Search:disco classics

This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.

Light Touches Records is devoted to shed new lights on hot rarities, unknown grooves as well as forgotten classics.

2022 welcomes the first 7” on the label with two hot smoking tunes ready for the summer. “Cheeky” brings in some stomping latin-tinged rare groove and an incredibly infectious vocal hook. On the flipside, “Weeping Funk” is a dope gospel-like roller with a killer bassline.

All tracks have been carefully edited without overdubs, in order to bring the spirit of classic disco manipulators to today’s dancefloors!

Drummer "Drummie" Joe Isaacs had already created history as the house drummer at Studio 1 in Jamaica on countless pre-reggae classics before moving to Canada in 1968 and is credited with slowing down the fast pace of ska during the rocksteady era. With Risco Connection, Isaacs released a series of choice reggae / disco covers, from 'Ain't No Stopping Us Now' and 'Good Times' to 'I'm Caught Up (In A One Night Love Affair)' and 'It's My House' as limited 12" singles on his own Black Rose imprint. "Arriving in Canada, we were one of the first set of musicians out of Jamaica coming here," explains Isaacs. "With Risco Connection, we wanted to try something new, songs that would have a crossover between disco and the rocksteady feeling and the right lyrics. We had trouble getting them well distributed widely at the time but people still picked up on the sound." 'Risco Version' brings together all of the vocal versions, dubs and extra tracks from the singles. Both formats feature an interview with Joe Isaacs and liner notes by journalist Angus Taylor. Audio is restored by Sean P and fully remastered and cut loud and proud by The Carvery.

Ethereal, sensual, subtle. Maria de Fátima is that new favourite singer you think you just discovered, but who had actually always been there. This Brazilian muse from Tijuca (Rio de Janeiro) has worked and recorded with artists such as Milton Nascimento, Gilberto Gil, Arthur Verocai, Airto Moreira & Flora Purim, Chico Buarque, Lincoln Olivetti or José Roberto Bertrami (Azymuth).

We're immensely proud to bring you a deluxe reissue of her only solo album Bahia com H, one of the finest pieces of Brazilian music released outside of Brazil. The album was recorded in 1981 in Uruguay, where Maria had settled with her then husband synthesizer wizard Hugo Fattoruso (OPA), who also takes on production duties. Bahia com H combines Maria's own compositions with her unique takes on some Brazilian classics by Ary Barroso, Denis Brean and Gilberto Gil amongst others, compositions which gain a new significance with Maria's ethereal interpretation and the blended elements of Candombe, provided by the all-star line-up of Uruguayan musicians who joined in for the recording.

First vinyl reissue, preserving the original artwork in its gatefold sleeve, fully licensed and with sound sourced from the original analogue tapes.

Additionally we include a 12-page booklet with photos from Maria’s private archive and liner notes by the mighty producer, journalist, Grammy voting member and living jazz encyclopedia Arnaldo de Souteiro.

Following a 15-year hiatus from publishing, Neapolitan techno's founding imprint - Conform Records - made an emphatic resurgence in 2020 to resume its intrinsic role in the progression of electronic music, ensuring that the genres' virtuous roots and formative values remained instilled within its future. Having re-released its entire back-catalogue in digital format from its original DAT distribution in the 90s, label head Gaetano Parisio now shifts his focus to the modern audience, with contemporary records that serve to marry these two golden eras of dance music.

Showcasing his immense theoretical knowledge and authenticity, earned through decades of experience in the industry, Parisio's latest project - his 6 part "Fragments 2930" EP - honours the meditative euphoria of Conform's early releases. Militant and driving in their effect, each cut presents its own melodious theme; running parallel to the strong percussive undercurrent of high impact techno that can be heard across the extended player. "Fragments 2930" was initially conceived as a single sound block and later fragmented into these 6 single units. As represented in its title, "Fragments 2930" also includes the catalogue numbers 29 and 30, with the double vinyl characteristic of a 2-release miniseries.

Available to purchase on vinyl from May 27th and across digital platforms on June 10th, Gaetano's latest release is further proof that the label's discography now only grows to hold more future classics.

New York-based Synthwave/Italo disco duo, Bunny X, will release their highly anticipated first full-length album, ‘Young & In Love’, on October 5, 2021 through Aztec Records.

Taking inspiration directly from 1980s John Hughes classics such as The Breakfast Club and Sixteen Candles, Bunny X (Abigail Gordon and Mary Hanley) created ‘Young & In Love’ as a concept record oozing with nostalgic and youthful themes such as young love, first crushes, teen angst and anxiety.

“We wanted to take our listeners back to a time when music connected with us in a passionate and relatable way,” says Abigail. “These tracks pay tribute to what made 80s music so special — the fact that it was delivered in an earnest and unironic way.”

The Retrowave 10-track list of “Young & In Love” brings Bunny X together with Synthwave stalwarts Sellorekt/LA Dreams and Don Dellpiero, NYC-based producer Gosteffects and GRAMMY Award-winning engineer, Tony Lake.

Bunny X has been electrifying stages with their live performances in NYC and beyond for nearly a decade. The duo have released Italo disco and 80s-inspired music throughout their career, including two EPs and numerous singles. This is their first LP-length collection.

The Melvins’ first ever acoustic collection, featuring 36 songs including classics like ‘Night Goat’, ‘Honey Bucket’ and ‘Billy Fish’, as well as covers of Brainiac, The Rolling Stones and Alice Cooper tracks.

 This newly recorded acoustic collection features a career-spanning collection of songs, from 1987’s ‘Gluey Porch Treatments’ to 2017’s ‘A Walk With Love & Death’ - the entire gamut of the legendary band’s catalogue is represented.

 “I knew I wanted to do something ridiculously big,” explains Buzz Osborne of the band’s first ever acoustic offering. “36 songs reimagined by us acoustically is certainly ridiculous but it works. The magic of the songs is still there regardless of it being acoustic. Since we weren’t touring we had the time to do something of this size. I’m very excited about this record. Dale and Steven did a fantastic job on this. I think it’s a very special record. I can’t
think of anyone else who’s done something like this.”
 The band previewed the impressive offering with the release of ‘Night Goat’.
Dale Crover noted: “I think people will be surprised that we can do an
acoustic version of a song like ‘Night Goat’ without losing any of the
heaviness. We also worked hard on the vocal arrangements. People are
going to freak out!”
 ‘Five Legged Dog’ also features acoustic versions of several rarities from the
influential band’s overflowing discography, including a cover of Redd Kross’
‘Charlie’ (from the limited edition ‘Escape From LA’ single), ‘Outside
Chance,’ a Turtles cover from the ‘Slithering Slaughter’ single and new
interpretations of The Rolling Stones ‘Sway’, Brainiac’s ‘Flypaper’ and Fred
Neil’s ‘Everybody’s Talking’ (popularised by Harry Nilsson). Butthole Surfer
Jeff Pinkus lends his vocals (and banjo) to ‘Don’t Forget to Breathe’ and
‘Everybody’s Talking’.

It's a little known fact that in 1969, Motown Records boss Berry Gordy organised a holiday trip to Jamaica for his label's stars. It's even less well known that while they were there, a number of those same stars worked with an up-and-coming local producer to record versions of established hits over instrumental riddims from the newly emergent reggae genre. Unfortunately, perhaps due to the plentiful supply of herbal entertainment during the recording sessions, the masters were believed lost. Until now. Happily, their recent re-discovery means you finally get to hear Uptight Boss and Beg For A Dollar - the massively crowd-pleasing consequences of giving a brace of mid-sixties Motown classics the boss reggae treatment!

Alright, maybe it didn't go down like that. Maybe the sound of this release was born instead out of people occasionally mishearing the name of Mako & Mr Bristow's 'Stank Soul Edits' series as 'Skank' Soul Edits. Which got them thinking. What would 'skank soul' sound like? Hello Trojan – meet Motown. Mojan? Trotown? Either way - reggae most definitely got soul!

