing the roots of soul and funk while pushing musical boundaries.

"Soul Clap" is a celebration of individual truths, shared experiences, and the timeless power of music.

Rated 5/5 in UK Music Republic Magazine

Vivid night visions, alternate dimensions, and dreams that combine reality with film fiction have contributed to these 10 scenic cuts by Canadian musical alchemists called Siviyex. Nooma’s opening release.

These recordings of Gongs Orchestras were made during Funeral Ceremonies in two Kung villages and one Jaraï village in Ratanakiri province, Cambodia by Laurent Jeanneau (Kink Gong) in 2003 and 2004, at a times when jungle had not been replaced by rubber plantations. Focusing on funeral's ceremonies, those hypnotics pieces are intense and haunting harmonics sonic experiments.

"Adventure brought me to south-east Asia, not academic research. I was based on and off in Banlung, capital of Ratanakiri province between 2003 and 2006. Finding gongs orchestras became my obsession, I've witnessed different contexts in which gongs were being performed, but the most brainwashing ceremonies were the funerals, because they would never end, I remember leaving the 3 days funeral ceremony of a prominent Jaraï dead man in Tang ji village at the border with Vietnam and still hearing the gongs the entire next day going back home through the jungle". - Laurent Jeanneau (Kink Gong)

"Many of the ethnic minority groups, the Jarai, Kac_, Tampuan, Kavet, Kreung, Brao, Bunong, Mnong, Edé, and others, are hill-rice farmers who live in the uplands of the Annamite mountain chain. Collectively these groups have been known by many names, including a number of disparaging terms in local dialects, such as moï, kha, phnong, and others. The term Montagnard was applied to them by the French during the colonial period, and was used by the US military and in popular discourse in English during the United States-Vietnam War. In scholarly and popular literature during the mid-twentieth century these upland farmers were also called hill tribes. I have opted for the word highlanders as a relatively neutral term that avoids the semantic burdens associated with these other namings." - Jonathan Padwe, The book Disturbed forests fragmented memories.

2024 Repress

Limited edition remastered reissue of an obsure Italian Balearic Disco song produced and arranged by Victorio Pezzolla the same man behind the project "ASSO - Don't Stop" that was a big hit during early 80s in the N.Y.C. underground clubs, regularly played by Larry Levan at Paradise Garage and by David Mancuso at Loft. The plus on this limited edition reissue is that the production is directly handled by the former producer to obtain a more accurate sound compared from the first release.

Auf seinem dritten Album ,Sleepwalking" verwebt der neuseeländische Komponist, Multi-Instrumentalist und Produzent JONATHAN BREE mit seinem unverwechselbaren Baritongesang stark orchestrierte Elemente - üppige Streicher, Hörner, Celeste- und Sopranchöre - mit Kammerpop aus einer vergangenen Zeit (LEE HAZLEWOOD & NANCY SINATRA). Die Songs tauchen auf eine ausgesprochen moderne Art und Weise in die Avantgarde ein und aus ihr heraus, darunter der Hit ,You're So Cool", dessen Masken-Video Ende 2023 über 31 Millionen Views auf YouTube hat und zum Musikvideo des Jahres 2017 im New Yorker Time Out Magazin gekürt wurde. ,You're So Cool" zeigt seine mysteriöse Band im Masken-Outfit, welches JONATHAN in den letzten Jahren mit einem weißen Ganzkörperanzug, einer Gesichtsmaske (mit Wangenknochen!) und einer Schalenperücke verfeinert hat. Ein gezupftes Cello, eine minimale Bass-Line und ein Schlagzeugmuster bilden JONATHANS Markenzeichen, dass sich durch das gesamte Album zieht. Mit ,Sleepwalking" blickt JONATHAN BREE in Richtung 60er Jahre Lounge, Exotica und französischen Pop. Es gibt mehrere Duette auf dem Album, insbesondere mit der neuseeländischen Musikerin PRINCESS CHELSEA (in ,Static" und ,Plucking Petals"), mit der JONATHAN seit vielen Jahren zusammenarbeitet. Die katalanische Musikerin CLARA VINALS ist zu Gast auf der Single ,Say You Love Me Too", die einen ausgeprägten SERGE GAINSBOURG-Stil hat, mit geflüsterten, intimen Vocals, die über einer markanten Basslinie und einem Drum-Pattern sitzen, das den Song antreibt.Als bekennender Workaholic und sozialer Einsiedler verbringt JONATHAN seine Tage (und Nächte) in einem schäbigen Heimbüro und versucht sein Plattenlabel Lil' Chief Records (Home of PRINCESS CHELSEA, RUBY SUNS u.a..) zu leiten, während er gleichzeitig Alben für Künstler wie PRINCESS CHELSEA produziert, in viralen Musikvideos für Duette über das Rauchen (,Cigarette Duet") auftritt und dann noch Zeit findet, sein eigenes Material aufzunehmen und seine Masken-Videos zu drehen. Und manchmal schläft er sogar. Aber nur manchmal.

Reissue of this italo disco rarity from 1987 with Flemming Dalum & Rey David Diaz remixes.

Emotional Rescue's vital Konduko reissue series sadly comes to an end here with a look at the label's final years. In those days it moved away from reggae, disco and boogie towards an enduring electro sound that had a vast and lasting impact on the Miami scene.

The biggest tune from that time was when Noel Williams linked with local songwriter Lawrence Dermer aka Der Mer for the track reissued here. 'Fall Out' soon became a hit with its driving electro-funk rhythms. The original sits next to the later Fresh '86" mix as well as a NAD disco mix from Dan Tyler, best known as one of the Idjut Boys. It's an irresistible package of body-popping electro with hooks for days.

In Frank Herbert’s 1973 novel Hellstrom’s Hive, the Dune writer tells of a sinister narrative surrounding the maverick scientist Nils Hellstrom, who has created subterranean Hive of 50,000 insect-human hybrid life-forms. Ultimately his plan being for the inhabitants of the Hive to usurp humanity and take over the world. The decade thus far may not have seen anything quite so daunting, but it’s provided more than its fair share of challenges. Yet in such dystopian environments, Teeth Of The Sea flourish. This band has created a kaleidoscopic inner world all its own in Hive, their sixth and most outlandish album. Fundamental to Teeth Of The Sea’s mission thus far is that this band can go anywhere and make short work of any obstacles in their path. Inspiration flowed into Hive from all dimensions, with the band’s sphere of influence expanding to take in everything from Italo-disco to minimal techno, from dubbed-out studio madness to their most brazen forays thus far into pop songwriting. Here is a headspace where the psychic charges from records by Labradford, Nurse With Wound, Vangelis, The Knife, Nine Inch Nails and John Barry can happily co-exist. Hive is more than just a transformative force from subterranean origins. It’s an alchemical headspace where monochrome animates into vivid colour. It may not be a carefully ordered insectoid militia set to overthrow society, but it’s a transmission which transcends anything Teeth Of The Sea have thus far offered in their time on Earth. Step inside Hive, if you dare

The star-studded Sai Galaxy project returns, bringing together West African legends Steve Monite and Rob with multi-instrumentalist Simon Durrington, guitar maestro Alfred Bannerman and Egypt 80 trumpet player Bade for a second EP of vital Afro-disco and soul.

The EP follows up 2022’s Get It As You Move EP, blending layers of vocal harmonies and synth washes with a rock-solid disco base. The sound stays faithful to the analogue production techniques of the 70s and 80s, adding a modern touch informed by Durrington’s Digital Afrika project.

Lead single ‘Hold You Tonight’ features Nigerian disco icon Steve Monite (best known for his mega hit ‘Only You’), revisiting his 80s origins with a dancefloor-ready slice of dubbed out boogie. ‘Rich Man Poor Man’ (featuring Ghana’s very own ROB) slows down the tempo and brings the highlife influence to the fore, while ‘Sometimes It Rains’ brings a neo soul bump with the Omar-esque sound of Fijian vocalist Kaivili.

