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Along with its sister imprint Fluid Electronics - dedicated to all things more muscularly 4x4 oriented, from house to techno via ambient, Fluid Funk will offer a platform of choice for creators and lovers of soulful house, hip-hop, jazz, funk, disco et al. The goal of the label is to bring a community of like-minded people together, cleared from the complexities that sometimes hamper the good course of the label-artist relationship.

First to grace Fluid Funk's dance floor-ready grooves is Rotterdam-based emerging talent Beau Zwart. Fresh off a choice inaugural sortie on INI Movements that hit the streets a few weeks ago, Beau steps in with his debut 12", "Beyond Two Souls" - an infectiously smooth and solarpowered six-track platter featuring Dutch duo Fouk on remix duty.

Expect lavishly orchestrated cascades of ankle-twisting breaks, prismatic synthwork and summer-flavoured melodies to wrap your ears around as your feet and body give in to the power of that funky bass. Brewing elements of fuzzy pop, pixelated soul and tropicalised rhythms, Beau Zwarts sound takes us on a wildly enjoyable ride across luxuriantly flowered scapes and fluttering cosmic house horizons. Interlaced with sugary Rhodes stabs and 8-bit harmonics a la "Floating Points", Sykes' warm vox intonations shows us the way into a pulsating heart of wonky, bop-infused boogie.

Expanding to further out-there, club-optimised bravura, Fouk's take on the title-track is the kind of track that'll make an impact in the sweatbox as well as in a more cabaret-like setting. Pulling out the weirdo harmonics and left-of-centre jazz aerobatics, "Ixodus" lets its free spirited sense of playfulness take over completely. Flip sides and here's "Marble Book" unbolts the spacious pads and whirling alien riffs as a sturdy sub-bass and gut-churning kicks beat time onto further estranged
dimensions.

A slightly more muscular but thoroughly sensuous workout, "Bustin Out" fuses classical two-step-indebted breaks with lascivious "P-Funk" tropes into one compelling club heater, before the EP's sluggish closer "Illustrate My Way" sends us into orbit for good with its slowed down romanticism and otherworldly piano fantasy.

We're glad to be back with our latest reissue, a couple undercover soul gems from the Midwest originally self-released in 1984: LaVerne Washington's "The Promise" and "I Found What I've Been Searching For".

LaVerne has dedicated her life to the arts in every possible way. As an artist herself but also behind the scenes, helping and supporting her contemporaries fulfil their callings. Charlie Parker, Count Basie, Ella Fitzgerald, Mary Lou Williams - LaVerne grew up in Kansas City listening to the all time jazz greats, and soon discovered she was blessed with a keen sense for playing music by ear, playing the piano to what she would hear on the radio. In her teens whilst the 60s transitioned to the 70s' disco and funk era, LaVerne was there to witness it all, and she would go on to study music at the Charlie Parker Academy where she was inspired to become an entertainer.

At Langston University, LaVerne kept studying music where her career blossomed, founding and touring the US with the gospel group "Emery Shaw and the Voices of Praise", singing in several college bands and with her choir "The Voices Of Bethel". LaVerne would go on to perform notably with her bands "LaVerne Washington and Rococo" and the "LaVerne Washington Quartet", and record several songs in KC including "The Promise" and "I Found What I've Been Searching For" in 1984 before moving to Washington DC.

In DC, LaVerne was offered a position as a Program specialist with the National Endowment For The Arts where she started supporting other artists through her work. Over the next couple decades, LaVerne became an associate producer for the Rhythm and Blues Foundation and the Pioneer Awards Ceremonies held in New York, Philadelphia and Los Angeles, which saw the likes of Prince, Aretha Franklin and Jerry Butler attending among others. She has also managed and was mentored by DeeDee Sharp and consulted with artists including Bonnie Raitt (who acted as a mentor to Laverne as well), Kim Weston, Kathy Sledge (SisterSledge), Smokey Robinson and G.C Cameron (Spinners). During that time, LaVerne has kept singing, on her own and as a backing vocalist for DeeDee Sharp and Freda Payne and has never stopped her lifelong dedication to music and the Arts.

