quête:dj cal

Fantastic mod-jazz tune of the highest calibre. A must-have for any northern soul/funk DJ!

Upstairs, a band from Frankfurt, Germany was active from 1977 to 1983. Though considering themselves mainly a rock group, the band incorporated elements of funk, jazz rock and disco into their music. On their rare and privately released debut album "It's Hard To Get In The Showbiz" from 1980 they created something that could be called Germany's definite answer to AOR, yet still with an edgy and unique krautrock flavor.

The album starts with "Wontcha Try," a track where core songwriter, guitarist and lead singer Helmer Sauer is telling the story about being dismissed from his job: "They tried to tell me in a fucking gentle way, that the time had come to kick me…". Sauer serves more personal, hard-edged lyrics on the album as well. On "Happy Hooker," for example, he tells the story of a working girl in the red light milieu: "The job is as hard that you really can never imagine, she serves for the money, degradin' herself in a way - if you'd know how she's feelin' you wouldn't laugh at all". An empathetic view on the subject of prostitution rarely heard at that time.

But aside from the profound lyrics and songwriting, the album has a lot to offer on the groovy side of things. With catchy bass lines, rhythm guitar, Fender Rhodes, Moog synthesizer, Clavinet and swift crisp drumming "It's Hard To Get In The Showbiz" is one of the best examples of late 70s flavored funky rock from Germany. Additional to the aforementioned "Wontcha Try" another DJ delight should be "Make Your Steps On Better Lines" which showcases a superb synth line and disco funk flavors. We also get the slick mellow latinesque AOR grooves of "Get On A Plane" as well as the now-classic "You're Just Yourself", which marks the most soulful track of the LP. As followers of our label are already well aware, "You're Just Yourself" was featured on the compilation, "Boogie On The Mainline - A Collection Of Rare Disco, Funk And Boogie From Germany 1980-1987" from 2018.

The band mainly performed locally and never really had ambitions to release their music on a bigger label. Too bad that Upstairs only released this one album. Of course, the highly sought-after original pressing is almost impossible to find nowadays. Therefore, we are proud to finally make this record available again after 40 years for a reasonable, regular LP price. Only 300 copies of the carefully re-mastered repress have been produced, and included is a printed lyrics insert identical to the original.

Durty Geeks are a band at the boundary between Soul, Funk and Hip Hop born in 2013. The lineup is quite uncommon in the Italian
music scene, despite the usual four elements: Federico “Piezo” Pezzotta, on the electric piano, keyboards and synths; Francesco “Frenz” Crovetto, founding member and drummer of OTU; Gregorio "Greg" Conti, bass player also part of Verbal and Bangarang!; Edoardo “DJ Edo” Fumagalli, on the turntables and samplers.

The Durty Geeks sound universe is an illegitimate son of Hip Hop, but without the main element ‐ the voice ‐ replaced by scratches and
samples. This produces an instrumental form that winks at the American soul and funk of the 60s and 70s, as well as the Italian compo‐ sers who in those same years signed cult movie soundtracks: Piccioni, Nicolai, Bacalov, Trovaioli to name a few.

From “La Dama Rossa uccide sette volte" to "The Mack", the sound flows like a second feature film screening. A sequence shot that
does not indulge in the past but that leads straight into modernity thanks to the more contemporary interventions of synth and scrat‐
ches, and to sporadic experimentations in electronics.

The first EP "We Gun Make It" was released in 2014, an exploration of the american imaginary linked to weapons, between urban and
rural contexts, containing 3 tracks, self‐produced and printed by CORPOC.

The first full length album is "Also Starring", 9 tracks plus 5 skits mixed by Tommaso Colliva (Muse, Afterhours, Caliber 35 etc.) which
constitutes an instrumental journey through B‐movies filmography, citing cinema subgenres such as wuxia, blaxploitation and italo hor‐
ror.