When Paul Murphy released his critically acclaimed debut solo album, Claremont 56, in 2006, many thought it would be the first of many. In a way, it was, as in the years since he’s released a string of collaborative sets alongside Benjamin J Smith (as Smith & Mudd), and as part of underground ‘supergroups’ Paqua, Bison and Hillside. But that second solo album? Well, it just had to wait. In early 2023, Murphy finally decided to scratch that itch, roping in some of his most trusted collaborators (keyboardist and bassist Michele Chiavarini, percussionist Patrick Dawes, guitarist Dave Noble and HF International’s Kashif included) to lay down a sumptuous set of tracks that not only showcases his now familiar (bit hard to pigeonhole) neo-Balearic sound, but also proves how much he has matured as a writer and producer since 2006.

In The Garden of Mindfulness is richly musically detailed, expertly arranged and full to bursting with fluid instrumental solos, with Murphy and his collaborators serving up tracks that brilliantly blur the boundaries between languid jazz-funk, downtempo, vintage synth-laden krautrock, dubby grooves and sun-splashed soundscapes. It simply sparkles from the moment that opener ‘Eighty Three’ slowly rises like the morning sun, with gentle, undulating synth sounds ushering in a slow-motion jazz-funk excursion rich in twinkling electronics, spacey pads and warming bass. Recent single ‘Katanaboy’, a lusciously layered dub disco-infused dancefloor excursion in Murphy’s familiar style, raises the temperature a touch, before ‘Bonne Anse’ and the sublime ‘Unka Paw’ (whose combination of evocative fretless bass, extended electric piano solos, Clavinet licks and acoustic guitars is genuinely spellbinding) invite a combination of wavy shuffling and flat-on-the-back, eyes-closed appreciation.

And so it continues, with gorgeous title track ‘In The Garden of Mindfulness’ making way for the boogie-influenced, Japanese-British brilliance of ‘Hangsang’ (check the jaunty pianos, yearning breakdown and exotic melodies). Murphy’s long held love of warm, weighty bass, hypnotic disco grooves, colourful analogue synth sounds and jazzy guitars once again comes to the fore on ‘Way Of The Hollow’ before the album reaches a fittingly triumphant conclusion with ‘Late In March’.

A neat sonic summary of all that makes the set such a rewarding and entertaining experience, repeat listens reveals a wealth of musical details, from off-kilter triple-time drums and surprise bass guitar solos, to impeccable piano solos (provided by the immensely talented Chiavarini), fizzing jazz-funk synth doodles and stirring synth-strings. It’s a breathlessly brilliant way to end an album that was genuinely worth waiting for.

We Release JAZZ is so happy to announce the fourth Bruno Spoerri release in the WRWTFWW discography, this time focusing on the Swiss legend’s unheard jazz catalogue. The pristine 6-track album Musiques Légères (1976-1982) is available as a limited edition half speed mastered biovinyl LP housed in a heavy 350gsm sleeve with superb design by Nicolas Eigenheer and the classic WRJ obi.

Swiss jazz and electronic music pioneer Bruno Spoerri unveils a treasure trove of never-before-released songs in this rare archival collection recorded between 1976 and 1982 that includes collaborations with the fabled Radio Suisse Romande-backed music ensemble GIR (Groupe Instrumental Romand) which featured the crème de la crème of Helvetic forward thinking musicians with an international reputation. The super team of instrumentalists / composers represented Swiss national radio in endeavors that spanned a vast array of music genres such a jazz, pop, experimental music, or what they referred to as “musiques légères” (light music), their very own brand of jazz and funk infused easy listening. One notable member of GIR was drummer extraordinaire Stuff Combe that We Release JAZZ collectors will know from his Stuff Combe 5 + Percussion LP.

Musique Légères (1976-1982) offers a marvelous blend of easy listening jazz, joyful synth improvisations, and soulful funk ballads, a testament to Bruno Spoerri’s multifaceted talents and ability to approach various genres while keeping his very personal and very magical touch. Among the hidden gems on the carefully curated collection is the immensely catchy "Prince Karl", an undeniable hit that truly deserves to be heard.

This is the fourth Bruno Spoerri release from WRWTFWW, following the synth heavy and galactic Voice of Taurus and The Sound of the UFOs, and the compilation of unreleased experimental tracks Rare & Unreleased 1971-1998.
Musiques Légères (1976-1982) is pressed on biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO2 savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.

Clear Vinyl

Blue Lake is the musical moniker of American born, Copenhagen based multidisciplinary artist and musician Jason Dungan, who signs to the Tonal Union imprint for the release of his new longform album ‘Sun Arcs’. It follows 2022’s release ‘Stikling’, earning a nomination for ‘Album of the Year’ at the Danish Music Awards plus warm praise from The Hum blog and musicians and DJs alike including Jack Rollo (Time is Away/NTS) and Carla dal Forno. A self taught player, Dungan began freely experimenting with self-built multi-string instruments, preferring to build his own hybrid 48-string zither and working in the realms of left-field ambient music, off kilter folk and improvised acoustic minimalism.

The starting point of ‘Sun Arcs’ saw Jason travel for a week alone to Andersabo, a cabin set in the idyllic Swedish woods just outside of Unnaryd, known also as the music project, festival and residency space which has been run by Dungan since 2016, hosting artists like Sofie Birch, Johan Carøe and Ellen Arkbro. Whilst writing 1-2 pieces per day, a conscious decision was made to leave behind everyday distractions and shut out the outside world to instead focus on the natural passage of time as Dungan recalls: “My only sense of time came from these daily walks out in the woods with my dog, and an awareness of the sun’s path as it moved across the sky each day.”

The album’s immersive world unfolds with the opener ‘Dallas’, an ode to his home state and a musical synthesis of these two disparate spaces (Texas and Denmark), the touchstones of Dungan’s life. A folk-esque single acoustic builds to a flowing arrangement of clarinets, organ and cello drones coupled with percussion. ‘Green-Yellow Field’ chimes in as the first of two solo oriented zither recordings twinned with the dreamlike title track ‘Sun Arcs’, both densely rich as cascading and overlapping harmonic tones resound. ‘Bloom’ emerges with a krautrock psyche before an eruption of cello drones, slide guitar and free-ranging zither playing, ushering in the anticipation of spring. With half of the recordings conceived in Andersabo, Jason returned to Copenhagen to form the album's centre piece ‘Rain Cycle’ which features a tempered Roland drum machine alongside shifting zither improvisations. ‘Writing’ explores the shimmering harp-like qualities of sweeping playing figurations with Dungan mapping out adjusted tuning “zones” on the zither for unconventional but creatively liberating effects. ‘Fur’ captures the feeling of openness and the momentum of time, seeing Dungan perform waves of solo clarinet, often in one takes and embellished with textural drones, a zither solo, and layers of guitar. ‘Wavelength’ the album's closer is fondly inspired by the film works of Michael Snow and Don Cherry’s seminal live album ‘Blue Lake’ (1974), as it builds out from a drone-generated zither chord and features an alto recorder solo. Dungan found a deep connection to Cherry’s stripped back performance ethos, focusing on the core beauty of minimal instrumentation creating a genre-less meeting between folk and jazz. A dialogue is formed between the solo and the bandlike performances, interlinked in a geographical duality with all finding a sense of commonplace as musical sketches of visited landscapes. The bountiful instrumentation ebbs and flows as further layers emerge with Dungan constructing his material much like an artist would, recording and reviewing, adding and subtracting.