The Promise original 7" was LaVerne's last recording in Kansas City before her move to DC and the beginning of her involvement behind the scenes. Channelling her gospel roots - with impeccable arrangement, a contagious drum machine led rhythm section, soaring vocals and relatable lyrics, "The Promise" is guaranteed to bring back smiles to dancefloors and living rooms alike! "I Found What I've Been Searching For" on the flip is a beautiful soul ballad which really showcases the strength and emotion in LaVerne's voice.

Back again in it's original 7" format, we've had the audio transferred and restored from the original 24 track tape provided by LaVerne, and got the recordings re-mixed for the best possible sound! Floating Points behind the mixing desk for this new iteration of a lost classic, comes with a 14"x14" poster of the original picture

Eddie C's always on-point RED MOTORBIKE moves effortlessly into its 20's with another fine double A, dinked 7" !!

A beautiful lost folk-Disco frugger from Tel Aviv's Elado greets us on the A, while Eddie expertly re-jams a Turkish delight with some punchy 606 rhythms.

Pure class !

This is the 1973 solo album by Ghanaian percussionist Anthony Kwaku Bah, who was given the nickname „Reebop“ by American
jazz legend Dizzie Gillespie. He passed away early at the age of 39 in Stockholm in 1983, but before made himself a name for his
works with UK 70s rock heroes TRAFFIC and German Krautrockers CAN, amongst others. If you might expect here the prototypical
Afro Beat and Afro Rock you mostly know from British bands, you will be surprised that this is only one part of the deal. Yes, there
are African elements to be found, buried somewhere in this boiling cauldron where polyrhythmic grooves are the base for jazz
improvisations by the brass section, that range from naughty swing and bebop, to freaked out free jazz and enchanting soul jazz
the way it was popular in the late 60s. The arrangements are utterly lush with so much going on here in every aspect that you
would get lost if there was no trace of melody to be discovered, but there they are and they tell you fantastic stories of exotic
places that only exist in your wildest dreams. Kwaku Bah’s rhythm patterns grab you by the horns and pull you into a world of
their own. Hypnotical, irresistible, hot and vivid. The tunes combine jazz, soul, funk and each one is constructed like a self –
contained story. One could imagine these tunes being used as library music for 70s movies from action to romance. All pieces
though are characterized by the constantly pulsating rhythm. To avoid drifting into the field of insubstantial disco dance music,
the performances witnessed here were executed with the highest possible emotional intensity and dedication. Lay back, close
your eyes and float away on a raft of sound upon the wild river of grooves and melodies. Some haunting Exotica jazz passages
with a typical „jungle“ feel get thrown in for the good measure. There are even vocals in an African language hard to identify,
which create and even more mysterious atmosphere. This is just an introduction part of another powerful speed funk groover but
the vocals stay and make this a clear standout track. Saxophone and guitars seem to have a duel here. You will not sit still while
having this tune „Iphonohimine“ coming down on you like a thunderstorm. Blues, Afro Beat, Psychedelic Rock, Funk, it can all be
found in here and the band goes wild into an everlasting improvisation that deprives you of your breath. Can this record get even better? Do not ask, just enjoy what comes next. If you think that some melodies by the giant brass section sound a bit too catchy
just reach out beyond these harmony lines and find yourself in a thicket of grooves, pulsations, bits and pieces of melody with a
dense, sultry atmosphere. Some smaller parts might make you think of cruise ship big bands and white suits, but everybody will
soon drop these and dance in their underwear for the hot blooded power funk base of the tune called „Africa“, which will take
over one’s soul and set it on fire. So clean, so nice and so filthy and dangerous at the same time, this album is a masterpiece of it’s
style. The exciting and very sensual funk rock of „Lovin‘ you baby“ with crazy fuzz guitars and a dark and haunting approach is
another reason to kneel down when you put this record onto your turntable. Great clean lead guitars give it a latin garage rock
edge Carlos Santana would commit serious crimes for. If you love bands like OSIBISA, Eric Burden & WAR, GINGER BAKER
AIRFORCE, SANTANA, Miles Davis, all around 1969 to 1973, this is what you always wanted to listen to. Grab your copy now.