The super group Deltron 3030 is composed of producer Dan the Automator, rapper Del tha Funkee Homosapien and DJ Kid Koala and sometimes features guest artists who also take on varying futuristic pseudonyms. Originally released in 2000 on the now-defunct 75ARK record label, this hip hop concept album was released the same year as the Gorillaz' first 12" and is on a similar plane. Following the release of Deltron 3030, all three members participated in the Gorillaz' self-titled debut album. With Del aka Deltron Zero on vocals, Dan the Automator aka The Cantankerous Captain Aptos on production, and Kid Koala aka Skiznoid the Boy Wonder on turntables, this album takes the listener on a paranoid journey set in a dystopian year 3030 dealing with viruses, the apocalypse, an oppressive government, and a war waged against a huge company called the Corporate Bank of Time that rules the universe, all to the well-crafted and consistent musical backing of the Automator. Appearances by Damon Albarn (The Gorillaz, Blur), Prince Paul, Peanut Butter Wolf, DJ Money Mark, Paul Barman, Mark Bell (Bjork, production), Sean Lennon, and Mr. Lif compliment Del's vocal style and add the right amount of flavor to this classic period piece.

B. Bravo (aka Adam Mori) returns to Bastard Jazz with the long-awaited follow-up to his 2017 debut LP, "Paradise," with a fresh full-length offering: "Vizionz." Replete with his signature future funk vibes, infectiously soulful grooves, and talkbox excursions, "Vizionz" sees the multifaceted artist take the classic West Coast into outer space. If B. Bravo's last album sought to get lost in paradise - enjoying the moment here and now - "Vizionz" looks forward, feet placed firmly in an established LA vibe, while the matured eyes of a veteran producer gaze keenly to the future.

"Vizionz" arrives following a slew of diverse singles, which highlight B. Bravo's stunning versatility as a songwriter, producer, and collaborator. Last year's "Lifted (What U Waiting 4)" came first, at the end of May, 2020, pairing g-funk talk-box verses and synth lines with rich vocal harmonies and a dance-floor-ready beat. Frequent collaborator Reva DeVito (Miami Horror, Kaytranada) makes a standout vocal appearance on "Fly Bye," the second single. Here, Adam surrounds Reva's vocals with ambient pads, a Dilla-inspired beat, and an irresistible bassline, while Reva's dreamily sings about getting away from it all. The final single, "Believe," sees Chuck Inglish (of the famed duo The Cool Kids) rhyme in his distinctive baritone over a bass-heavy instrumental meant to rattle some car stereos.

The singles offer a view into the rest of the album: Solo B. Bravo joints include "Moon Bounce," a talk-box boogie jam begging for late-night drives with the top down; the largely-instrumental synth improvisation, "Midnight Rider;" the upbeat "Penelope," which showcases Adam's vocal and harmonic prowess; a bumping g-funk interlude, with "Flip Out;" as well as the laid back album opener, "Da Essence."

Further vocal assists come by way of Sally Green on the flirty "10/10," and Rojai on the slow jam ""No Regrets" . Both singers have worked on B. Bravo projects in the past, with Rojai additionally joining forces with Adam to form the duo Kool Customer, whose self-titled debut album was released on Bastard Jazz in 2018. Two more hip-hop-leaning tracks are aided by Def Sound ("Back Times Two") and Nico Fasho ("Ms. Stardust"); leaning heavy into outerspace G-Funk Hip-Hop vibes.

Taken as a whole, "Vizionz" is a much needed boost of serotonin: Uncompromisingly positive, sometimes nostalgic, sometimes aspirational, but always funky. The range of styles is a testament to Adam's indelible production chops, songwriting skill, and ability to collaborate. While it has been a long 5 years since "Paradise," "Vizionz" proves more than worth the wait.

Born and raised in California, with roots in Japan, B. Bravo's signature style of Cosmic Funk and late night synth grooves have made him a favorite among DJ's, dancers, and music lovers worldwide. A tasteful producer, sought after remixer, party rocking DJ, master of the talkbox, band leader, and alumnus of the Red Bull Music Academy, Mr. Bravo is an accomplished performer both at home and abroad.

Heavily inspired by the synthesizer-enhanced R&B grooves of the late '70s and early '80s, B. Bravo debuted in 2009 with the seven-track "Analog Starship" EP. A deeper impression was made the following year with a shorter extended play, "Computa Love," the title track of which was supported by BBC DJ Benji B months prior to release. Additional strides were made with a batch of singles and EPs that followed throughout the next few years, as Bravo toured and performed at numerous festivals around the world.

His relationship with the Brooklyn tastemaker label, Bastard Jazz Recordings, began in 2016 with the 7" single "I'm For Real / Stay The Night' (which notably featured a Mr. Carmack remix of the latter). Bravo's debut solo LP quickly followed with 2017's critically acclaimed "Paradise" - which shone a light on vocalists and frequent collaborators Reva DeVito, Trailer Limon, Kissey, and Lauren Faith - with a remix album appearing six months later.