Musically it portrays a form of double life led by an American-identifying person living in Scandinavia, and a new found presence in Denmark, seeking out underdeveloped marshlands and barren stretches of beach adrift from other rhythms and distractions. Highlighting their individual and potent importance Dungan concludes: “Both places feel like “me”, I think on some level the music is always some kind of self-portrait.” ‘Sun Arcs’ depicts the intricate balance of nature’s cycles and the paths outlined by the seasons, from a winter dormancy to a warm sun drenched scene. The album scales new glorying heights and further defines Dungan’s musical narrative, inhabiting a unique space in left-field, improvised and experimental music, borning his most accomplished compositions to date. A singular and visionary expression, drawing on an array of instruments and sound worlds with a renewed sense of joy and discovery.

The album's rich tapestry was mixed by Jeff Zeigler (Laraaji, Mary Lattimore, Kurt Vile /Steve Gunn) and mastered by Stephan Mathieu (Kali Malone, KMRU, Félicia Atkinson).

Red Vinyl

EVOLV is a visionary window into the mind of Dubfire, the journey of the ‘hybrid’ being and its evolution. Last year in October, an 11-track debut album was released on his long-standing SCI+TEC imprint. And now, just over a year later, Grammy award winning producer Dubfire returns to that sonic discourse, drafting in an impressive array of names to re-interpret the material, and accompanied by Dubfire's new audio-visual EVOLV show which picked up where the critically acclaimed electronic performance experience HYBRID had left off.

It is no secret that Montreal had a bubbly disco scene, but there are still some under-the-radar gems. Sophie Stanké is one of them. The charismatic Quebec-Lithuanian actress, radio host and singer hung around with some of the hippest disco people of the 80s, and worked on the sexy boogie song "L'amour d'une diva" with no other than Geraldine Hunt. Scandalous at the time, it became a local disco hit. Famous french singer Daniel Guichard noticed her and signed the song – slightly rearranged – in France on his label Kuklos. Here is the rarest original Canadian arrangement that Stima reissued, in all its glory: long and instrumental versions.

The other side includes the more obscure and even more erotic "J'adore". It was issued in 1987 under her first name, Sophie, with synth-pop and new wave influence. An instrumental was missing, thus Baerlz delivers a new dub cover and now each song has also its “version”, in the purest 80s 12 inches tradition.

After ten years spent in France, where she worked with another star singer Nicolas Peyrac, Sophie is now still active in Québec's cultural life. Stima is proud to have her permission to reissue these 2 fresh 80s tracks to hit the modern dancefloors.

Kali Malone's anticipated new album "All Life Long" is a collection of music for pipe organ, choir, and brass quintet composed by Kali Malone, 2020 - 2023. Choral music performed by Macadam Ensemble and conducted by Etienne Ferschaud at Chapelle Notre-Dame-de-L'Immaculée-Conception in Nantes. Brass quintet music performed by Anima Brass at The Bunker Studio in New York City. Organ music performed by Kali Malone and Stephen O'Malley on the historical meantone tempered pipe organs at Église Saint-François in Lausanne, Orgelpark in Amsterdam, and Malmö Konstmuseum in Sweden. Kali Malone composes with a rare clarity of vision. Her music is patient and focused, built on a foundation of evolving harmonic cycles that draw out latent emotional resonances. Time is a crucial factor: letting go of expectations of duration and breadth offers a chance to find a space of reflection and contemplation. In her hands, experimental reinterpretations of centuries-old polyphonic compositional methods become portals to new ways of perceiving sound, structure, and introspection. Though awe-inspiring in scope, the most remarkable thing about Malone's music is the intimacy stirred by the close listening it encourages. Malone's new album All Life Long, created between 2020 - 2023, presents her first compositions for organ since 2019's breakthrough album The Sacrificial Code alongside interrelated pieces for voice and brass performed by Macadam Ensemble and Anima Brass. Over the course of twelve pieces, harmonic themes and patterns recur, presented in altered forms and for varied instrumentation. They emerge and reemerge like echoes of their former selves, making the familiar uncanny. Propelled by lungs and breath rather than bellows and oscillators, Malone's compositions for choir and brass take on expressive qualities that complicate the austerity that has defined her work, introducing lyricism and the beauty of human fallibility into music that has been driven by mechanical processes. At the same time, the works for organ, performed by Malone with additional accompaniment by Stephen O'Malley on four different organs dating from the 15th to 17th centuries, underscore the mighty, spectral power that those rigorous operations can achieve. All Life Long simmers in an ever-shifting tension between repetition and variation. The pieces for brass, organ, and voice are alternated asymmetrically, providing nearly continuous timbral fluctuation across its 78-minute runtime even as thematic material reiterates. Each composition's internal framework of fractal pattern permutations has the paradoxical effect of creating anticipated keystone moments of dramatic reverie and lulling the listener into believing in an illusory endlessness. On an even more granular level, the historical meantone tuning systems of each organ used, and the variable intonation of brass and voice, provide further points of emotional excavation within the harmony. The titular composition "All Life Long" appears twice on the album, first as an extended canon for organ and again in the final quarter, compactly arranged for voice In the latter, Malone pairs the music with "The Crying Water" by Arthur Symons, a poem steeped in language of mourning and eternity. For organ, "All Life Long" moves with a patient stateliness, the drama concentrated in moments when shifting tonalities generate and release dissonance and ecstasy. For voice, each word is saturated with feeling, the singers swooping gracefully downward to capture the melancholy of the narrator's relationship to the timeless tears of the sea. "Passage Through The Spheres," the album's opening piece, contains lyrics in Italian pulled from Giorgio Agamban's essay In Praise of Profanation. In it, Agamban defines profanation as, in part, the act of bringing back to communal, secular use that which has been segregated to the realm of the sacred, a process Malone enacts each time she performs on church organs. This is not music of praise, or of spiritual revelation, but it is an artistic enactment of translating the indescribable. It carries the gravity of liturgical chant, and its fixation on the infinite, but draws its weight from the earthly realm of human experience. A music that draws the listener into the present moment where they can discover themselves within the interwoven musical patterns that can come to resemble the passage of days, weeks, years, a lifetime.

From 1967-1980, Kansas City's Forte Records captured nearly every iteration of popular Black music; basement beehiver-y from The Ray-Ons and Four Darlings, funky soul from Gene Williams Lee Harris, Louis Chachere, and The Fantastiks, downtempo disco ballads from James W hitney and Sharon Revoal, and the newly independent work of James Brown's former Soul Sister # 1 Marva Whitney. Compiled here are 28 of the label's enduring sides, contextualized with copious photos, ephemera, and essay, all housed in heavy weight gatefold jacket. Who knows how to do "The Hen"?

From 1967-1980, Kansas City's Forte Records captured nearly every iteration of popular Black music; basement beehiver-y from The Ray-Ons and Four Darlings, funky soul from Gene Williams Lee Harris, Louis Chachere, and The Fantastiks, downtempo disco ballads from James W hitney and Sharon Revoal, and the newly independent work of James Brown's former Soul Sister # 1 Marva Whitney. Compiled here are 28 of the label's enduring sides, contextualized with copious photos, ephemera, and essay, all housed in heavy weight gatefold jacket. Who knows how to do "The Hen"?

`La Camita’ is an incredible Latin funk nugget –recorded in Peru by Traffic Sound and later on by funk pioneers Black Sugar, comprising all the right ingredients to shake dance floors worldwide. Both takes on the song were released on records that today are extremely difficult to find in any condition. Latin party music in all its glory! Peru enjoyed a thriving and exciting music scene since the mid-1960s. Bands such as Los Saicos, Los Shain’s and Los York’s, to name just a few, released a number of brilliant records that drove young fans crazy and set an example for many to follow. The end of the decade brought about an evolution in sound and new music genres, as Peruvian bands kept an eye on the groundbreaking British and US artists. One of them was Traffic Sound, founded in Lima in 1967. Over a very short period of time the band managed to successfully develop their career. In 1971 Traffic Sound recorded ‘La Camita’ where their Latin influences overpowered the psychedelic prog vibe of their previous records. The song became a local hit and several versions were recorded by different Peruvian artists. On the other side of this single we find Black Sugar, a Peruvian band considered to be a pioneer group in Latin America in mixing funk influences with rock and Latin rhythms. In 1976, following their gig at Coliseo Amauta in Lima, opening the night for the legendary Spanish band Barrabás, they started to show a growing interest in disco music, resulting in some line up changes with members leaving the project due to their lack of interest in the new sound and new ones joining in. Their own take on ‘La Camita’ was released in 1978 and adds a modern twist to the original song, becoming decades later a winner spin at the most discerning dance floors worldwide. Latin party music in all its glory!