Since their debut in 2017 and the highly acclaimed
latest album ‘No God? No Problem’ (released in
2019,’ Detroit freak rockers The Lucid Furs have
performed over 100 out of state shows, invading
music venues to wash minds with their heavy
blues rock concoctions.
 The band‘s live performances build up with a big,
head bang energy, winding down to sultry blues,
then blasting back into hard rock with a dash of
funk you can’t help but dance to.
 Their new album won’t make any exception. The
band’s heavily grooving talent and soul of the
blues is immediately evident, driven by a vibrant
70’s vintage vibe.
 Their songs embody a culmination of each
member’s early influences, ranging from rock
classics like Alice Cooper and Heart, to Chicago
blues like Howlin’ Wolf and Buddy Guy, to the era
of alternative rock groups like Soundgarden and
Queens Of The Stone Age.
 For fans of All Them Witches, Janis Joplin, Led
Zeppelin, Rival Sons, Cream, Queens Of The
Stone Age, Jefferson Airplane, Blues Pills.
 Red coloured vinyl LP.

There is nothing quite like an evening under the rhythmic spell of the legendary David Morales. Stepping on the dancefloor while he's behind the decks requires full trust and surrender. You agree to hand the reins of your mind, body, and spirit to his intuition and ability to guide you to where you need to be at all times. It will occasionally be cathartic and intense. It will often make the hairs on your body stand on end, and make you sweat more than you ever have before. The endorphin release will be powerful. You will feel like you can touch joy and euphoria it in the air around you. As he gently brings you back down to reality, you will feel renewed and ready for anything life brings your way. This is more than a night of dancing. This is an experience at the hands of a magical maestro of music. How is this possible from a night on the dancefloor? Well, it begins with the brilliant mind of an artist at the peak of his creative power, imbued with the empathy necessary to connect with what has become a global legion of fans. "If there is any secret, it's really simple: I love what I do with all of my heart," Morales says. "I'm a DJ first. I thrive on human interaction. I am always adjusting my sets based on what the people in the room need. Each night, we form an emotional connection that inspires the music as it comes."

For Morales, "working in the studio is important, but it exists as a way of supporting the DJing experience. It's all to inform how it will work on the dancefloor."

To that end, you're reading these words as you dive into a new collection of Morales classics. Ever the collaborator, he has enlisted the input of a wide range of voices and talent. There is the diva power of fellow legend Ultra Nate, who brings her signature sass to "I Can Dream," while Michele Perera's explosive chemistry with David is all over the inspiring "Life is a Song" and "Never Give Up", as well as the impassioned "Addicted."

Morales reminds the listener of his ever-evolving musical scope in collaborations with blondewearingblack ("What Can I Do"), Lea Lorien ("Never Looking Back"), and Blakkat ("Can't Get Enough"). There's the clubland supergroup of David with Mr. V, Scotty P. and DJ Rae on "The Feels." Rounding out the set is a reunion with longtime muses Elle Cato ("I Feel Love") and British soul icon Joe Roberts ("Easy"). Just be sure to listen closely, because there's bound to be a surprise tucked between these grooves to tickle your ears and move your body.

The beauty of this sparkling new foray into electronic music is the heightened intimacy between Morales and the music. What you are hearing here is almost exclusively from the man's own fingertips. "The technology has evolved in the most extraordinary and liberating ways," he says, adding that he is now able to be far more directly hands-on during the building of each track. "Back in the '90s, I had to have more people involved, With the changes and growth in technology, I can now do it, myself. I don't even have to be in the studio anymore. It's smart, financially, but it's also way more fun and creative."

David adds, "I don't have to wait to manifest an idea anymore. I can just build my ideas as they come to me." In fact, he reveals that many of these new tracks were born in unique places, like planes, cars, his bedroom, and a host of other settings. "Music is always spinning around my mind. I no longer worry about losing an idea."

Surviving the highs and lows of an ever-changing world has also brought Morales back to the basic essentials of life and music. "The pandemic has brought things full circle for me," he says. "I love what I do and I still have the passion of a kid who is just getting started"

Yet, we know that Morales has been in the game for longer than a minute. He's a Grammy award-winning producer, remixer, and songwriter. He has lent his skill to countless of records by icons that include Mariah Carey, Madonna, Whitney Houston, Michael Jackson, Aretha Franklin, Donna Summer, Seal, and Jamiroquai. As a turntable artist originally from New York City, he earned his bones of credibility back in the '80s and '90s in clubs like the Paradise Garage, Red Zone, Tunnel, and Club USA. He initiated the concept of DJs touring beyond their hometowns with countless, wildly successful treks that have taken him the farthest-reaching corners of the world. As electronic music thrives on pop radium, David tops the list of every young artist and DJ as a primary influence.

Even with such a staggering legacy, Morales never looks over his shoulder.

"That is how you stumble and fall," he says. "If you get all caught up in the past, you're going to lose sight of what is right in front of you. You lose the excitement of discovery. That is what gets me off; taking what I know and combining it with what I don't know as I learn it. There is nothing better than experiencing how it all comes together. It's different every time."

And that is the ultimate secret to that extraordinary spell that David Morales casts over us all every single time.

As no strangers to the West End Records back catalogue – both having taken on remix duties individually in the past – 2022 sees Michael Gray and Dr Packer combine to give two classics the Rework treatment. Brenda Taylor’s seminal “You Cant Have Your Cake And Eat It To” is finessed into a contemporary disco standard: Taylor’s voice still cutting through with plenty of soul while synth and pianos provide the groove. “Don’t Make Me Wait” cuts a slightly edgier tone, with acid-like bleeps and plenty of reverb making it a perfect counter track as part of this release.

Another set of essential Reworks from West End.

For their 5th volume of the 'Downtownsounds Classics' series, Fatty Fatty Phonographics are proud to present these gems from the West End Records catalogue, the famed underground disco label that gave us so many of our dancefloor staples.

"Tell You Today" is probably the Downtownsounds anthem, a sweet song of yearning, regret and innocent joy married to Arthur Russell's wonky, wobbly percussive genius, with a perfect pop climax that has led to many moments of collective disco joy on the DTS dancefloor.

We didn't need to do much on this edit beyond adding some elements from Arthur's B-side dub, so the joy goes on for just that little bit longer.

On the flip is 'When The Shit Hits The Fan', a no-nonsense, hit-the-floor and forget your troubles disco-rap stompout from 1980.
A favourite with the likes of Theo Parrish and Dave Lee, this one always get the sneaky shebeen vibes a going...Check those lyrics!

A LOST RECORDING OF UNTAMED APPALACHIAN MUSIC.
160 gram black vinyl LP in gold & black color reverse-board jacket. Co-release with Jalopy Records.
In 1972, the renowned and singular folk musician Roscoe Holcomb left his home in rural Daisy, Kentucky and embarked on a west coast tour with Mike Seeger in 1972, which included a performance at The Old Church in Portland, Oregon - a beautiful Carpenter Gothic church built in 1882. Decades later, two particular reels were discovered deep within a pile of 1/4” tape in a shadowy corner of the KBOO Community Radio archives in Portland. Incredibly, those tapes contained the sole surviving evidence of a strikingly intimate and raw performance by Roscoe Holcomb, whose cascading and haunting banjo, guitar and voice echoed and saturated the room and hushed audience.
In contrast to Roscoe’s rarely documented (and at times restrained) live performances at folk festivals and television programs, Roscoe seems to have felt more familiar and spiritually moved in the old church that night. Heard here are standout versions of Appalachian folk-blues classics such as Single Girl, John Henry, East Virginia Blues, Swanno Mountain and more. Once cited as Bob Dylan’s favorite singer, Roscoe Holcomb appears at the peak of his powers here, showcasing his immense vocal talents on an extended acapella version of “The Village Churchyard”. The recording itself is warm and mysterious, sounding like the room itself is alive with the spirit, while the rumbles of trucks and hints of city sounds peek through the walls from the outside streets.