On the Corner goes beyond being a record label. It is a story of innovative artists from hotbeds of ancient-future* music across the globe. This 'Door to the Cosmos' compilation is the 10th full release (and an eclectic array of 20 EPs). OtCs rawkus sonic explorations are brought to the fore via 24 tracks making a heady blend of label mainstays and fresh family recruits. The label is an inimitable mixture of Miles Davis' 'call it what you want' attitude, the afro centric futurism of Sun Ra and the evolving electronic frontier where black music kicks it to the dance floor. 'Door to the Cosmos' expresses On the Corner's adventure; future sounds referencing the source, be it Detroit, UK bass culture, New Orleans or the Niger delta. The title riffs off of the otherworldly, afro futurist jazzer Sun Ra's infamous chant 'dare to knock at the door to the cosmos'. Sun Ra's sound and narrative bending inspires us to kick at the rules and push at the infinite, the ecstatic and the unknown through music by knock, knock, knocking at the door to the cosmos. The compilation is the first outing for a new raft of artists who are celebrated by the label and welcomed to a creative space brimming with the tales of unsung pioneers of the past and champion sonic explorers of the future.

Total F***ing Banger time, The first brand-new from Athens of the North house band 'East Coast Love Affair'. A version of super rare Disco 45 Sky's The Limit' - 'Don't Be Afraid'. Deep cosmic disco that's going to make everyone happy. Flipped with a tribute to you know who, or you should. This is the first in a series of covers we will release over the next 6 months with an LP coming next year, expect BIG things, nohalf steppin'...

Auf seinem zweiten Album begeistert das Sheffielder Trio International Teachers Of Pop mit Nerd-Disco und einer schrägen Pop-Not-Pop-Attitüde. Referenzen sind das legendäre Studio 54, Grace Jones, Bianca Jagger auf weißem Pferd und glückliche Clubbingzeiten in Sheffield und Manchester. Abgemicht wurde "Pop Gossip" von ITOP-Mitglied Dean Honer, der bereits für Topstars von Jarvis Cocker bis Britney Spears gearbeitet hat. Zu den Keytracks gehören der Opener "Don't Diss The Disco", "I Stole Yer Plimoles" mit Jason Williamson (Sleaford Mods) sowie das deutschsprachige Pink Floyd-Cover "Ein Weiterer Stein In Der Wand"(!).

Auf seinem zweiten Album begeistert das Sheffielder Trio International Teachers Of Pop mit Nerd-Disco und einer schrägen Pop-Not-Pop-Attitüde. Referenzen sind das legendäre Studio 54, Grace Jones, Bianca Jagger auf weißem Pferd und glückliche Clubbingzeiten in Sheffield und Manchester. Abgemicht wurde "Pop Gossip" von ITOP-Mitglied Dean Honer, der bereits für Topstars von Jarvis Cocker bis Britney Spears gearbeitet hat. Zu den Keytracks gehören der Opener "Don't Diss The Disco", "I Stole Yer Plimoles" mit Jason Williamson (Sleaford Mods) sowie das deutschsprachige Pink Floyd-Cover "Ein Weiterer Stein In Der Wand"(!).

Presenting a collection of stone-cold classic breakbeats and b-boy jams from the sunkissed vaults of Miami's legendary TK Disco label!

NYC in the late 70's and early 80's saw a nascent street subculture fully evolve, a movement with it's own language, art, aesthetics, dances, fashion and way of living.

What would become what is now globally known as 'hip-hop' was in its infancy, with it's own legends and history being forged on an almost daily basis across the city's Black and Hispanic neighbourhoods. Music was central to hip-hop, the DJ was king and at the hands of people like Kool Herc, Grandmaster Flash, Grandmaster Flowers, Mean Gene, Jazzy Jay, Afrika Bambaataa, Charlie Chase and numerous other groundbreaking DJ's of the era, music took on a whole new meaning that would reverberate through popular culture for the rest of time.

The breaks - minute sections or breakdowns of a record where we get to the unadulterated groove and the band on the record cut loose - is what it was all about! Unlike the discotheque DJ's who favoured the long mixes and blends in their club scenarios, hip-hop DJ's were amassing huge collections of records that had these magical sections on them, often x 2 copies of each, so that they could elongate the best part of the record ad infinitum by cutting them up live - all killer no filler! These special on the fly mixes and edits were then unleashed in the local parks of their neighbourhoods, on gargantuan DIY sound systems for all of their friends and neighbours to party on down until the wee small hours. These breakbeat segments also gave the MC's space to address the gathered masses without their voices colliding with lavish string arrangements or vocals underneath. A clear, concise, stripped back slab of funk on which to put forth their ideas, feelings and rhymes for all to enjoy.