Dutch synth-wizard Nadia Struiwigh brings her eclectic live approach to Blueprint Records.á On the "Voxis Ohlun EP", Struiwigh reflects her profound command over synthesis and sequencing, crafting upfront techno with a vigorous, nostalgic feel.

Nadia Struiwigh, the Dutch artist rooted in Rotterdam and currently based in Berlin, has carved a unique niche in the electronic music scene.á Her genre-defying compositions, blending ambient, techno and electro, exhibit her signature ethereal and melodious production style, with a discography gracing acclaimed labels like Central Processing Unit, Nous'klaer, Dekmantel, Clone and InFinÒ.á Inspired by the Warp school of electronica, her live performances (ranging from immersive ambient to kinetic techno) are a testament to her technical prowess and emotional connection with her audience.á A versatile DJ and live act, she graces both concert halls and strobe-lit club sessions, curating sets that span from driving techno to deeper, emotive realms, earning her residencies at venues like Tresor.á Her versatile expertise extends beyond music; she collaborates with pioneering music brands such as Roland, Korg, Teenage Engineering, Arturia and others, embodying her reputation as a leading tech enthusiast within the industry.á Her contributions to esteemed platforms like Resident Advisor, Phantasy, Bleep, Slam Radio and Red Light Radio underscore her adaptability and prowess across a wide spectrum of electronic music, further solidifying her multifaceted presence in the field.

"Voxis Ohlun" invites you into a mesmerizing journey through the enchanting landscapes of the '90s, blending diverse musical influences seamlessly.á The focus here is on 4x4 dancefloor music, adorned with a tantalizing hint of breaks and pulsating rhythms, and a sprinkle of fairyland allure.á Crafted using only hardware, predominantly the beloved Korg Electribe MX, the sounds resonate with the essence of that era.á Each track unfolds like a chapter in a wondrous tale, interweaving nostalgia with a contemporary energy, ensuring an immersive experience.

He's back - again! Years after the end of the Heisei era, the big G came back to film in 1999 with the first of a new era: GODZILLA 2000: MILLENNIUM. Directed by Takao Okawara (GODZILLA VS. DESTOROYAH), a new look Godzilla is still harassing Tokyo, with the Godzilla Prediction Network out there trying to figure out where he'll show up next. To make matters worse, the government's Crisis Control Intelligence care more about firing missiles, but everything changes when they discover a mysterious meteor has a UFO inside. All of this results in Orga, a kaiju made from Godzilla's DNA, and of course it's up to the Big G to kick its ass back to space. Scoring GODZILLA 2000 was Takayuki Hattori, who had previously composed 1994's GODZILLA VS. SPACEGODZILLA. Hattori's music is very much about mood; the composer brings a sense of lyricism to proceedings, but of course, he also knows how to get us excited for Godzilla's appearances. Hattori does that with a spectacular new theme for the Big G that perfectly captures the creature's grandeur and immense power. There's also a fantastic piece for the UFO that has a wonderfully primevil beat, and of course, Akira Ifukube's classic theme for Godzilla returns in a big way. A perfect start to the Millennium era! (Charlie Brigden)



Artwork by Matt Ryan Tobin

2X 140gram Eco-Vinyl

Formed in late 2018, the at the time 4-piece band from Denmark pursued the stylistic vein of the 90"s shoegaze scene with crusty distortion guitars, progressive drums, and supremely airy vocal figures. Only two years after their formation, the band self-released their lo-fi-heavy debut EP, Everytime; a daydreamy handful of songs with alluring atmospheres of heartbreak and self-disorientation, that was quickly discovered by the legendary platform KEXP through their digital sale on Bandcamp. Meltways" debut album, Nothing Is Real, is a strikingly infectious collection of explosively driven songs. Warm blankets of noisy guitars and oceans of reverb melt with Mathias" angsty, yet liberating lyrics. Recorded in Esbjerg at Tobakken Studio, mixed and engineered by Mathias, and mastered by Slowdives Simon Scott.

Limited to 1000 copies worldwide

Charlotte de Witte Kicks Off 2024 With a New Label and Rework of One Of Techno’s Most Iconic Tracks


January 15,2024 - Today, techno force of nature Charlotte de Witte unveils a two-part homage to an iconic era of Belgium’s underground club scene with the debut of an archival label within her KNTXT imprint and a rework of one of the most anthemic techno tracks of all time. Appropriately titled Époque, this sonic time capsule aims to simultaneously preserve and reimagine the spirit, sounds and discotheque culture of the late 90’s and early 2000’s for a new generation. As head of the label, de Witte will kick off its release on February 9 with her own spin on the Belgian techno classic, “Universal Nation” by M.I.K.E Push.



Released in 1998 and originally written by M.I.K.E. Push as a B side for a different project, “Universal Nation” quickly solidified its reputation at the turn of the century as an iconic and defining track of this era in electronic music history. Reimagined through de Witte’s high-energy lens, this rework is an ode to one of her favorite classics.

All & Nothing has become one of the icons of Spanish underground rock of the 70s and their records are among the most sought-after pieces by collectors. With a short discography consisting of just two singles - one of them was even released in Argentina with an alternative cover- the band All & Nothing has become one of the icons of Spanish underground rock of the 70s and their records are among the most sought-after pieces by collectors. The group was really nothing more than a studio project, put together by journalist and record producer José Luis Alvarez, who never performed in public. Their goal was to record songs in the same style that the emerging Andalusian rock scene was already doing in the south of Spain under the influence of the latest international rock trends -imported through the US military bases- and the local musical idiosyncrasy. Although most of the recorded songs - some of whom remained unreleased for years- succeeded in reflecting the original goal, for this first single of All & Nothing their producer instructed the band to record something similar to Iron Butterfly's classic 'In-a-gadda-da-vida', and 'Underground Vibrations nº 2' seems to be a very accomplished effort. The record has become a very sought-after item for those collecting the lesser-known side of 70s Spanish underground rock. The stunning rhythm section on both sides of the single plus the overwhelming organ solos and firing wah-wah and fuzz guitars explain the high interest on this elusive 45, a must in the top DJs record boxes. We are happy to reissue this amazing All & Nothing debut 7" for the first time, remastered from the original tapes and featuring the 1970 sleeve artwork.