Additional solo releases have found a home on Gilles Peterson's Brownswood Recordings and Frite Nite, while production credits have appeared on releases from the legendary Blue Note Records, HW&W, All City, Friends of Friends, and Tokyo Dawn. B. Bravo has worked on projects with the likes of Salva, Mr. Carmack, Teeko, DJ Lean Rock, Reva DeVito, Lauren Faith, and Kate Stewart.

Having toured throughout the US, Latin America, Europe and Asia, he's shared the stage with performers like Erykah Badu, Flying Lotus, DāM-FunK, Hudson Mohawke, at a world-spanning range of festivals such as Detroit Electronic Music Fest, HARD LA, Northern Nights, Laneway Singapore, Sonar in Barcelona, Snowglobe, SXSW, Basscoast, Do-Over, Low End Theory, Boiler Room, and Soulection.

B. Bravo's "Vizionz" LP is out on Brooklyn's Bastard Jazz Recordings Spring, 2022.

Repressed !

Raised on Colombia’s Caribbean coast and united by it’s capital, Bogota, Ghetto Kumbé combine the rich musical heritage of their home, to invoke the spirit of digital rumba in audiences all over the world. The secret behind their irresistible electronic sound lies in their powerful percussion base; Caribbean house beats and traditional afro-Colombian rhythms inherited from West Africa. The album’s co-producer, The Busy Twist, adds all the legacy of the UK’s Bass scene to the Afrofuturistic sounds of the 3 Colombians.

Inspired by the different revolutionary movements emerging all over the world, their self-titled debut is visceral, committed, and rebellious, denouncing through frantic rhythms the inequalities and abuses imposed by corrupt governments, while simultaneously enticing listeners to join in the fight. Dance mingles with awareness to create a global community, where family, friends, and strangers come together through our shared love of music and activate change amongst themselves.

Using musical motifs from Africa and Colombia’s Caribbean coast such as the gaita, call-and-response vocals, and an array of hand drums and rhythms, coupled with the elegant electronic production of Techno and House, Ghetto Kumbé creates an Afro-futurist soundscape with lyrics to motivate, elevate, and inspire. This has not gone unnoticed and they’ve played Barranquilla’s world-famous Carnival, Boiler Room, and have even opened for Radiohead.

If someone would have told me years ago, when I started the label, that one day I would be releasing music by Ernesto Djédjé, the king of Ziglibithy himself, I would have personally driven them to the closest psychiatric institute such is the magnitude of the artist and his iconic tune “Zighlibitiens”.

The star of Ernesto Djédjé started rising in the late 60s, when he became the guitar player and leader of Ivoiro Star, founded by Amédée Pierre, star of Dopé, the leading musical style at the time. Annoyed by the “congolisation” of the Ivorian music that was taking place within the band, Ernesto left the group and emigrated to Paris in 1968 to record his first few singles arranged by Manu Dibango and influenced by Soul, Rhythm & Blues and Jerk. Those recordings reflect the musical mood at that time which was dictated by two musical trends within the Ivoirian scene: Traditional music, embodied amongst others by Amédée Pierre on one hand and imported music from the States, Cameroon and Zaïre on the other. And while the first trend was generally neglected, the youth fully embraced the second and as a result bands such as „Les Black Devils“, „Djinn-Music“, „Bozambo”, “Jimmy Hyacinthe”, shot to stardom overnight by recording mainly funk and disco music. It is within this context that Ernesto would draw the inspiration for a future formula.

Returning to Côte d‘Ivoire in 1974 Ernesto began looking for like minded musicians to form the mighty “Ziglibithiens”. Diabo Steck (drums), Bamba Yang (keyboards & Guitar), Léon Sina (Guitar) and Assalé Best (chef d´orchestre and Saxophon) would become the core of the group and together with Ernesto they began thinking of ways of combining the rhythms and chants of the Bété people and fuse them with Makossa, Funk and Disco and create a musical style that was both Ivorian and International. He called his experiment Ziglibithy and his first two albums, immortalised at the EMI studios in 1977 in Lagos and released on the Badmos label, took West Africa by storm turning Ernesto Djédjé into an icon overnight and one of the legends of African music.
Ernesto Djédjé died in mysterious circumstances on June 9th, 1983 - at the age of 35 - shocking the whole Ivorian nation. And although the end came abruptly, it didn’t come soon enough, and Ernesto had time - within 5 albums - to cement his legacy as one of the most innovative artists the Ivory Coast ever produced.