Collected here are some of those most infamous breakbeats, all from the TK vaults. These records were studied by these young DJ's, coveted, covered up, hunted down, whispered about in darkened corners by those who needed and obsessed over the freshest of beats. There's a good chance you will have heard these records in some form or another as they have been covered, sampled, recreated and spun in clubs across the galaxy for over 4 decades. These are the very building blocks upon which popular culture and club music have been built, and here they are all in one place for your listening enjoyment!

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

Duke about this EP: Ironically one of my very first records was a disco sample in 1990 taken from Queen Samantha. I don’t know exactly what inspired me, but likely coming from the Hip Hop world where everything was looped and sampled brought me to doing the same for house and therefore the disco, funk etc samples for the house stuff. The first techdisco EP was done in 1995. I think there may have been a handful of other house records out that sampled disco tracks at the time. Harvey Mason’s Groovin you comes to mind. Sneak also had done a few, but maybe Pal Joey was one of the originals too that used loops, particularly Dance by Earth People. Joey also came from the Hip Hop world so we likely were inspired by the same style of loops.
The main concept was the idea of fusion. I was heavily into fusion jazz in the early 90s and that is really what spawned the techdisco and techfunk series. A mix between genres that hadn’t really been done before. Not saying I was the first, but I did my best to create a new and distich style.
I did everything myself when it comes to the techdisco series. In 1996 I traveled a lot DJing, in the states but mostly in Europe. I didn’t have time for a resicency at that time like I had prior to me being full time DJ/producer/label owner. I did do some remixes back then, but maybe not as many as I would have thought. Perhaps because people looked at me as having my own label and doing my own thing.

A powerful 2 sider from the mighty Little Beaver right here! Both sides simply oozing that Florida Funk feeling, outstanding!
Another stone cold authorised repress courtesy of those TK folks, this 1977 jammer opens with the sublime instrumental 'We Three' - some serious Disco flavour, one for the late night action. 'Listen to my heartbeat' is the flipside, another wicked storming dancefloor cut, this time with the main man himself pleading for that special lady to come and find him and make an honest man out of him. Brilliant. They don't make records like this anymore - for real. This one's been repressed with the og CAT label artwork, and it looks great too. An all-round quality reissue of yet another rarity from the world of Funk. Essential.

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

For the third release on Sofia Strahil Velchev is offering a selection of five diverse tracks, developing the concept of the label: rambling beats and alternative tunings, a feeling that the tracks will fall into pieces any moment. What keeps the compositions together is the artist’s sense of melody and relentless groove. House, Techno, Disco and Electro, twisted through a KiNKy mind.