Psychedelic Latin-funk holy grail from Nicaragua, 1974!!
Poder del Alma (“Soul Power”) was a supergroup formed by some of the best musicians from the Nica scene. This all-star band of nine members was assembled to play at the famous free concert of Santana in Managua in benefit for the 1972 earthquake. After that successful gig supporting the Latin-Rock superstar, what was to be a one-night stand became the seed of the most loved Nicaraguan act from the 70s. All the members had already played an important role in the history of the Nica music / hippie scene in the 1960s. Among them, we can find Roman Cerpas (previously on Bwana), Rene “Chapo Dominguez (Los Rockets), Edgar “El Gato” Aguilar…

A few months after the Managua concert with Santana, Poder del Alma traveled to Guatemala to record their first long play for Dideca (Discos De Centroamerica, S.A.) in just one week of recording sessions. Despite the low budget and precarious recording equipment, the band managed to obtain a powerful psychedelic / afro / funk-rock sound full of electric guitar, heavy drums, hot, percussion, horns, Spanish male/female vocals…featuring titles like “El Valle del Ayatimbo”, “Ia-Taa Yo”, “Zumbale”…

Artisjok Records is happy to announce the first release of XL Regular's album, "Store Duties". Hailing from the city of Rome, XL Regular is a young and innovative producer who seamlessly weaves together a tapestry of musical genres, including jazz, broken beat, house, and soul, into a mixed journey experience. The foundation of XL Regular's identity is grounded in a profound love for percussions and grooves. Drawing inspiration from global percussion traditions, XL Regular weaves intricate rhythms that form the backbone of his tracks. The result is a sound that is both dancefloor-friendly and artistically rich, showcasing his abilities producing over a broad spectrum of electronic music genres. You'll notice a rich fusion of traditional and contemporary influences. The jazz elements add a layer of sophistication and intricacy to the compositions, while the broken beat rhythms create a dynamic and ever-evolving sound. This blend is skilfully infused with the groove-inducing essence of house music and the timeless emotive power of soul. In the vast realm of the internet, where connections are not often strong and sometimes superficial, XL and AliA discovered each other in the world of music. It all began with a simple online exchange, a connection that would evolve into a profound friendship and a transformative journey into life inside and outside the music industry. "The album for me is an occasion to fullfill the need to express myself throughout every style of music I want to produce, without forcing myself into genres, something that felt natural for a label like Artisjok" - XL Regular

This is the story of the one the great disco labels, a legendary label who were at the forefront of a genre during it fruition and creative peak. Sam Weiss started SAM Records in Long Island City, New York in 1976. Sam, and his brother Hy, were born in Romania before moving to the Bronx in New York City when they were young. Sam and his brother were no strangers to the music business having been in the industry since the mid-50s running labels Old Town and Parody Records. • During the mid-1970s Disco took New York by storm and emerged into a revolutionary musical force that re-shaped the face of the City. It was however a genre major labels largely ignored initially. It was the smaller, independent labels that led the way in disco’s early years. Founded in 1974, Salsoul was the first. Sam’s new label SAM Records arrived a year later, followed by West End and Prelude in 1976: four labels from which umpteen disco classics emerged. • This compilation compiles all of the classic material that SAM release during the years 1975 and 1983. Offering up a treasure trove of disco essential this compilation features tracks from Gary’s Gang, John Davis & The Monster Orchestra, Komiko, Rhyze, Convertion, Vicky “D”, Greg Henderson alongside deeper cuts by Lucy Hawkins, K.I.D and more. • The audio used here has been sourced from the SAM archives and in many cases the mixes are appearing in their truest 12-inch form. The set is complete with extensive liner notes by The Guardian’s chief music critic and disco authority Alexis Petridis. • SAM Records has forever left its footprint on the Disco and music history, and this compilation is an essential addition to anyone’s collection.

The last of the Konduko series from Emotional Rescue arrives now and quite possibly it is the best of the lot from Noel Williams. His 'Fantasy' saw him work with Larry Dermer aka Der Mer on what is an effective and catchy electro jam that operates at the higher end of the tempo chart with some classic vocoder vocal action to really make it pop. Despite being released originally in 1984 this one still bangs with its emulated TR-808 beats and nagging melodies. The instrumental heightens that and then the Jonny Rock Discomix shuts down with long-form rework that shows why the DJ, editor and all-round amiable bloke is so well regarded.

Berlin-based label Distant Gaze unveils their highly anticipated second EP, a Various Artist compilation crafted as a collaboration among Clouzer’s circle of friends. This collection features four cosmic tracks designed for full throttle dance-floor journey. Embracing analogue bass-lines and a captivating soundscape, this EP promises an unparalleled auditory adventure.

Highlights include the extraterrestrial Dark Disco piece, a collaboration by Clouzer and Radondo “Time Warp”, alongside the monumental dance-floor killer – EBM remix by E-bony. Notably, Clouzer’s remix of Kollmorgen’s “Escape,” originally from the renowned Kompakt Records, delivers an immersive 8-minute late-night experience – a powerful fusion of Dark Disco and Progressive spirit.

The EP concludes with Clouzer’s futuristic broken beat composition, “Goodbye,” leaving listeners in a cosmic nostalgic state.

Rayko the Spanish Disco Producer and DJ extraordinaire has been busy in his Madrid based Studio burning the midnight oil to deliver Vadillo Vice Volume two.

Four reworked funk fuelled bass heavy cuts, tried and tested by the man himself on dancefloors across the globe and due to be released on vinyl only later in the year.

Deeply rooted in the golden era of the 70s and 80s, Rayko’s influences are masterfully interpreted and transformed into modern day dancefloor bombs, and are a key signature sound of his long established label Rare Wiri (Since 2008) an outlet for his productions alongside other likeminded artists such as Daniele Baldelli, Man Parrish, Gazeebo, Ilija Rudman, Ichisan, Spirit Catcher, Mushrooms Project, Eric Duncan among many others.

Insatiable funk lovers rejoice! One of the most sought after top vocalist/songwriter Lee Wilson who’s known to dominate house music dance charts week after week delivers this time a boogie banger “Do Better”. The feel-good Original Mix on the A side boasts a thick boogie synth bassline and uplieing chords that carry Lee’s captivating vocals inspiring us with a strong message of positive self-image and self-improvement. B side features the monolog remix by multi-instrumentalist Yuki Kanesaka playing all vintage analog instruments himself bringing that heavy funk to all diggers of sick grooves. Both tracks are upbeat, uptempo, and ready to heat the floor.

Produced by Jake Lim, Lee Wilson Mixed by Emi Ca

Sax by Pedro A. Moreno

DJ Support From:
Disco Sparks, DJ Pope, Stardate, Muzikman Edition, Saucy Lady, Paris Cesvette

Bristolian producer Claude Cooper returns with hot new single ‘Stay A While’, inspired by the vinyl discoveries made from months of digging and cataloguing the bulging inventory of Bedminster’s Friendly Records record shop.

‘Stay A While’ introduces some delightful twists to Cooper’s psychedelic-funk sound. Blurring the lines between sampling and performance, lush string flourishes are sliced with 6Ts girl-group vocals and rollicking piano chords resulting in a dreamy, end of night, lights up anthem in-the-making. The track is backed with the insistent ‘Dance Tonight’, a ragged bass-boogie surf-rocker that doesn’t take no for an answer.

Cooper’s irrepressible debut album ‘Myriad Sounds' (Jan ‘22) caught the attention of the UK's press and radio alike. Mojo's four star review described it as “Bristol’s beat scene backdrops late night jams”, Uncut enjoyed the "rugged psych-funk romp" and Louder than War declared "it’s vital and vibrant and exactly what we need to kick start the year”. BBC radio DJs including Cerys Matthews, Gideon Coe, Huw Stephens, Jamie Cullum, Lauren Laverne, Stuart Maconie, Tom Ravenscroft rinsed the singles, with Huey Morgan inviting Cooper to contribute a Block Party Mix for his show.

Bonus round 'More Myriad Sounds' (Apr ‘23) added Brooklyn vocalist Brain Fog to the melange with a bounty of pyretic vocal performances. DJ Mag called it “A fierce, kaleidoscopic trip” while Bandcamp Daily said “This album of cross-genre influences is as likely to get it included in any number of best-of columns, with the theme of serious fun as their common element”.

Behind the release is Friendly Records, the best little record shop in Bristol and now a burgeoning record label. Opened by Tom Friend on North Street in 2016, it’s gone on to become a hub of the local musical community. As well as Claude Cooper, the label has reissued two of Alison Cotton’s albums, 'The Twenty-Three Views' by outernational ambient jazz project Floating World Pictures, and Christian Madden & The Enemy Chorus’s organ heavy ‘The Extra Weight’.