Merge will reissue two crucial releases from The Clean's distinguished discography. The "Tally Ho!" b/w "Platypus" 7-inch and the Boodle Boodle Boodle 12-inch EP, the Dunedin trio's first official recordings as a band, both celebrate their 40th anniversary this year. These reissues have been remastered by Tex Houston with assistance from the Alexander Turnbull Library New Zealand, and The Clean's David Kilgour and Robert Scott oversaw the careful re-creation of the original packaging. Merge is thrilled to make these records globally available for the first time since their original release in 1981. Featuring Clean classics like "Anything Could Happen" and "Point That Thing Somewhere Else," Boodle Boodle Boodle arrived two months after the "Tally Ho!" single, peaking at #5 and staying in the NZ Top 20 for nearly six months. Recorded on four-track by The Clean's childhood friends Chris Knox and Doug Hood, its five hugely influential songs provided a roadmap for the "Dunedin sound" that would soon follow. Boodle Boodle Boodle was awarded the Classic Record distinction by New Zealand's Taite Music Prize in 2017. The reissue will be pressed on limited-edition black & white swirl Peak Vinyl and standard black vinyl. All versions will include the 16-page zine that came with the rare original vinyl pressing.

Four Flies' new record series, ITALIAN LIBRARY SONGBOOK - Masters of Cinematic Music Reimagined into Song, hopes to build a bridge between the modern and the contemporary. Producers and songwriters from today's music scene put their spin on hidden tracks and outtakes from the catalogues of Italian soundtrack maestros, reimagining them into new, previously unheard songs poised between pop and club culture – a sound nestled somewhere in between Balearic, downtempo, and organic grooves.

Volume I focuses on Alessandro Alessandroni, a composer whose trajectory is emblematic with respect to Four Flies' journey as a label and publisher. Despite being best known in his lifetime for his unmistakable whistle in Ennio Morricone's soundtracks for Sergio Leone's spaghetti westerns, Alessandroni was way more than that. He was a refined composer and multi-instrumentalist, and one always ahead of his time. Partly thanks to Four Flies and its contribution to the rediscovery of the Maestro with releases such as the EP "Afro Discoteca" and the compilation album "Lost & Found", this has become unquestionably clear in the past few years, which have seen his name climb to the top of collectors' want lists and gain recognition in the international music industry.

This release goes back to one of Alessandroni's lesser known film scores, Sangue di sbirro (written for Alfonso Brescia's 1976 poliziottesco Cop's Blood), where he created his own version of the soul-infused jazz-funk music typically found in 70s Blaxploitation movies.

More specifically, Neapolitan producer pAd and London singer-songwriter Jessica Duncan reimagine the original "Philadelphia", which appears on Side B and whose title clearly refers to the city that, back in the 70s, saw the birth of (mellow) disco. The result of their collaboration is "Do You Wanna Get Close?" on Side A, a downtempo, jazz-funk and Balearic gem pervaded by warm, sexy and elegant pop-soul vibes that make it a perfect club track to enjoy the night until the early hours of the morning.

To ensure maximum audio quality, the mastering was done by Fabrizio De Carolis at his Reference Mastering studio in Rome's Prati neighborhood (the same neighborhood that was once the epicenter of Roman library music) while the vinyl cut at the The Carvery, the multiple Grammy-nominated London studio behind some of the best organic grooves records of the past decade. The result is a deep, full, rich and three-dimensional sound that enhances the beauty of both tracks.

The series and volume artwork is by graphic designer and calligrapher Luca Barcellona, an artist used to working with analog tools such as ink, brushes and pencils. He drew inspiration from the world of literature, imagining each release as one of the volumes in an elegantly bound classics book series - an analogy that reminds us of the tactile element that makes vinyl records so unique and precious, while also suggesting the cultural value of a music that aims to connect the legacy of the past and the creativity of the present.

Legendary Utrecht DJ and producer P.A. Presents (Peter Aarsman) returns with his first new release since 2000 with this vintage techno stunner, Swirling Gas. This EP also marks the first new music on U-TRAX in more than 21 years, kicking the label s comeback into a higher gear.
Peter ironically is the only artist on U-TRAX that actually is born and bred in the city of Utrecht. Even more irony lies in the fact that he hasn t lived in the city (or stadsie in Utregs, the local dialect) for the past 25 years.
Peter knew he wanted to be a DJ since he was ten years old, in a time when this was still a very unusual career to dream about. Long before house music had landed in Europe, Peter was fiddling around with disco and italo 12 -es and all those years of training is what made him the superior DJ that he still is today. In terms of skills, flair, energy and feel for the dance floor, there are probably not a lot of DJs that can rival with Peter.
While the era of house of techno of the late 80s and the 90s brought him countless DJ gigs, his reputation didn t cross the city borders much, until he bought his first gear and started producing techno music himself. Again, his DJ background proved helpful with producing his tracks, as most of his tracks are dancefloor orientated and usually have an impeccable timing.
Peter debuted with the mini-album Salicylic Acid on U-TRAX in 1993, followed by the Flight Stimulator EP a year later. Both are classics today, but neither brought him as much fame as his 12 Entangled did on Deviate, a record label that was started by a couple of our friends from Utrecht a year prior to U-TRAX. Entangled made it to many charts and compilation albums, including Carl Craig s mix CD as part of !K7 s DJ-Kicks series.
Besides two releases on U-TRAX and three 12 -es on Deviate, Peter recorded a full length album for the latter label. Unfortunately, before the album ever saw the light of day, Deviate closed their doors and the tracks remained on the shelves for the next 17 or so years. These tracks still sound surprisingly fresh and original today and we are super excited to be able to release some of them on this Swirling Gas EP!
The title track Swirling Gas obviously gets its name from the documentary sample that the track kicks off with. The almost heartbeat-like electro rhythms, layered choruses and dreamy synths will give you goose bumps all the way to the soles of your feet.
Raw is quite another thing, but way more complicated and sophisticated than the title suggests. An in-your-face electro bass drum pattern supports layer after layer of additional rhythms, some even touching on salsa, and then big fat layers of pulsating synths take you away into deep space. A unique track that will instantly reward the DJ that has the guts to play it for her/his audience.
Drum Magic on the flipside is exactly that: a magic techno trip built around complicated syncopated drum rhythms, which should serve the adventurous DJ well as a foundation for mixing all sorts of weird stuff on top of. We can t wait to see videos appear with creative mixing ideas.
Final track Freaky is opening with some heavy pounding, yet jumpy beats before it opens up into a bit of a space trip around the 3 minute mark. Though the track has a touch of the Basic Channel sound, its echoing synth tones are very distinct and will light up any venue, no matter how big.
All tracks have been revamped and edited into more current lengths by DJ Zero One, blessed by DJ White Delight and mastered by Thee J Johanz. Label art by Bonk Artwork.

Legendary Utrecht DJ and producer P.A. Presents (Peter Aarsman) returns with his first new release since 2000 with this vintage techno stunner, Swirling Gas. This EP also marks the first new music on U-TRAX in more than 21 years, kicking the label s comeback into a higher gear.
Peter ironically is the only artist on U-TRAX that actually is born and bred in the city of Utrecht. Even more irony lies in the fact that he hasn t lived in the city (or stadsie in Utregs, the local dialect) for the past 25 years.
Peter knew he wanted to be a DJ since he was ten years old, in a time when this was still a very unusual career to dream about. Long before house music had landed in Europe, Peter was fiddling around with disco and italo 12 -es and all those years of training is what made him the superior DJ that he still is today. In terms of skills, flair, energy and feel for the dance floor, there are probably not a lot of DJs that can rival with Peter.
While the era of house of techno of the late 80s and the 90s brought him countless DJ gigs, his reputation didn t cross the city borders much, until he bought his first gear and started producing techno music himself. Again, his DJ background proved helpful with producing his tracks, as most of his tracks are dancefloor orientated and usually have an impeccable timing.
Peter debuted with the mini-album Salicylic Acid on U-TRAX in 1993, followed by the Flight Stimulator EP a year later. Both are classics today, but neither brought him as much fame as his 12 Entangled did on Deviate, a record label that was started by a couple of our friends from Utrecht a year prior to U-TRAX. Entangled made it to many charts and compilation albums, including Carl Craig s mix CD as part of !K7 s DJ-Kicks series.
Besides two releases on U-TRAX and three 12 -es on Deviate, Peter recorded a full length album for the latter label. Unfortunately, before the album ever saw the light of day, Deviate closed their doors and the tracks remained on the shelves for the next 17 or so years. These tracks still sound surprisingly fresh and original today and we are super excited to be able to release some of them on this Swirling Gas EP!
The title track Swirling Gas obviously gets its name from the documentary sample that the track kicks off with. The almost heartbeat-like electro rhythms, layered choruses and dreamy synths will give you goose bumps all the way to the soles of your feet.
Raw is quite another thing, but way more complicated and sophisticated than the title suggests. An in-your-face electro bass drum pattern supports layer after layer of additional rhythms, some even touching on salsa, and then big fat layers of pulsating synths take you away into deep space. A unique track that will instantly reward the DJ that has the guts to play it for her/his audience.
Drum Magic on the flipside is exactly that: a magic techno trip built around complicated syncopated drum rhythms, which should serve the adventurous DJ well as a foundation for mixing all sorts of weird stuff on top of. We can t wait to see videos appear with creative mixing ideas.
Final track Freaky is opening with some heavy pounding, yet jumpy beats before it opens up into a bit of a space trip around the 3 minute mark. Though the track has a touch of the Basic Channel sound, its echoing synth tones are very distinct and will light up any venue, no matter how big.
All tracks have been revamped and edited into more current lengths by DJ Zero One, blessed by DJ White Delight and mastered by Thee J Johanz. Label art by Bonk Artwork.