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

HIGHLIGHTS First ever reissue of "Kabwlú", a very hard-to-find album released by Discos Fuentes in 1965. The mysterious Los Picapiedra (which translates as The Flintstones, inspired by the 1960s American cartoon show), was a short-lived studio group with one albumto their name, "Kabwlú", mixing 'folkloric' and 'modern' elements with calculated 'caveman' humor. It is very musically diverse; not only are there the requisite genres that could be found on similar Colombian teenage-oriented groups' records of the time, such as cumbia, gaita, rock, twist and pachanga, but there is also a smattering of surf, doo-wop, Latin jazz, guajira, ska, and calypso. But what makes the whole thing so special is the odd, off-kilter arrangements, spooky tunings, rudimentary clanging percussion, invented 'cave' language, prominent twanging electric guitar and many zany sound effects. Several of Los Picapiedra's songs became very popular in Colombia as well as Venezuela and especially in the 'rebajada' (slowed down) version as played by the 'sonidero' sound system DJs in Mexico, such as "La Hossa". Presented in its original artwork and pressed on 180g vinyl. Part of Vampisoul's reissue series of classic Fuentes LPs. DESCRIPTION While Discos Fuentes was known for recording all sorts of interesting sounds from traditional folkloric Colombian music to the latest popular international styles, every once and a while they would put out a "novelty" record, perhaps to exploit a passing fad, and at times the label would green-light something strange or even outlandish. Many of those left-field releases have their merits and have subsequently become collectors' items over the years. One such case is the mysterious Los Picapiedra (which translates as The Flintstones, no doubt inspired by the 1960s American sitcom cartoon show), a short-lived studio group with one album to their name, "Kabwlú" (an unpronounceable, invented "caveman" term that is also untranslatable, but seems to have been the 'traditional rhythm' of Los Picapiedra's 'homeland'). What is interesting about the record is that it is very musically diverse; not only are there the requisite genres that could be found on similar Colombian teenage-oriented groups' records of the time, such as cumbia, gaita, rock, twist and pachanga, but there is also a smattering of surf, doo-wop, Latin jazz, guajira, ska, and calypso. But what makes the whole thing so special is the odd, off-kilter arrangements, spooky tunings, rudimentary clanging percussion, invented 'cave' language, prominent twanging electric guitar and many zany sound effects. Much like its namesake American cartoon The Flintstones, "Kabwlú" trades in creative anachronism, mixing 'folkloric' and 'modern' elements with calculated 'caveman' humor that works on many different levels. For instance the title tune seems to have been inspired by the pachanga craze and recalls the vibe of Ray Barretto's massive 1962 hit, 'El Watusi', but it has a certain joyful simplicity and rock-solid underpinning that elevates it beyond mere novelty or exploitation - and argues for its timely reissue for today's audience. The band was a studio invention that had no major significance in Medellin's live music activity. However, several of Los Picapiedra's songs were very popular in Colombia as well as Venezuela and especially in the 'rebajada' (slowed down) version as played by the 'sonidero' sound system DJs in Mexico, such as "La Hossa". Pablo E Yglesias (aka DJ Bongohead, Peace & Rhythm) Additional research by Luis Daniel Vega

Soweto Soul Orchestra is produced and composed by Sipho "Hotstix" Mabuse, whose importance to South-Africa's music scene can hardly be underestimated. Being a formative member of The Beaters, which was later renamed Harari, he toured Africa extensively and even hit the American charts with their "Party" single. After Harari split in 1982, Sipho went solo and scored another hit with "Burn Out", which could be heard in every township, and produced and recorded for Hugh Masekela and Miriam Makeba among others.

The Soweto Soul Orchestra project boasts a variety of funky tracks, all marked with that jazzy South-African sound. The stand-out tune on this one, for us, is the epic 8 minute long cosmic disco cover of "Hang em High", the original soundtrack for the eponymous classic Western movie.

This 2020 re-issue sees all tracks cut again from the official studio files, ensuring both audio quality and originality.

Originally released on and licensed through Gallo, 1981.

Les Ya Toupas is a band formed in 1976 by Bopol Mansiamina (Bass - Success Mode, 4 Stars ..), Manuaku Waku (aka Grand Zaiko Wawa) and Ray Lema (Piano, Organ and Guitar) Between 1976 and 1978, they recorded several 7inches including the famous title “Je ne bois
pas beaucoup” (1976) compiled on the series of Sofrito (Tropical Discotheque ) in 2011. In 1978, they recorded this unique and unclassifiable instrumental album, Les Ya Toupas du Zaïre, produced by Gérard Akueson (founder of Akue Records and Abeti's producer). The LP is composed of minimalist Afro Jazz rhythms and Deep Funk grooves that are close at times to a tropical trance, all played by musicians who used to offer more classic Rumba rhythms.
It is their only album before the departure in 1979 of Ray Lema for the United States and then France. Ray Lema's departure follows a violent disagreement which opposed him to the dictator Mobutu then in place in Zaïre. Let's not forget that the album was released in 1978 and can be seen as their last musicial project

Killer 1975 Gospel version of Marlena Shaw's 1969 sister Soul standard, a deep, socially conscious 45 asking some heavy questions about ghetto life set against a beautifully arranged, string heavy backdrop of low slung Funk. A truly sought after rare groove, produced by the UK's John Abbey, the man who set up the legendary "Blues & Soul" magazine as well as the Contempo, Mojo and Ichiban labels who worked with countless Soul and Funk artists throughout his lengthly career. Quite tough to track down on 45, "Woman Of The Ghetto" is now available again, dug out from the mighty SAM Records catalogue, the first release in their impressive discography now made available again on dinked 45 as it was presented in 1975, legitimately licensed, remastered and reissued in conjunction with SAM Records New York City.