Claude Cooper will return with a new album on Friendly Recordings this year.

Jamie 3:26 presents Dancefloor Damage Vol.1! Personal exclusives from his collection, these have damaged dancefloors around the world for years and are now available on vinyl for the first time ever. From the Southside of Chicago to the world. Two killer disco classics re-worked by a legend. Buy or cry.

Optimo (Espacio) started life as a weekly club night. It was born at The Sub Club in Glasgow on a wet, windy, wintry November Sunday night in 1997. Run by JD Twitch and partner in crime Jonnie Wilkes. Optimo was a reaction against what felt like an increasingly conservative musical soundtrack in clubs here at that time. Clubland felt as if it had become very bland and a bit too serious; it was the era of the dawn of the Superstar DJ. Clubs often felt like bastions of male energy. It seemed dance music and culture was going somewhere far, far away from where it was meant to be. The notion of fun had got lost.

It was no longer the world they had devoted ten years of their lives to already, and lots of their friends felt the same. When the opportunity came up to do a Sunday night at The Sub Club it felt like the perfect opportunity to rip it all up and start again. So they did. There was nothing in the city (or possibly anywhere) like it. As the club believed wholeheartedly in what they were doing, there was no pressure from The Sub Club to fill the club. So, they embraced the freedom. Groups of people who had never been in the same room at the same time before came together. A community of kindred spirits started to emerge.

Word spread, slowly. Lots of people checked it out. Many loved it, some hated it. The core of the Optimo idea was to embrace music they loved that might work on the dancefloor from whatever era or genre they thought felt right. It might not seem very radical now but at that time it was revolutionary.

After about a year and a half, the club went from having 100 people attending most nights to suddenly one week having 500 people turn up. It was very weird. It was as if a collective light bulb went off in people’s heads in Glasgow. From that week on, until the very last weekly Sunday night at the Sub Club, in 2010, over a decade later, it was packed.

There were 550 Sunday Optimo nights. A LOT of music was played. So, what was the music? People often find it hard to pin down exactly what Optimo is. This has been a positive but also a negative as we live in a world where people want easily defined “brand identities”. The simplest definition of the music played is “music for dancing”, which of course is a very broad definition. Even better than trying to define it in words, we have these 2 volumes of music that give a hint of what that might be.

This is not a “Best of Optimo” or a “Greatest Hits of Optimo” compilation. For people who come to, or used to come to the nights there are of course “Greatest Hits”. But, over such a long timespan they are “hits” belonging to a certain moment in time and space. Someone who came to Optimo in 1997 would have a completely different notion of the big tracks at the club to someone coming in 2003, or 2010, or today. This compilation is just a snap shot missing several genres that might make up the DNA of Optimo. There is though a broad sweep through lots of music Optimo loves, that they believe is amazing. Music that they know will rock a dancefloor, that they have played between 1997 and 2023. Of course Optimo nights were not all about rocking the dancefloor. The first hour was always a time for them to play music they loved that often was far removed from the dance. Side 1, Volume 1 of this compilation is the kind of music one might hear at the very start of an Optimo night.

Optimo have always loved a good slogan. The most long lived, and fitting Optimo slogan is "We Love Your Ears", which is in essence what it is all about to them.

Dazzle rolled deep. Very deep. In the 1980s, it wasn't unusual for the Milwaukee-based group to show up at various Midwest night clubs in a caravan of 30-40 cars and vans. Their live following was hard won over a career that spanned 20+ years, many line up changes, and a handful of project names. Friends, family, and fans made the journey with them weekend after weekend, a testimony to both the musical prowess of the group and the tight-knit community that they emerged from.

Donald Smith, band leader, was there the whole time - joined by many of his siblings and friends - first as founder of the Ghetto Players, a early 70's nine-piece which also included siblings Michael, Ronald, and Charles. They played hard funk in the style of early Kool and the Gang, and although they sadly left no recordings, the strength of their live act managed to catch the eye of local Milwaukee R&B music entrepreneur Cobie Joe Payne. Cobie had made a couple of records locally in the early/mid 70s as a singer, including the impossibly weird and amazing rare afro-blues-funk 45 "Sweet Thing", but had never enjoyed national success. When the Ghetto Players disbanded in the early-mid 70s, Donald soon put together a new group, C on the Funk (the 'C' referring to lead vocalist and sibling Charles), under Payne's tutelage. Sister Lorrie Smith came in as the drummer, the line-up being fleshed out by brothers David and Melvin Johnson, and friend Robert Mitchell. After a few years as a strictly live attraction, they drove to Chicago and produced a single, "In the Disco" / "A Place" for Payne's small record label Sweet Thang Records in 1980. Lacking the financial backing needed to supply the local R&B disk jockey's "promotional fees" , this single sadly languished in obscurity, gathering dust inside the local tavern jukeboxes and manilla promo envelopes that comprised Payne's DIY distribution network.

C on the Funk were traveling the Mid West extensively at this point, and making some important friends on the road. Ike Wiley Jr. of the Dazz Band/Kinsman Dazz took particular interest and the band was re-christened Dazzle, partially as a tie-in with Dazz, partially to embrace the new sounds that would distinguish the 70s disco scene from what record collectors and DJs would now refer to as the "Boogie" era. There no doubt was a stigma attached to the word "Disco" as the eighties began, and as we see in this collection C On the Funk's "In the Disco" is remixed and transformed into the psychedelic synth instrumental of Dazzle's "Disco's Out", a title which embodies both the next-step approach Smith and company were pushing for, and humorously comments on the state of black dance music in the early 1980s. The Dazzle recording, done in Chicago in 1982, updated the sound and featured an expanded line up, most notably a second synth player (Charles Washington), and a percussionist/second lead vocalist (Greg McDonald). The added synth textures and deep percussive grooves give the Dazzle recordings an elegant late night vibe that resonate just as well in a good pair of headphones as they do on the dance floor. The trance inducing cough syrup-warble of "Explain" may best exemplify this here. Sadly, a pressing flaw in the 12" halted production and promotion, and the EP and the songs within were lost to the ages. The group, having done a much better line in the live music business, followed that path instead all the way to the early 90s. --bio provided by andy noble

Der in einem Kellerstudio am Zusammenfluss von Mississippi und Missouri arbeitende Pipeline-Mann Howard Neal und sein passend benanntes Shoestring-Label waren die Antwort von Alton, Illinois, auf eine Frage, die niemand stellte. Die Singles von The James Family, Jimmie Green, Pete & Cheez und Carletta Sue, die in winzigen Auflagen gepresst und kaum außerhalb der Postleitzahl 62002 vertrieben wurden, sind Paradebeispiele für kosmische Midwestern-Disco auf der Suche nach einem Durchbruch. Diese schwergewichtige 10-Song-LP im Klappcover enthält ein Essay und Bilder, die diesen reinen Ausdruck von Kleinstadt-Soul vervollständigen.

"Jimmie Green Color"-Vinyl. Der in einem Kellerstudio am Zusammenfluss von Mississippi und Missouri arbeitende Pipeline-Mann Howard Neal und sein passend benanntes Shoestring-Label waren die Antwort von Alton, Illinois, auf eine Frage, die niemand stellte. Die Singles von The James Family, Jimmie Green, Pete & Cheez und Carletta Sue, die in winzigen Auflagen gepresst und kaum außerhalb der Postleitzahl 62002 vertrieben wurden, sind Paradebeispiele für kosmische Midwestern-Disco auf der Suche nach einem Durchbruch. Diese schwergewichtige 10-Song-LP im Klappcover enthält ein Essay und Bilder, die diesen reinen Ausdruck von Kleinstadt-Soul vervollständigen.