It’s not normal to take 31 years to release a follow up album. But then Network was never a normal sort of record label, and often opted for the quirky rather than the quick buck. The logo was launched in 1990 and that year, along with a slew of startlingly good singles, created and issued two bio-rhythm compilations, each of which showcased cutting edge USA techno rubbing shoulders alongside its’ sparse UK bleep counterpart.

At the time the words quality and dance music compilations were not phrases shared that much. bio-rhythm 1 and it’s almost instant follow up bio-rhythm 2 bucked the trend with groundbreaking exclusive tracks, iconic minimal artwork and surreal sleeve notes.

Each of the albums have been hailed by many as piece de resistance primers to electronica music.

As well as capturing the zitgeist of a blurry everything of that moment experimental time, they have endured to be acclaimed as all time iconic classics. So why was there no follow up? One reason was that things were moving so bewilderingly fast at the time for Network that the emphasis was always on the next thing, not regurgitating repetitive beat ideas.

Another was that the opportunity arose to direct the acumen gained from the bio-rhythm experience at the release of two (now equally acclaimed) compilations from Frank and Karen Mendez’s cult Nu-Groove label.

The current Network reconstruction meant an opportunity to re-indulge and finally release bio-rhythm 3. Matt Anniss’s splendid sleeve notes are reproduced below and tell you all you need to know about the carefully selected (and mostly exclusive to this collection) tracks on 2 x 12 vinyl for increased sonic joy. Network. We continue.

Rough Trade Records announce the release of the
15th Anniversary edition of The Long Blondes’
debut album, the acclaimed ‘Someone To Drive
You Home’.
 The home of a host of indie disco classics with its
noir atmospheres and vivid storytelling - qualities
that saw the record inspire recent, generationcapturing movie ‘Giddy Stratospheres’ which takes
its name from The Long Blondes’ iconic single -
the Sheffield band’s first album managed that rare
trick of capturing the 2000s zeitgeist while leaving
a timeless artistic mark for the ages.
 Initially inspired by the frisson of the indie disco -
now, fittingly, a classic of low lit dancefloors
everywhere - ‘Giddy Stratospheres’ is The Long
Blondes’ sophisticated calling card. A swirl of
razor-sharp guitars and vivid storytelling, waltzing
melodies and burning vocals, the Sheffield band’s
2000s single fizzes with dancing, desire and the
most stylish sing-a-long you’ll ever hear.
 The Anniversary edition of ‘Someone To Drive You
Home’, which was originally released in November
2006 and was produced by Pulp member Steve
Mackey, comes as a gatefold double LP, pressed
on to red and yellow vinyl to mirror the album’s
artwork - a picture of actress Faye Dunaway
painted by frontwoman Kate Jackson. The edition
features the original record, plus 11 additional
tracks that the band used on B-sides.

Northern Soul legend Lorraine Silver recorded Lost Summer Love when she was just 13 years old in August 1965. Whilst not a chart hit on its release, the track did become a massive anthem at the iconic Wigan Casino and was reissued on the Casino Classics label in the late 70s selling in excess of 30,000 copies. However, Lorraine knew nothing of her heroic Northern Soul status until the late 80s.

23 years after the original recording, Lorraine’s husband, agent Barry Collings, was reading Blues & Soul magazine which featured a top ten selection of favourite Northern Soul tracks that included Lost Summer Love. Lorraine called the editor and was flabbergasted to discover it really was her song. Following this, her story was told in a whole
selection of Northern Soul publications. She contacted the original record company PYE and was told that the track had sold some 34,000 copies worldwide and she could claim her royalties!

At around the same time Barry was involved in promoting Northern Soul weekends across the country and Lorraine was able to meet all the DJs who had been playing her record for years.
She was persuaded to get up and do a couple of PA’s of Lost Summer Love much to the delight of the audience who were queueing for autographs.

Since then, Lorraine’s resurrected career has gone from strength to strength, with airplay on BBC Radio 2, performances at Northern Soul events, and an appearance at the Edwin Starr Memorial Concert alongside the likes of Clem Curtis, Geno Washington, and Jaki Graham. In 2011 she was asked to join the line-up of a new touring show ‘The Mod All Star Band’ with artists she herself had idolised in the 60s including Steve Ellis and Chris Farlowe.

Now, at the age of 70, Lorraine continues to perform, record, and release new material in a career that now spans an incredible 57 years. Her brand-new single Fever Raging Out Of Control was produced by legendary Northern Soul DJ Ian Levine who has also produced pop hits for Take That including ‘A Million Love Songs’ and ‘Could It Be Magic’. The final mix of the track was done by Nigel Lowis who has also worked with Burt
Bacharach, Andrew Lloyd Webber, Stevie Wonder, Luther Vandross, Mariah Carey and Celine Dion to name just a few.

And…that original recording of Lost Summer Love, has now become quite the collector’s item, with a recent copy selling on eBay for some £700.00!

With the release of Sweet Inspirations At Muon, the first appearance on vinyl of Tori Kudo’s mythical early ‘80s primitive rock gang Sweet Inspirations, another piece of the seemingly endless puzzle of the Japanese underground has fallen into place. Recorded some time in 1982 at Yokohama venue Muon – precise details are sketchy – we’re now given another chance to discover what was going on in Kudo’s mind just before he formed the group he is now best known for, the ragtag gang of pro and amateur musicians that was Maher Shalal Hash Baz.

Sweet Inspirations were one of several groups formed by Kudo around this time. He’d already released the visionary naïve-art album, Tenno, in collaboration with Reiko Omura, in 1980, and a trip to New York the following year led to the recording of Atlantic City, under the name La Consumption 4. Returning to Japan, Kudo first formed Guys’N’Dolls with Jun Yoshiwara (bass) and Kiyoaki Iwamoto (drums); Yoshiwara carried over into Sweet Inspirations, who existed for a few years, their membership, at various times, featuring Asahito Nanjo (High Rise etc.), Jutok Kaneko (Kousokuya), Yoshio Kuge (Les Rallizes Denudes etc.), 3C123 and many more.

The material here was originally released, without permission, by the Cragale label on CD-R in 2000. It was one of a sudden wave of archival CD-Rs that Cragale pumped out that year of material recorded at Muon, which was owned by Kohei Iehara, who co-founded Cragale with Tamotsu Hongo. In the context of the recent unleashing of material from the Kudo archives – the 9CD At Goodman set, the reissue of the first two Maher Shalal Hash Baz cassettes and the Noise LP, and the tantalising glimpses of other historical gems via Tori’s own Bandcamp page – hearing Sweet Inspirations with such clarity fills in a significant piece of the puzzle; here is Kudo, just before Maher, channelling the rough conceptualism of Red Krayola and the glinting, staggered rhythms of Syd Barrett into extended blooms of ragged glory, sketching out future classics like “Manson Girls”; A bonus CD includes a cover of a song by legendary South Korean rock group San Ul Lim.