"Auf dem schwarzen Kanal" ist eine der herausstechendsten und gesuchtesten Veröffentlichungen in Conrad Schnitzlers umfangreichem Katalog. 1980 als einzige von Schnitzlers Platten bei einem Majorlabel veröffentlicht, war diese Maxi und insbesondere das Titelstück ein Flirt mit dem zeitgleich aufkommenden experimentellen New Wave und klang dennoch so eigenwillig wie keine andere Musik zu jener Zeit. Die zusammen mit Wolfgang Seidel entstandenen und in Peter Baumanns Berliner Paragon Studio aufgenommen vier Tracks sind ein bissiger, dissonante Mutant Disco Trip, der bis heute nichts von seiner Faszination eingebüßt hat. Bureau B freut sich dieses lange vergriffene Werk endlich wieder verfügbar zu machen!

Eric D. Clark
"Written in approximately 1996 or shortly thereafter & born of a night out on the town naturally!
...having been to hear Ranga Tikki (Ms. Codi from New Zealand) drop knowledge in Berlin's SO36: she'd
played the "I have a dream" speech orated by Martin Luther King;
...the mind stopped at "From every Mountain Top"! I walked back through the streets shouting that to myself
until entering the flat then started immediately on the song!
Written and produced: ERiC D. ClARk
publisher: SUBCURRENT Music lTd.

Hans Nieswandt:
Between 1996 and 2000 (and in some cases beyond), Cologne project Whirlpool Productions produced a lot
of music, both as a group and as solo artists, at the legendary Can Studio in Weilerswist, a small town about
20 kilometres south of Cologne. Much of this music has been released, most notable the international
classic „From: Disco To:Disco“; but some of the music never saw the light of day. These two tracks I
produced myself at some point shortly after my first solo album „Lazer Muzik“ and I’m super glad to get a
chance to finally release them - because there is the important cause of helping to save the Paloma Bar, a
place where I played times and always loved it - an experience I dearly hope to repeat many times more.
And because I always liked those two tracks a lot, they just never found their proper platform, for whatever
reasons. As I think they are quite fitting to the sound of the Paloma, I’m more than happy to support this
unique place with this humble contribution. Written and produced by Hans Nieswandt around 20 years ago
at Can Studio, Weilerswist. Original date unknown.

Lowtec & Marvin Dash:
"Es gibt ein paar Lieblingsclubs in Deutschland, kleine Clubs wie z.B. Paloma in Berlin oder Pudel in HH -
wo es nur um die pure Liebe zur Musik geht - wo keine Kompromisse eingegangen werden müssen in
Bezug auf Trackauswahl oder zu deepen Sets, weil das Publikum einfach versteht worum es geht.
Sozusagen das verlängerte Wohnzimmer... Bei gefühlt jeder 2. Platte fragt jemand nach einer Track ID, alle
paar Minuten bringt jemand etwas zu trinken...das wollen wir unterstützen." (Lowtec & Marvin Dash)
Marvin Dash – Lost in the Woods: Written and produced by Ronald Reuter in around 2010. Previously
unreleased.
Lowtec – Museum Of Natural History Of Life: Written & produced by Jens Kuhn, 2000. Previously
unreleased.

FIZZY is a selection of eight tracks by Catastrophe, for the first time gathered on vinyl. Born in 2016, Catastrophe would like not to forbid anything, even if it means the risk of ridicule. Whether in forests, on rooftops, crossing France and summer festivals (Rock en Seine, We Love Green, Francofolies), Catastrophe imagines. On stage, surprise reigns supreme and explodes into a musical kaleidoscope.

In 33T and with printed innersleeves, this vinyl is a beautiful introduction to the world of Catastrophe. Their recent performances on major French and international stages (Eurosonic, Reeperbahn, Munich, Tokyo, Warsaw) show the growing interest for their music and energy. This selection is an ideal gateway to discover them.