The song Zighlibitiens, brought to Colombia by an aeronautical mechanic in the early 1980, would become a huge hit on the Caribbean Coast. Renamed “El Tigre” by locals soundsystem operators - certainly due to the Badmos logo - that particular song would reach legendary status in Barranquilla and Cartagena. Setting fire to uncountable local parties, it has become one of the most sought-after Album in that part of the world. And so, while Ziglibithy has mostly disappeared from the airwaves of its country of birth, on the other side of the Atlantic, its fire continues to shine bright.

Paul Heatons enorme Begabung als Songwriter wurde bei den prestigeträchtigen Ivor Awards 2022 gewürdigt, wo ihm der bekannte Autor und Radio-DJ Stuart Maconie den längst überfälligen Preis für ”Outstanding Song Collection” überreichte. Heaton ist einer der erfolgreichsten Songwriter Großbritanniens mit rund 15
Millionen verkauften Alben.

Jacqui Abbott war von ’94 bis 2000 Leadsängerin bei The Beautiful South und sang viele ihrer größten Hits wie ’Rotterdam’, ’Perfect 10’, ’Don’t Marry Her’ und ’Dream A Little Dream’. Zusammen haben sie
vier hochgelobte Alben als Duo veröffentlicht.

N.K-Pop” ist das fünfte Studioalbum von Paul Heaton und Jacqui Abbott und folgt auf das vorherige Studioalbum ”Manchester Calling”, das im März 2020 Platz 1 in UK erreichte.

Das Album wird als Jewel Case CD und auf Vinyl erhältlich sein.

Super limited edition pressed on heavyweight 180g vinyl housed in a picture sleeve and clear plastic outer sleeve – never to be repressed. Only 175 units.

Tokyo-based DJ, producer and sound artist Yuu Udagawa inaugurates the freshly launched Cyphon Recordings with her debut EP, ‘Forever’.

Growing up on a cocktail of everything from rock, hip-hop and Latin jazz to techno and house, Yuu’s immersive musical output draws inspiration from this diverse pool of influences to create ‘uplifting and healing’ music for the mind and body. There’s an elegance and sophistication to her productions, which stems from her desire to make music guided by the Golden Mean philosophy of finding a middle ground between two extremes: excess and deficiency.

Active as a DJ since the millennium, which saw her playing at clubs, festivals and fashion shows across the country, she soon turned her attention to music production and has since self-released a handful of singles and contributed audio commissions for Sony Playstation3, museums, theatres and apparel brands. Yuu’s meditative pallet of sounds instantly grabbed Cyphon’s third ear which led to the tracks that make up ‘Forever’: a collection of analog slo-mo electronica and leftfield minimal house that strike a perfect balance between warmth and depth.

The release opens with the titular track: a deep, emotive electro cut punctuated by a twinkling synthline and blissful vocals. ‘Mojito’ continues the EP’s voyage into the deep, matching softly spoken word with jazz-tinged chords and meandering melodies, before ’Hug Close’ strips things back, guided by a crunchy minimal groove, warm, resolute keys and reflective synths.

The B-Side steers things on a soulful course. The dark, enveloping atmosphere of ‘Illuminated Night' is lifted by bright synth stabs and harmonic R&B-flavoured vocals. These influences continue on closer ‘Stay With Us’. Slowing down the pace, the track is a wash of shimmering funk-inspired chords and shuffling rhythms, laced once again with effortless, soaring vocal tones.

DJ Feedback:

Joyce Muniz - Nice one!

Andrew Wowk - "Mojito" is awesome - such a nice groove (followed up)

Geordie Elliot-kerr - Some really interesting stuff in here. Digging the whole thing.

Simon Caldwell - Cool and different.

Paul Beller - super star release.

Fred Peterkin - Dope...

Alex Barck - Sounds fresh to me

Ruben Mandolini – Nice

Gabriel Izarraraz - great music will play for sure

Kristijan Molnar - Very nice!

Chris Loxton - superb

Danton Eeprom - Really love the production and original vibe of this record. bring it on!