French producer and remixer Nicolas Laugier aka The Reflex is a name synonymous with supreme remixes and reimaginings of disco, soul, funk and dance classics. This brand new and essential double-pack sees Laugier take on some of the immense Salsoul catalogue, lovingly reworking classics alongside deep digs from the seminal NYC disco labels vaults. There's something for every dancefloor occasion here with Inner Life, Metropolis, Leroy Burgess and Aurra all getting The Reflex touch. These new versions are more than just re-edits, these are proper remixes utilising master stems, session tapes and the original spirit of these incredible recordings. It's no wonder The Reflex's 'revisions' have found themselves in the hands of tastemakers, DJs and hardcore record fiends alike! You need these....

These brand new mixes have been mastered with love, care and respect for Salsoul / BMG. Artwork and design courtesy of Al Kent / Million Dollar Disco. Worldwide manufacture and distribution courtesy of Above Board distribution, 2021.

Driven by support from the likes of Gilles Peterson, Quantic, Nightmares On Wax, The Nextmen, Lauren Laverne, Danny Krivit and most prominently Craig Charles, Sam Redmore has built a name for himself over the last few years for crafting soul-drenched remixes and reworks of both solidified classics and lesser-known material.

Having spent so much time re-working the classics it is no surprise that production values are high when it comes to his own original music.

At the start of 2021 Sam signed to Jalapeno Records, giving everyone involved cause for celebration after a difficult year and his debut album is slated for May 22.

Many of the album tracks were purpose-built for inclusion in his DJ sets - which can range from cumbia, afrobeat, samba, funk and reggae through to house, broken beat, disco and everything in between…

On The One will be the first single to drop from the album and features the inimitable vocals of poet and rapper Mr. Auden Allen as well as the soul drenched horns of Renegade Brass Band. Debuted on BBC 6 Music when Sam performed a guest mix in April this year, it seemed the perfect track to debut from Sam's new record.

„Sounds like Burial who listened to Psychic TV instead of UK Garage. For me the best Pudel Produk-te so far, I'm thrilled. And you know me, I find a lot of things good, but only super cool super cool, best Pudel Produkte ever. How did you find them, do they come from Mainz or the surrounding area or what? Top record, I would also like to have it on vinyl for grandpa's cupboard“.

// Superdefekt


„The record sounds great!
This is the MFOC record, you can't get more MFOC than this.
Every track is awesome !!!!! It's on rotation here :))))"

// Rvds


„The Masterpiece, can only be topped by the Volume 2!"

// Ralf Köster
More records from VA
Switch view
Switch view
Various Artists
Less Popular Than Cats
Verdant
12"

pre-sale
Wunschliste
14,99 €
Buy
Various Artists
DOING IT IN LAGOS
soundway
3LP

pre-sale
Wunschliste
22,99 €
Buy
Various Artists
Visitors Vol.1
Alien Imprints
12"

pre-sale
Wunschliste
8,69 €
Buy
Various Artists
Life’s Better With Disco Album Sampler
z records
12"

pre-sale
Wunschliste
8,99 €
Buy
Various Artists
Buena Onda - Balearic Beats 2021 - Sampler Due
Hell Yeah Recordings
12"

pre-sale
Wunschliste
9,72 €
Buy
Various Artists
América Invertida
vampisoul
LP

pre-sale
Wunschliste
15,99 €
Buy
More records from label Pudel Produkte
Switch view
Switch view
VA – Remix EP
W/ rmxs by Plaid, Lowfish, John T. Gast ..
Pudel Produkte
12" Excl

backorder
Wunschliste
8,99 €
Buy
Rosaceae
DNA (LP)
Pudel Produkte
LP Excl

backorder
Wunschliste
10,49 €
Buy
Cosmic Cars
Cosmic Cars
Pudel Produkte
12" Excl

backorder
Wunschliste
6,79 €
Buy
quadratschulz
quadratschulz Remixes EP
Pudel Produkte
12" Excl

backorder
Wunschliste
6,79 €
Buy
quadratschulz
Pudel Produkte 33
Pudel Produkte
12" Excl

backorder
Wunschliste
6,79 €
Buy
Death Circuit
Teeparty am Waldbrand (feat. Raf & Das Bo)
Pudel Produkte
12" Excl

backorder
Wunschliste
6,79 €
Buy
Word and Sound
top of page

2step/garage
Acapella
Acid House
Afrobeat
Alternative/Electronic
Ambient/Balearic/Kraut/Electro
Breaks
Chicago House
Classics
Cosmic Disco/Italo Disco
Deephouse
Detroit House
Detroit Techno
Disco
Dope Beat/Hip Hop
Drum + Bass
Dub/Reggae
Dubstep
Eclectic
Electro
Electrobass
Electronica
Funk
House
House / Techno
Indie/Altern/Electronic
Minimal
NouvelleRaveElectrAvantg
Nu Jazz
Pop
Pop
PostRockNouvelleVague
Salsa
Soul/Funk
Space Disco/House
Tech-House
techhouse
Techno
techno / minimal
Trip Hop/Headz
UrbanHipHopBeatesque
World Music
#1149

Getting started - FAQ
Our team - Who we are
Kontakt - Contact us
Jobs
Allgemeine Geschäftsbedingungen - Terms and conditions
Datenschutzerklärung - Data Privacy Statement
Impressum - Imprint

The use of this website signifies your agreement to the Terms of Service. Word And Sound © 2021