What a collection of talent on this rarity from the Brunswick label— production by disco maestro Tony Valor, arrangements by Chi-Soul legend Eugene Record, and mix by the great Tom Moulton. Not to mention instrumental accompaniment from Valor’s highly esteemed Tony Valor Sounds Orchestra...no wonder this 1976 release is deemed a stone-cold proto-disco classic across the globe (it’s been reissued on CD in Japan multiple times).

For its first vinyl reissue, we’re giving it the Real Gone treatment, with a new remastering for vinyl by Mike Milchner at Sonic Vision, and a clear with blue, green, and pink swirl (to match the cover art) pressing limited to 900 copies (note: check out the version of the Chi-Lites’ “Stoned Out of My Mind” for instant soul salvation).

Widely and rightly regarded as one of the best ever soul and funk bands, the now legendary Average White Band tore-up
the rule book and conquered the US, UK & International charts with a series of soul and disco hits between 1974 and 1980.
AWB’s repertoire has been a source of inspiration and influence for many R&B acts and they are one of the most sampled
bands in history, remaining relevant today, continuing to reach new generations of younger audiences.
•Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have
all borrowed sections of their grooves.
AWB’ (aka ‘The White Album’) is the 2nd album by AWB and their first for Atlantic Records produced by the legendary Arif
Mardin, originally released in 1974. The album reached #6 in the UK Albums Chart and #1 in the USA.
‘AWB’ includes the ground-breaking classic ‘Pick Up The Pieces’, also reaching #6 in the UK, as well as the coveted #1 spot
in the USA.
AWB are touring the UK in April and May 2024, “taking the album on the road”
This 50th Anniversary celebratory half-speed master version has been newly mastered by Phil Kinrade, and expertly cut
using transfers of the original audio tapes using precision half-speed mastering by Barry Grint at AIR Mastering, London
and is pressed on heavyweight 180g vinyl, with a 4-page insert.

PHILIPP ROLLER produced his album, "Sommer 97," back in 1996 during his student days in his small home studio. Drawing inspiration from acts like Kraftwerk, Orbital, various artists on Warp Records, and computer game music, Roller crafted a unique sonic experience. Initially released on cassette, the album was unveiled to an intimate audience at Künstlerhaus Stuttgart in February 1997. Following the initial release, Roller had the opportunity to sign with a small British label. Unfortunately, circumstances led to the label's dissolution before the record could see the light of day. Despite efforts to secure a new label, "Sommer 97" remained confined to DAT tapes and hard drives for years. Fast forward to 2020 when Michael Kübler and Daniel Varga (Rework) joined forces to establish EXLOVE Records. Recognizing the album's potential, they decided to bring "Sommer 97" out of obscurity and into the world. Philipp Roller, now residing in Berlin and working as a freelance interface designer for music software, has had an illustrious past creating a lot of music not only on his own but even for fashion shows, art and image films, and contributing ideas to Rework's debut track "Anyway I Know You" on Playhouse. In August 2021, Roller released his first single, "Kiss & Tell / Roller Disco," on Exlove Records. Finally, after a remarkable 26-year journey, Roller's legendary "Sommer 97" tape is set to be released as a double album on vinyl.

The Bony King of Nowhere is the artistic alias of Belgian artist Bram Vanparys. He made a mark in 2018 with the release of his critically acclaimed album Silent Days. The record received consistent 4- and 5-star press reviews and was hailed as his best album to date. It also earned Vanparys a Music Industry Award (BE) for 'best author-composer'. Silent Days revealed the full potential of the singer-songwriter and his commitment to never repeat himself and keep surpassing his creative abilities.

The new album, entitled Everybody Knows, has been a long time coming, partly due to Vanparys' aforementioned pledge to artistic evolution. The first two tracks he unveiled give a definite hint of what to expect from this album. 'Are You Still Alive' and 'Almost Invisible' carry the quality mark, known colour scheme and scent of The Bony King of Nowhere, but add many more hues and details. The new record showcases the new league Vanparys is playing in. Themes like rusted patterns in society, the obedience of the everyday man, the structural false ignorance of big shots, the toxicity of online communication and other very recognisable but not always pleasant subjects. Inspired by the observations of many sociologists, Vanparys dissects our society, the loneliest ever. This album is not just disconcerting though, in its strength lies a sense of hope and vigour.

The first singles promise a new album with lots of punch and energy, while Vanparys is unveiling the complete complexion of his voice whilst remaining vulnerable and honest. On the album, he is accompanied by multi-talent guitarist Vitja Pauwels (Naima Joris), pianist Hendrik Lasure (Tamino, Bombataz), drummer Simon Segers (Sylvie Kreusch, Stadt) and bass player Jasper Hautekiet.

While the songwriting legends, particularly Neil Young and Bob Dylan, have always kept Bram company, his latest compositions also draw inspiration from more contemporary artists. The influence of PJ Harvey, Blur and Nick Cave are unmistakable when you listen to his music. While staying true to his heartfelt songwriting style and captivating voice, The Bony King Of Nowhere embarks on a journey into uncharted musical and thematic realms.

The last time this band was on tour in support of 'Silent Days', they took a big leap forward while touring 75 shows across renowned venues and festivals in Belgium, The Netherlands, Germany, and France, with a packed Ancienne Belgique in Brussels as one of the highlights. Now the five-man-band, consisting of Jasper Hautekiet, Simon Segers, Thijs Troch (Nordmann), Gertjan Van Hellemont (Douglas Firs), will start this tour with shows in Ekko, Utrecht on March 6 and Ancienne Belgique, Brussels on March 8.4

The Bony King of Nowhere is the artistic alias of Belgian artist Bram Vanparys. He made a mark in 2018 with the release of his critically acclaimed album Silent Days. The record received consistent 4- and 5-star press reviews and was hailed as his best album to date. It also earned Vanparys a Music Industry Award (BE) for 'best author-composer'. Silent Days revealed the full potential of the singer-songwriter and his commitment to never repeat himself and keep surpassing his creative abilities.

The new album, entitled Everybody Knows, has been a long time coming, partly due to Vanparys' aforementioned pledge to artistic evolution. The first two tracks he unveiled give a definite hint of what to expect from this album. 'Are You Still Alive' and 'Almost Invisible' carry the quality mark, known colour scheme and scent of The Bony King of Nowhere, but add many more hues and details. The new record showcases the new league Vanparys is playing in. Themes like rusted patterns in society, the obedience of the everyday man, the structural false ignorance of big shots, the toxicity of online communication and other very recognisable but not always pleasant subjects. Inspired by the observations of many sociologists, Vanparys dissects our society, the loneliest ever. This album is not just disconcerting though, in its strength lies a sense of hope and vigour.

The first singles promise a new album with lots of punch and energy, while Vanparys is unveiling the complete complexion of his voice whilst remaining vulnerable and honest. On the album, he is accompanied by multi-talent guitarist Vitja Pauwels (Naima Joris), pianist Hendrik Lasure (Tamino, Bombataz), drummer Simon Segers (Sylvie Kreusch, Stadt) and bass player Jasper Hautekiet.

While the songwriting legends, particularly Neil Young and Bob Dylan, have always kept Bram company, his latest compositions also draw inspiration from more contemporary artists. The influence of PJ Harvey, Blur and Nick Cave are unmistakable when you listen to his music. While staying true to his heartfelt songwriting style and captivating voice, The Bony King Of Nowhere embarks on a journey into uncharted musical and thematic realms.

The last time this band was on tour in support of 'Silent Days', they took a big leap forward while touring 75 shows across renowned venues and festivals in Belgium, The Netherlands, Germany, and France, with a packed Ancienne Belgique in Brussels as one of the highlights. Now the five-man-band, consisting of Jasper Hautekiet, Simon Segers, Thijs Troch (Nordmann), Gertjan Van Hellemont (Douglas Firs), will start this tour with shows in Ekko, Utrecht on March 6 and Ancienne Belgique, Brussels on March 8.4

GALACTICA MUSIC Launches for all Ravers, invaders and techno music Lovers.