Raymundo Rodriguez - cool release

While so many follow the status quo, Mat Zo has always danced to the beat of his own drum. From his days topping both the drum & bass and trance charts simultaneously (releasing on Hospital Records as MRSA), to his current status as a big room innovator, collaborating with Public Enemy's Chuck D and dropping genre-blurring 70-track contributions to BBC Radio 1's Essential Mix, the precocious talent is destined to play by his own rules.

Supported by DJs as diverse as Skrillex, Madeon, Pete Tong, Above & Beyond, Steve Aoki and A-Trak, the LA-living producer's much anticipated debut LP 'Damage Control' is a bold, brilliantly diverse statement of intent from one of the scene's most unique talents. In a world of EDM sound a likes, this is electronic dance music with integrity and ambition. The release of the album will coincide with an extensive upcoming world headline tour, which sees Zo playing renowned dance music hubs such as Ministry of Sound in London, Light in Las Vegas, Create/Avalon in Los Angeles, Miami's LIV nightclub, Toronto's Guvernment and New York City's famed Pacha. (See full list of dates below).

The product of nearly three years dedicated work, 'Damage Control' represents a star of the future coming of age. Including his Beatport No.1 smash 'Easy' (feat. Porter Robinson) and recent hook-up with hip-hop legend Chuck D (Public Enemy) on 'Pyramid Scheme', Zo's 14-track LP also features the sun-soaked melodies of his innovative future single 'Lucid Dreams' - another track that perfectly embodies his uniquely quirky take on big room sounds.

What really sets the album apart from the pack are its diversions away from the dancefloor. 'Damage Control' takes in everything from electro-charged French house ('Only For You' feat. Rachel K. Collier), classy trance vibes ('The Sky' feat. Linnea Schossow) and big room progressive, through to wonky, trap-styled beats ('Caller ID' and 'Little Damage'), UK garage updates ('EZ') and hip-hop ('Moderate Stimulation').

Retaining a cohesive thread throughout thanks to Zo's unmistakable sense of fun and infectious grasp of melody, 'Damage Control' is tipped as one of the most forward-thinking debut artist albums of 2013.

Clear Vinyl + DL Code

Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that's only one side of Iliakis' creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents.

The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track "Mountainmouth" - an extremely energetic composition which won't leave you unaffected. As per most of Iliakis' songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release.

The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes "Infected Walkman". According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following "Sad Plants", are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, "Exodus Denied" is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of "Carbonated Soap" that jumps right to the more energetic parts after the first break.

Mountainmouth may not be an easy listen at start - but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.

Violet Vinyl + DL Code

Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that's only one side of Iliakis' creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents.

The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track "Mountainmouth" - an extremely energetic composition which won't leave you unaffected. As per most of Iliakis' songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release.

The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes "Infected Walkman". According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following "Sad Plants", are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, "Exodus Denied" is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of "Carbonated Soap" that jumps right to the more energetic parts after the first break.

Mountainmouth may not be an easy listen at start - but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.

These mint late 90's early 2000's Italian deadstocks come straight from Afro / Cosmic and Tribal Italia headquarters near Rimini where the club Melody Mecca spread the movement following Daniele Baldelli & Beppe Loda seeds. Consider "Afro" like what some would have called "World" has we're speaking about crazy African, Oriental, Indian, Reggae, Latin, Brazilian and even Bulgarian & Irish downtempo wrong speed trance tracks and edits like (!) Might be cheesier and more fun than expected since Dizonord recent Studiolo compilation, hope you're ready for the ride.