Belched from Hell’s depths into the rustic charms of the Witch County, Suffolk thirty long and disturbing years ago, CRADLE OF FILTH are undisputed giants of the heavy metal realm. Imperious purveyors of a perennially unique strain of dark, dastardly and wilfully extreme metal, with deep roots in the worlds of gothic horror and occult curiosity, the band led by Dani Filth has weathered three decades of tumult and trial, earning a formidable reputation as both a singular creative force and one of the most riotously entertaining live bands the metal world has ever produced.
From primitive early works like 1992 debut »The Principle Of Evil Made Flesh« to more expansive and theatrical classics like ‘Cruelty And The Beast’ and ‘Midian’, CRADLE OF FILTH defied trends and constructed their own idiosyncratic world of foul grandeur, becoming one of the UK’s most notable metal bands in the process. Since then, they have traversed the world countless times, hoovering up plaudits and praise from an ever-expanding international fan base. Resolutely prolific, the band’s catalogue has grown in depth and stature all the while, irrespective of line-up changes or the whims of the faithful.
In more recent times, CRADLE OF FILTH have hit an unmistakable hot streak of creativity and urgency. As a new line-up coalesced around the creation of 2015’s »Hammer Of The Witches«, fresh impetus propelled the band to new heights, as the revitalised crew became more in demand around the world than ever before. 2017’s ‘Cryptoriana - The Seductiveness Of Decay’ repeated the trick with even more explosive flamboyance. Until a global pandemic brought the music industry to a jarring halt, CRADLE OF FILTH were almost permanently on the road and absolutely fucking flying. As a result, it should surprise no one that the band’s brand new album, ‘Existence Is Futile’, is yet another monumental and electrifying journey through the dark.
Buoyed by these recent triumphs, CRADLE OF FILTH recorded »Existence Is Futile« during 2020, piecing the record together in isolation, at Grindstone Studios in Suffolk with studio guru Scott Atkins (Devilment/Benediction/Vader). Although instantly recognisable as the work of these veteran blackhearts, the thirteenth CRADLE OF FILTH album is a wholly different beast from its immediate predecessors. Pitch-black, perverse and at times absurdly brutal and extreme, it hangs together with mesmerising fluidity. It is also absolutely rammed with giant, rousing melodies and moments of jaw-dropping invention. No one could mistake the venomously catchy likes of ‘How Many Tears To Nurture A Rose?’ or monstrous ballad ‘Discourse Between A Man And His Soul’ for anything other than CRADLE OF FILTH, of course, but ‘Existence Is Futile’ confirms that the band’s exploratory instincts remain as sharp as ever.
Underpinned by its huge and disarmingly organic production, »Existence Is Futile« is plainly the darkest and most unsettling album CRADLE OF FILTH have made in a while. Eschewing the band’s trademark twisted storytelling in favour of horrified glimpses into the mortal void and ruminations on the inevitable destruction of life on Earth, its poignancy and relevance to the cluster of nightmares facing humanity in 2021 is impossible to ignore, even if Dani Filth insists, not unreasonably, that he didn’t anticipate a global pandemic when the news songs were being written.
With the best possible timing, CRADLE OF FILTH were already due to make a new album during those long, lonely months of lockdown in 2020. Having grabbed the opportunity with both hands, Dani avows that unavoidable isolation from the rest of the world was the best possible incentive to get the job done, while also adding plenty of eerie atmosphere to the whole experience.
Sonically speaking, ‘Existence Is Futile’ is easily the most powerful and dramatic record CRADLE OF FILTH have ever made: it’s the sound of band’s enviable onstage chemistry spilling over into the studio, propelling each member of the band to new levels of intensity. Combined with the expected labyrinthine arrangements and moments of spellbinding bombast, ‘Existence Is Futile’ may be the most vivid representation of the CRADLE OF FILTH experience yet.
Also, diehard fans will be thrilled to learn that horror icon Doug 'Pinhead' Bradley makes a welcome return to the CRADLE fold, lending his dulcet tones to the epic ‘Suffer Our Dominion’, and to one of the forthcoming new record’s bonus tracks, as Dani explains.
“There are also two bonus tracks in addition to the album, one of which is the culmination to the ‘Her Ghost In The Fog’ trilogy, which began on »Midian«.
For this we had little hesitation in enlisting our friend and actor Doug Bradley to reprise his narrative role. Doug lives in Pittsburgh, which he refers to ‘The Pit’, thus we directed his narrative over Skype from his local studio. He adopts this almost David Attenborough-ish role on ‘Suffer Our Dominion’, which is possibly the most politically astute song we’ve written of late. As a band we usually shy from branching into politics, but it’s something that needed spouting. The fact we’re fucking our ecology up and desperately need to address the situation pronto…”
So, if we’re all going to perish in the fire of our own stupidity, we might as well have a suitably deranged and destructive soundtrack to do it by.
A bewitching, fearless nosedive into the abyss, the band's thirteenth studio album confirms the ferocious efficacy of CRADLE OF FILTH in 2021. Bold, brave, wildly imaginative and heavy as hell, the band’s latest runaway train-ride through the flames is the perfect album for these most imperfect of times. As Dani concludes, “Be like the virus! Mutate and survive!”

Belched from Hell’s depths into the rustic charms of the Witch County, Suffolk thirty long and disturbing years ago, CRADLE OF FILTH are undisputed giants of the heavy metal realm. Imperious purveyors of a perennially unique strain of dark, dastardly and wilfully extreme metal, with deep roots in the worlds of gothic horror and occult curiosity, the band led by Dani Filth has weathered three decades of tumult and trial, earning a formidable reputation as both a singular creative force and one of the most riotously entertaining live bands the metal world has ever produced.
From primitive early works like 1992 debut »The Principle Of Evil Made Flesh« to more expansive and theatrical classics like ‘Cruelty And The Beast’ and ‘Midian’, CRADLE OF FILTH defied trends and constructed their own idiosyncratic world of foul grandeur, becoming one of the UK’s most notable metal bands in the process. Since then, they have traversed the world countless times, hoovering up plaudits and praise from an ever-expanding international fan base. Resolutely prolific, the band’s catalogue has grown in depth and stature all the while, irrespective of line-up changes or the whims of the faithful.
In more recent times, CRADLE OF FILTH have hit an unmistakable hot streak of creativity and urgency. As a new line-up coalesced around the creation of 2015’s »Hammer Of The Witches«, fresh impetus propelled the band to new heights, as the revitalised crew became more in demand around the world than ever before. 2017’s ‘Cryptoriana - The Seductiveness Of Decay’ repeated the trick with even more explosive flamboyance. Until a global pandemic brought the music industry to a jarring halt, CRADLE OF FILTH were almost permanently on the road and absolutely fucking flying. As a result, it should surprise no one that the band’s brand new album, ‘Existence Is Futile’, is yet another monumental and electrifying journey through the dark.
Buoyed by these recent triumphs, CRADLE OF FILTH recorded »Existence Is Futile« during 2020, piecing the record together in isolation, at Grindstone Studios in Suffolk with studio guru Scott Atkins (Devilment/Benediction/Vader). Although instantly recognisable as the work of these veteran blackhearts, the thirteenth CRADLE OF FILTH album is a wholly different beast from its immediate predecessors. Pitch-black, perverse and at times absurdly brutal and extreme, it hangs together with mesmerising fluidity. It is also absolutely rammed with giant, rousing melodies and moments of jaw-dropping invention. No one could mistake the venomously catchy likes of ‘How Many Tears To Nurture A Rose?’ or monstrous ballad ‘Discourse Between A Man And His Soul’ for anything other than CRADLE OF FILTH, of course, but ‘Existence Is Futile’ confirms that the band’s exploratory instincts remain as sharp as ever.
Underpinned by its huge and disarmingly organic production, »Existence Is Futile« is plainly the darkest and most unsettling album CRADLE OF FILTH have made in a while. Eschewing the band’s trademark twisted storytelling in favour of horrified glimpses into the mortal void and ruminations on the inevitable destruction of life on Earth, its poignancy and relevance to the cluster of nightmares facing humanity in 2021 is impossible to ignore, even if Dani Filth insists, not unreasonably, that he didn’t anticipate a global pandemic when the news songs were being written.
With the best possible timing, CRADLE OF FILTH were already due to make a new album during those long, lonely months of lockdown in 2020. Having grabbed the opportunity with both hands, Dani avows that unavoidable isolation from the rest of the world was the best possible incentive to get the job done, while also adding plenty of eerie atmosphere to the whole experience.
Sonically speaking, ‘Existence Is Futile’ is easily the most powerful and dramatic record CRADLE OF FILTH have ever made: it’s the sound of band’s enviable onstage chemistry spilling over into the studio, propelling each member of the band to new levels of intensity. Combined with the expected labyrinthine arrangements and moments of spellbinding bombast, ‘Existence Is Futile’ may be the most vivid representation of the CRADLE OF FILTH experience yet.
Also, diehard fans will be thrilled to learn that horror icon Doug 'Pinhead' Bradley makes a welcome return to the CRADLE fold, lending his dulcet tones to the epic ‘Suffer Our Dominion’, and to one of the forthcoming new record’s bonus tracks, as Dani explains.
“There are also two bonus tracks in addition to the album, one of which is the culmination to the ‘Her Ghost In The Fog’ trilogy, which began on »Midian«.
For this we had little hesitation in enlisting our friend and actor Doug Bradley to reprise his narrative role. Doug lives in Pittsburgh, which he refers to ‘The Pit’, thus we directed his narrative over Skype from his local studio. He adopts this almost David Attenborough-ish role on ‘Suffer Our Dominion’, which is possibly the most politically astute song we’ve written of late. As a band we usually shy from branching into politics, but it’s something that needed spouting. The fact we’re fucking our ecology up and desperately need to address the situation pronto…”
So, if we’re all going to perish in the fire of our own stupidity, we might as well have a suitably deranged and destructive soundtrack to do it by.
A bewitching, fearless nosedive into the abyss, the band's thirteenth studio album confirms the ferocious efficacy of CRADLE OF FILTH in 2021. Bold, brave, wildly imaginative and heavy as hell, the band’s latest runaway train-ride through the flames is the perfect album for these most imperfect of times. As Dani concludes, “Be like the virus! Mutate and survive!”

DeLaChaud is the home and record label of krewcial.