After a big success, GALACTICA FESTIVAL decides to create a Record Label where can express his vision of music.

This discographic adventure starts with a V.A. Series called ''ICARIUS'' where great artists with techno cuts on many shades are brought together.

The label presents a 12-track VA (double vinyl) where you can find all the best of the techno scene, ranging from electronic to industrial, acid break and hard techno.
Not a Monothematic V.A., but a right compilation that encloses the essence of techno with all its shadows and variations.

"Man in Black may be the 38th album by country singer Johnny Cash, but it is definitely one of the most memorable albums in his discography. Man in Black is perhaps one of Cash's most political albums. The title refers to Cash's tendency to wear only black during his live shows. This was to reflect the turbulent times during the Vietnam War. This message is also reflected in the album's lyrics. The singles “Man in Black” and “Singin' in Viet Nam Talkin' Blues” can be seen as his most important protest songs. Both singles were successful on the Billboard Country charts. All this makes the album a unique milestone in his career and still a must for all Johnny Cash fans. Man in Black is available as a limited edition of 2500 individually numbered copies on crystal clear vinyl."

"Along with Black Flag and the Circle Jerks, Fear helped define the sound and style of L.A. hardcore. Even though they formed during the first wave of punk in 1977, they didn’t put out an album until five years later, titled The Record. They used their music to piss off everyone around them, and they achieved that goal with flying colors on this debut album. It remains a punk classic to this day and Record Collector’s Mark Rigby called it “probably the most exciting and impressive, one-dimensional, ill-mannered, distasteful, odious ‘hate’ record ever made.” The album only spawned one single, “I Love Livin in the City”, but includes many more gems, including “We Destroy the Family”, “Let’s Have a War”, and “Beef Boloney”. The Record is available as a limited edition of 1500 individually numbered copies on translucent magenta coloured vinyl."

The acclaimed Cleveland-born saxophonist Joe Lovano came to Blue Note Records in 1990 and over the next 25 years became one of the most recorded artists in the label’s history, building a formidable and far-ranging catalog that explored the full breadth of his artistry. Recorded in September 1997, Trio Fascination: Edition One stands out as one of the more remarkable sessions in Lovano’s discography with the saxophonist joining forces with two all-time legends—bassist Dave Holland and drummer Elvin Jones—in a spare trio setting that finds these three masters conversing freely. Throughout Lovano can be heard on tenor, soprano, alto, and straight alto saxophones, as well as alto clarinet, and the set consists of nine creative Lovano originals including the pulsing opener “New York Fascination,” the spacious “Sanctuary Park,” the Sam Rivers tribute “Studio Rivbea,” and a stunning rendition of the lone standard “Ghost of a Chance.” This Tone Poet Vinyl Edition marks the album’s first-ever release on vinyl.

The Tone Poet Audiophile Vinyl Reissue Series was born out of Blue Note President Don Was’ admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley, a.k.a. the “Tone Poet,” on board to curate and supervise a series of reissues from the Blue Note family of labels.

Extreme attention to detail has been paid to getting these right in every conceivable way, from the jacket graphics and printing quality to superior LP mastering (direct from the master tapes) by Kevin Gray to superb 180g audiophile LP pressings by Record Technology Inc. Every aspect of these Tone Poet releases is done to the highest possible standard. It means that you will never find a superior version. This is IT.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray (Cohearent Audio) from the original analog master tapes, pressed on 180g vinyl at Record Technology Inc. (RTI), and packaged in a deluxe gatefold tip-on jacket.

Now-Again Records presents catalog-wide reissues of Latin music propellant Joe Bataan’s legendary Ghetto Records. Next up in the series - Joseph “Candido” RodrÌguez - Candido was mentored by Tito Punete, and his debut features a fantastic mix of fiery Salsa, Latin Jazz and Sweet Latin Soul. Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

Achtung, Babyboomers und Digital-Ureinwohners: Fettes Brot doktert sich mit der hausinternen Zeitmaschine retour in die hinteren Jahre des vorherigen Jahrtausends und buddelt die ersten vier eigenen 90s-Hip Hop-Meilensteine wieder aus. Anders ausgedrückt: Es gab ein Leben vor dem Internetz - und die Vorstadtkrokos von Fettes Brot planschten damals schon im Haifischbecken Musikindustrie. Doch, wer weiß das noch? Auf den FeBro-Konzerten der letzten 10 Jahre lief kaum mehr 'classic material' als "Jein", "Nordisch By Nature" und "Da Draussen", die Tonträger bis 2000 gab's seit fünf Sommern nur noch 2nd Hand zu kaufen und null davon je legal-digital. Nur: die Bevölkerung braucht das. Zum Glück hören die 3 Partypiepen manchmal sogar zu und schworen sogleich Besserung. Das Brot der frühen Jahre erscheint endlich wieder in vier frischen Portionen auf LP - neu gemastert in old school Stereo, erweitert um einen Batzen Bonüsse (B-Seiten, Remixe, Features, Demos und Live-Perlen), verziert mit luftigen Lebenslügen der 3, ergänzt um reichlich zwielichte Zeitzeugenberichte und zugeschüttet mit einem Füllhorn verschollener Fotos.

AUF EINEM AUGE BLÖD (1995):
- Der Deutschrap-Klassiker - das erste Fettes Brot Album gibt es nun endlich wieder auf Doppel Vinyl!
- Original-Album inklusive "Meh' Bier", "Nordisch by Nature" (9-minütige Originalversion!) und mit Gastauftritten von Fischmob, Eißfeldt (aka Jan Delay), Der Tobi & Das Bo, u.a.
- Weinrotes+hellblaues Doppelvinyl, Remastered, um Fotos und Essays erweitertes Artwork und mit MP3-Downloadcode des ganzen Albums plus 7 zusätzlichen digitalen Bonustracks!

GEP to release The Wake on vinyl for the first time since 1985. IQ’s second album made a big impact when it was originally released in 1985 and became a milestone in progressive rock circles. Long since deleted in vinyl format, GEP are finally reissuing the album pressed on 140g purple marble disc in a sumptuous gatefold sleeve featuring Peter Nicholls’ original cover art together with brand new supporting artwork, complete with lyrics.The Wake will be the first release in a series of reissues of IQ’s studio albums on vinyl.

Mike Holmes: “Over the past couple of years we’ve seen many of the IQ vinyl albums go for stupid money on sites like discogs and eBay and we’ve had many requests for a vinyl repress. Quite a few of these albums only had a limited run at the time, so we’ve decided to do a special edition of all the albums on vinyl, starting with The Wake as that’s been unavailable for the longest time. Next in the series will be ‘Dark Matter’, available early next year, which ties in nicely with the album’s 20th anniversary”

K'ALEXI alter ego, TONY LOVELESSS returns with the 2nd installment in the REEL-2-REEL series. These 3 tracks of classic funk and disco have been recontextualized to move modern dance floors while retaining their klassic appeal. Limited hand stamped white label!

2024 repress

Here four classic studio experimentations conceived by Harry Thumann former owner and main engineer of Country Lane Studios based in Munich, Germany: the home of the glorious munich-sound during the disco era. Many strong songs where produced here, so this EP represents the evolution in sound during that era mid-seventies early eighties.

Theme Ltd. is back with its fourth wave of exclusive releases, this time on one-sided 7” vinyl. Allow these tracks to guide you through their diverse production as they blend genres and tone to provide insight into their fresh production technique.

‘Everywhere’ positions the listener in a gentle mood for love. Snares snap and mix with a slightly discordant, far piano as lyrics and chords bounce off each other at a steady tempo. We are apprehended by the doleful vocals that invite us to gaze with an ‘illuminated stare’, and as we diffuse into the end of the song, a cool-aired beat breakdown leaves us in media res. A sprawl of love left everywhere. Great !