Third volume in our series of Afro-Latin sounds from the golden period of the seminal Discos Fuentes label in Colombia. An outstanding selection of 26 hard-to find-tracks, many reissued for the first time, covering a wide array of Afro-rooted genres, with an stronger focus on the music's folkloric origins than in previous volumes, comprising recordings by the likes of Michi Sarmiento, Wganda Kenya, The Latin Brothers, Los Corraleros De Majagual, Peregoyo_ It's been a few years, but Vampisoul is back with the next installment of Colombian tropical bangers from the deep vaults of Discos Fuentes. The term Afrosound denotes an always exciting, sometimes surprising soundtrack chronicling the embrace, development, dissemination, and commercialization of the country's rich Afro-Coastal musical heritage over more than four decades. It is the proud sound of African-rooted culture translated, transformed, and transmitted through the commercial enterprise of Discos Fuentes, and this third collection offers an even more diverse and chronologically wide-ranging array of tracks than the previous two volumes, with an even stronger focus on the music's folkloric origins. The unifying factor this time is the same: African roots or influences and the period of experimentation, self-expression, upheaval, rebellion, and rebirth in the industry, nurtured by the label and its stable of musicians, song-writers, producers, and engineers. Although this volume does not list Fruko Y Sus Tesos in the track-by-track credits, the presence of Julio Ernesto Estrada Rincón can be felt throughout, with the first half setting the stage for his artistic birth, schooling and eventual emergence at the label, and the second half featuring bands that he was an integral part of or had a hand in creating, producing, and composing for. And with that said, we dedicate this collection to Fruko: long may he reign as The King of Afrosound. This incredible stream of black gold adorned and enriched the public airways of Cali, Buenaventura, Cartagena, Baranquilla, to become a symbol of pride and part of Colombia's collective identity. It includes an extended booklet with notes by compiler Pablo Yglesias aka DJ Bongohead.

A decade is a long time in music, but it feels less epic when the music in question is timeless, picturesque, and immersive. Founded in London, run from Bali for a period, and now based in Ibiza, NuNorthern Soul has grown from humble roots to become one of the most popular outlets for Balearic music on the planet.

NuNorthern Soul started in the late 1990s, long before the label launched, NuNorthern Soul was a regular Sunday session in a bar in Chester, UK where label founder Phat Phil Cooper and school friend Jim Baron (Ron Basejam, Crazy P, JIM) sat behind the decks and played laidback, eclectic musical selections to wind down the weekend. The name was suggested by one of the event’s regular punters, who likened the community feel of the event to his experiences as a Northern Soul dancer.

Fast forward to 2011. Following a move to London, Cooper was introduced to Ben Smith, a singer-songwriter and producer whose music he’d long admired. After bonding over a few pints of Guinness, Smith offered to hand over a hard drive full of unreleased tracks; together, the pair put together what would become the NuNorthern Soul label’s first ever release: a fine album of beautiful, boundary-free music entitled The Movedrill Projects.

Another EP from Smith, Dedications to the Greats, followed in early 2013, with the sometime Fug and Akwaaba band-member recording emotive, life-affirming cover versions in his signature style. It was followed by an EP of opaque, sunset-ready songs from Ragz Nordset, and NuNorthern Soul was on its way. While the label has subtly moved around musically since, offering up EPs and albums that incorporate elements from a multitude of becalmed and blissful styles, the core ethos remains the same. Significantly, those early Ben Smith and Ragz Nordset releases still stand up to scrutiny all these years on.

Smith has remained a big part of the NuNorthern Soul family ever since, and it’s fitting that two of his tracks – the stunning, undulating downtempo epic ‘Over Land & Sea’, from improvised 2019 album From The Ash, and Jonny Nash’s glistening, shuffling 2015 rework of ‘Hold On To It’ – are featured on this 10th birthday celebration of the NuNorthern Soul story so far.

It’s right, too, that Jim Baron, whose stints behind the decks with Cooper in Chester began the NuNorthern Soul story, also makes two appearances. His chugging, jangling, wide-eyed 2014 Ron Basejam rework of Ragz Nordset’s ‘You Started It All’ – a track that has so far racked up over three million streams on Spotify – was an early label hit, while his fragile, softly spun masterpiece as JIM, ‘Whisper in the Wind’ (featuring none other than Ben Smith on guitar), features here via a deliciously stretched-out, sunrise-ready remix from James Holroyd under his Balearic-friendly BEGIN guise.

Sentimentality aside, the success of NuNorthern Soul is rooted in Cooper’s ability to pick music to release from a wide variety of artists that fits the label’s colourful, atmospheric, and tactile sonic vision. This lovingly curated box set is testament to that, with immersive, yearning efforts from veteran musicians such as Jon Tye (here appearing as Captain Sunshine, via the breath-taking ‘The Oceans Inside’) and the late, great Ryo Kawasaki (remixed by Mancunian, former Body & Soul NYC resident DJ Andi Hanley) being joined by wonderfully on-point productions from relatively recent signings such as Torn Sail (the Balearic folk swell of ‘Disconnected’), George Koultalieris, My Friend Dario and Tambores En Benirras.