A young veteran in the game, krewcial released solo albums on PlayItAgainSam and UK’s BBE in the early 2000’s. With longtime friend Lefto, he sampled jazz’s greats for a beatdriven album on the legendary Blue Note label. He's also released records on Nervous, Lumberjacks In Hell, We Play House, Mysterious Works, Midnight Riot and GAMM.

krewcial's DJ-sets reflect his broad musical tastes: centered around disco and house and adding touches of latin, funk, boogie, hiphop classics and afrobeat anthems into the mix. As long as it’s soulful and keeps the dancefloor in motion, there’s a chance he’ll play it. He has shared decks with disco legend John Morales, Marcel Vogel, Mr Mendel, Lefto, DJ Suspect, Mr. Leenknecht and opened for Hiatus Kaiyote, Sergio Mendez, Angie Stone, Cassandra Wilson, Common, Jill Scott, and many many more.

Since slipping out on Leng last year, Paul ‘Mudd’ Murphy’s first collaboration with singer/songwriter David Harks, ‘Susta’, has become a much-played modern Balearic classic, with DJs and listeners alike responding to the track’s attractive blend of sun-kissed nu-disco instrumentation, warming melodies and deliciously evocative lead vocals from Jaanika Leino AKA JaneLy. Now the track returns for 2021 in the shape of two superb new remixes from Chicagoan deep house legend Ron Trent, who four years ago delivered similarly ear-catching revisions of Mudd and Pollard’s ‘Far Away’ as part of the 10th anniversary celebrations for Murphy’s Claremont 56 label.



As you’d expect given Trent’s impeccable track record over the last three decades, both revisions are stunning. He begins by eking every last ounce of soul from Leino’s brilliant vocal on a remix that’s warming, deep and luscious. Combining elements of Murphy and Harks’ colourful, synth-heavy original mix – including the lusciously tactile bassline and boogie-style synth flourishes – with his own yearning chords, hand percussion sounds and a shuffling, samba-tinged house beat, Trent re-imagines ‘Susta’ as a future vocal deep house classic. Melodious, musically intricate, infectious and summery, it’s a remix for the ages. It comes accompanied by a Dub Mix that successfully shows off the intricacy of Trent’s production and additional instrumentation while keeping both eyes firmly on the dancefloor. Beginning with effects-laden synth sounds reminiscent of the mid-‘80s proto-house classics by Paul Simpson, Winston Jones and Boyd Jarvis, the mix sees Trent skilfully add selected snippets of Leino’s lead vocal to a backing track rich in delay-laden synthesizer sounds, reverb-rich chords, echoing percussion hits and chords so warming they feel like a late-night, loved-up bear hug for your ears. Like the A-side vocal version, Trent’s dub is breath-taking and spine-tingling in equal measure.

Bosconi welcomes Cosimo D'Amicis aka Cixxx J with his first EP on the tuscany's finest imprint.
The artist explains here the essential meaning of the release with his own words:
"Music gives people the gift of connection by making people mirror into each other. Here the recipe is simple: feed your sequencers all the feelings, and let them become grooves you can dance to. These four psycho-synthetic streams are deeply rooted in italo disco classics, and filtered through that whole culture that originated in Chicago and Detroit and that keeps un-becoming. All the ingredients are carefully selected to bring you to another dimension, because there is no such thing as glorious as love at first BITE"

Covering various classics is not uncommon in Italo Disco. Hardly a song that has not been pressed through the synth mill and spit out again with its own charm.

This is also the case with the premiere release from the label “Mattoni Pazzi” with the “Monomax Band”: As the song title already reveals, you will find a reference to the Led Zeppelin classic on side A. In full 80’s Italo fashion, this version is peppered with synth riffs, glittering arpeggios, a thundering DX-7 bassline and almost gothic-tinged vocals.

Side B is a remake of the remake and drifts off into the cosmic at a much higher tempo. A hypnotic repetitive bassline is underpinned with loving, oriental-inspired, lead melodies and vibrating soundscapes.

Enhanced, remastered & recut having never officially been on 12 Inch before.

Two huge Teddy Pendergrass disco anthems from the Philly International vaults get an official reissue destined to light up dancefloors once again.

'You Can't Hide From Yourself' and 'The More I Get, the More I Want' are certified classics that have traversed the years sounding as heavy as they did when they first dropped in '77.

Back in 1993, Aston was the one half to the SUBURBAN BASE act 'Rap and Aston' as well as part of 'Engineers Without Fears' and earlier 'The Blapps Posse', he then went on to form the hugely successful group 'The Freestylers'. He produced for artists such as Rebel MC and created some of the Sub Base classics which include Vertigo, More Time, Jeopardy and is now back with a brand new release of old skool inspired bangers to launch a new era of Boogie Times Records.

First up Aston introduces Pirate Jams with the the stunning ‘U Know The Score’, from the very first old skool lead stab and catchy vocal you know that here is a tune from a master of their craft, with all the years of experience and success condensed into one tune to make the definitive early 90's vibe with and updated twist. This has instant classic and future anthem written all over it, fingers crossed we get out and about to hear this at raves across the summer.

Next up is '4EVR' alongside Quicklung, a bolder driving piece of old skool inspired genius, from the early days of rave almost an 89/90s Belgium import vibe to it for those that 'Know The Score' as the A side says!

Grab yourself a piece of future history now whilst rather than hunting discogs two years from now lol

David Morales’ legendary track ‘Needin U’ is a landmark in house music culture all the way from its release in 1998 and remains a seminal classic in dance music history. In celebration of the tracks 23rd Anniversary, French artist/producer Dimitri From Paris has created yet another thrilling remix of The Face vs. Mark Brown's previous version of ‘Needin U’, released in 2009 via Cr2, via this limited red vinyl pressing and picture sleeve release.

With plenty of calibre under his belt, including disco remixes of Chic and Sister Sledge, Dimitri From Paris’ take on this all-time house classic is not only marked by his acclaimed signature sound - live instrumentation, booming four to floor beat, dynamic rhythms and energising bass lines, but the fabric of David Morales’ legendary track is evident throughout. Whether for the casual dance music fan, household DJ or an enthusiast for the all-time classics, this remix is a must listen.

Ready to chant down Babylon with musical fire and brimstone, none other than Bukkha returns to the revered Moonshine Recordings with a truckload full of sound system music in Roots Dub and Stepper style. Ten organic heavyweight cuts on 2x12" - strictly dubwise, no compromise!

Originally from the US and now residing in Spain, a musical veteran with a career spanning more than a decade, it's safe to say Bukkha runs things when it comes to fuelling sound systems. On top of his long-standing involvement in the thunderous Moonshine Rec. discography, the prolific artist maintains a consistent record of top-shelf releases on numerous famed record labels within the global melting pot of Dub-influenced dance music, including System Music, Dub-Stuy, Lion Charge, and so on. His 'In Roots Vol. 1' debut LP features seven talented guest artists from around the globe, the extended Dub family in full force and effect - connected to Bukkha through previous projects, shared tours and overall engagement in the scene. The symbiotic nature of the collaborations can be heard and felt as big stacks of speakers lend their voice to the musical message. Rebellious sounds for the healing of the nation. In a conscious stepper style, the release marches through original future classics - whether instrumental or led by the Rastafarian teachings of Mowty Mahlyka, anthem brass melodies by JahWind All-Stars, harmonica meditation by Hazeldub or Don Fe's notoriously brilliant flute virtuosity. With true to the roots delay and reverb effects in the original Dub fashion, the album pays tribute to the technique pioneered by the likes of King Tubby, nothing less than a next-generation torchbearer. Sound system music, as timeless as its cultural heritage.

Burning Saviours doom-monger spreads his wings into the northern darkness with his new project Heathen Rites. Heaving earthy Doom, inspired by nordic folklore and ancient landscapes, Heritage is an epic and melodic hymn to northern nature and history. Formed in Sweden in 2018 by Mikael Monks, Heathen Rites create A-level, brooding, lingering, godless doom perfection, that swells from ornamental euphony to rousing, up-tempo doom rock with a Scandinavian flair. Lovers of nostalgic proto-metal, funeral doom and blues Americana will revel in the dark folk setting of Heritage, where tone-full riffs echo across the hoof-thundering wilderness. Beautiful droning passages and punishing sermons to please fans of classics like Candlemass and Pentagram but with a decidedly modern nordic folk-horror flavour. Dig into Heritage and discover your dark and gloomy roots.

The System 108 anniversary record sums up the label's five-year work without words. The new collection is an impression of everything that the team has become during its existence. System 108 has matured nominally and stylistically, defining for itself three main directions: post-industrial, techno and break-beat, disco and house. Each of the three parts of the new collection reveals one of the musical trajectories of System 108 development: (Part 3) -- house with a touch of classics -- hear the echoes of Detroit and Chicago.

From the many musical lives of artist Glenn Donaldson emerges The Reds, Pinks and Purples, a project that sifts out the purest elements of pop music and in the process chronicles the point of view of an assiduous San Francisco-based songwriter. The Reds, Pinks and Purples’ third album, called Uncommon Weather, is both an elusive portrait of San Francisco––during one of its fluctuations as an untenable place for musicians and artists––and also a self-portrait, however inverted, of a songwriter who has dispatched another treasured collection of timeless sounding DIY-pop songs.

How The Reds, Pinks and Purples arrived here is a story with many roots, the most consequential of which is perhaps the musical aftermath of his earlier band, The Art Museums, whose brief tenure in the late ’00s coincided with an explosive period of the Bay Area rock scene and was followed by a hermetic musical period of Donaldson’s. Disenchanted with the dissolution of his band, Donaldson averted the DIY-pop sound with an instrumental, conceptual project called FWY! but meanwhile started a habitual songwriting practice, sharing nascent songs with friends in an email exchange. In 2013–2014, The Reds, Pinks and Purples took shape as the moniker for Glenn’s most direct expressions in the DIY-pop mode, enabled by this new disciplined output. By then, San Francisco was already a changed place. The tragic loss of his former bandmate in Art Museums was another source of discontinuity and rupture. You can hear in The Reds, Pinks and Purples’ earliest songs this grappling with life, anxiety, and atrophying subcultures. For an artist with an overriding interest in the aesthetic principles of discrete musical genres, this turn toward his immediate world for subject matter was a major shift, setting The Reds, Pinks and Purples apart from Donaldson’s other musical ventures.

Preceding the release of Uncommon Weather was the Reds, Pinks and Purples’ 2nd album, one of the record buying joys of 2020, You Might Be Happy Someday, and, earlier, their first proper full length Anxiety Art, a title that might nod to the classic Television Personalities song “Anxiety Block.” Donaldson’s music continuously reckons with the influence of Dan Treacy, whose own forays into drum-machines, echo, and reverb in the early 1990s is an important reference point for The Reds, Pinks and Purples’ musical template. Paul Weller, Robert Smith, and Sarah Records also come to mind. But, as important, Donaldson sees his projects as visual expressions too, often blurring the lines of records and physical art objects. They could just as well be “art multiples” as well as records. The pattern for Reds, Pinks and Purples’ records is to document San Francisco’s Inner Richmond district in photographs: the muted, pastel colours and unpeopled compositions unfold in a series of images that read like counter-melodies to Donaldson’s distinctive voice, a vocal tone that always complements the colours.

Self-recorded and mostly self-performed, Uncommon Weather features pinnacle versions of songs Donaldson has honed since the beginning of the project. The album arrives with grateful timing, quick on the heels of You Might Be Happy Someday, and alleviating, for a brief window at least, whatever it is that keeps us coming back to this elemental music. Donaldson imagines his listeners are just like himself: fascinated and addicted to the spiritual power of uncomplicated pop classics. Anthony Atlas

Repress!

Two Ike & Tina Turner sought-after classics on either side of a 7 inch. The A side sees the ice cold early funk jam ‘Bold Soul Sister’ featuring the trademark funk guitar stylings of Albert Collins, originally released on the Blue Thumb in 69 and favoured by hip hop producers for its wealth of sampling gold. The flip side houses ‘Somebody (Somewhere) Needs You’ a rare and pricey Northern Soul number penned by Motown songwriter Frank Wilson that goes for £150+ on Discogs. A 50 year anniversary release in a picture sleeve.

"Guts finest selection from his DJ sets. Some dancefloor classics and some discoveries"

Any DJ set tells you, unconsciously or not, about its author.

Through the record choices and the way they are organized, one can feel the DJ’s state of mind and find out a bit more about the musical deposit discovered that is being shared and dug through by him or her at the moment.
The appetite for diggin’, the quest for a novelty or a forgotten rarity is what makes a DJ set a true organic living matter constantly fueled although not always, unfortunately, respected.
Time stretching. Too many DJ’s made a pact with this diabolical creature. A true digital steamroller that runs over the rhythm to fix the tempo while leaving behind an agonizing drummer whose sole crime was to have been carried away by his energy and having moved forward the BPM. At the end, everything that gave charm and life to the track, its imperfections and the peculiar fact that it makes you dance faster towards its end… all these along with all the lively movements contained within the track are reduced to nothing.

My conception of music and DJ sets is the exact opposite. Since the first volume of Straight From The Decks, my DJ sets have been redesigned, refreshed and improved. However, there was no preexisting plan, they evolved naturally following my new desires.

The famous core of my indispensable musical choices started to morph little by little into something different without losing sight of its center of gravity which remains undoubtedly afro-tropical.
No matter which track, its style and its origin, the quality of the music that is brought to my ears is always my sole and primary concern.
In this selection, you’ll find 7” vinyl records available to everyone sitting proudly next to some rarities found online and acquired through nerve-raking auctions battles. There are indeed exclusive remixes along with titles that until now were only available in their digital formats. Now for the first time they are available here in vinyl format. Obviously, if you have chosen the CD format, that precision doesn’t really matter…
Sixteen titles which have become the heart of my sets throughout this past year.
A heart which in a year will beat to a certainly different drum…
Pura Vida
Gutsto attend the next one..."

Outside Ludlow / Desert Disco is the first major solo release from Australian performer-composer Sam Dunscombe, now based in Berlin after residing for the past decade in San Diego and Tokyo. A virtuoso clarinettist who has performed in composed and improvised settings with artists such as Klaus Lang and Taku Sugimoto, their practice also embraces computer music, lo-fi electronics and field recordings, in addition to their long-term commitment to archiving, studying and performing the work of Romanian spectralist composer Horatiu Radulescu.
The two side-long pieces presented on this LP began from a chance encounter in a specific geographic location (documented in the photographs that grace the record’s sleeve). Exploring California’s Mojave desert with a friend, Dunscombe made the unlikely discovery of a tangle of quarter-inch tape snared on a cactus. The digitised version of this tape, variously edited and processed, as well as Dunscombe’s own transcription and embellished performance of some of its material on Hammond organ, makes up one of the main ingredients of the LP’s first side. The other is a field recording of the area outside the ghost town of Ludlow, where the tape was found, where haunted silence is punctuated by freight trains and clusters of explosions from gold mines and the local marine corps. Far from any kind of documentary approach, the resulting composition reaches back to the smeared atmospherics and overdriven tape crunch of Hands To, Small Cruel Party or Joe Colley, before the Hammond organ rises up to cast a spectral shimmer reminiscent of 1960s tape music classics like Arne Nordheim’s ‘Warszawa’.

On ‘Desert Disco’ (its title perhaps a clue to the content of the mysterious tape), Dunscombe zeroes in on a single fragment of the tape, accompanying it with analogue synthesis to craft an immersive work based on a single chord. Throughout the course of this work, the monolithic opening sonority gradually splits apart, revealing an infinity of rhythmically phasing lines that swarm like a cloud of insects and patter like falling rain, placing Dunscombe’s piece in a lineage of patient electronic exploration that includes landmarks like Costin Miereanu’s Derives and the contemporary work of Jim O’Rourke.

Limited edition vinyl with images by Sam Dunscombe and design by Lasse Marhaug. Mastered by Joe Talia at Good Mixture, Berlin.