10 Years, 5 EPs, 10 tracks, exclusives, previously unreleased and hard to find NuNorthern Soul treasures. Packaged in a full colour commemorative designed box with full colour inner sleeves. 1 track per side of vinyl for maximum audio pleasure. Comes with 4 page NuNorthern Soul insert. Limited edition.

Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS ascend to the next level of mind-bending modern metal on their upcoming, in-your-face full-length, IMAGO, out March 18, 2022. Following their 2019 Napalm Records debut, the XXXXX EP, the unbridled outfit breaks new ground and transcends all expectations with their exciting and undeniably fresh second studio album. IMAGO’s multifaceted, cathartic delivery seamlessly mixes gut-punching hardcore riffs and catastrophic breakdowns with colorful electronics, brutalizing vocals and, at times, trance-like synth – exploring elements of djent, hip-hop and even hyperpop influence along the way. The album’s addictively erratic, emotive atmosphere echoes their spontaneous live performance; having previously toured with modern metal giants JINJER, the four-piece relentlessly smashed European stages while captivating each listener with futuristic stylings reverberating the likes of Bring Me The Horizon, Architects, Norma Jean and LANDMVRKS. Furiously crashing opener “SOMEONE ELSE” sets free the uncompromising spirit of SPACE OF VARIATIONS – instantly breaking down genres and placing a forceful exclamation mark at the start with smashing instrumentation and a feverish vocal and lyrical assault by Dmytro Kozhukhar and Olexii Zatserkovnyi. Devastatingly heavy “1M followers” takes no prisoners from the first second and features a hefty appearance from former Asking Alexandria vocalist Denis Stoff, resulting in a fearless, addictive metalcore banger. Tracks like eponymous “IMAGO” and intense mid-tempo “Serial Killer” emphasize the multifaceted nature of SPACE OF VARIATIONS with sporadically scaled-back instrumentation and emotion turned to 10. On the contrary, previously released penultimate post-hardcore dystopia “Ultrabeat” delivers bone-crushing beats and is by far no stranger to the band’s devotees. Closing with an insane verse from Ukrainian rap sensation ALYONA ALYONA, the track undeniably marks a milestone in the unit’s soon-to-be revered history while representing the seething desire to expand all limits of songwriting and creativity. This mindset embodies SPACE OF VARIATIONS and their sonically boggling ode to the future, IMAGO. 1. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS steps up its game with hard-hitting opener “SOMEONE ELSE” from the upcoming full-length album IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. “SOMEONE ELSE” promises aggressive screams, charging transitions and deadly synth parts straight to your face. Stay tuned for this futuristic metal monster called SPACE OF VARIATIONS! 2. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS drifts off into distant universes with their second single “vein.mp3” from the upcoming full-length IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. Like a bestial alien, "vein.mp3" goes wild with its shattering drums, thudding bass, heavily distorted guitars and evil screams. Beware of this musical demon called SPACE OF VARIATIONS! 3. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS reveals its album title track “IMAGO” from the upcoming full-length IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. With melodic, yet distorted and heavy riffing, booming drums and deep growls, "IMAGO" proves itself as SPACE OF VARIATIONS’ anthem! 

Tape
"Samples, movies and beats. That's the essence of Dead End's brand new LP titled Kino Vol.1. The Portuguese producer takes the chair and delivers a masterful performance that combines music and cinema. Kino Vol.1 is a multidisciplinary album built around samples picked from some of his most loved blockbusters and inspired by iconic movie clips. For the occasion, Saturate's Instagram profile has turned into a video gallery, featuring footage from cult movies and series such as The Office, Sicario, A Fistful Of Dollars, perfectly synched with Dead End's productions.
The album experience itself resembles that of a mini-series like Netflix's Love Death Robot or Oat Studios, where every episode is a story on its own, written and shot in a different way. The fourteen tracks, or episodes as I like to call them, range from heavy club to hip hop and halftime. Some are more colorful and atmospheric like the ending tripled composed by 'Cocoon,' 'Voyage' (feat Dj Ride) and 'Flowers Bloom'. These cuts seem to come off reflective and introspective movies. Others are way heavier, as they were made straight for fighting and chase scenes. In this group, you can count 'Melee Attack,' 'Though Break,' 'Stealth', 'Thin Ice'. My favorite instead are those which set up an ambiguous and sinister mood. 'Bullit Drift,' 'The Fog,' 'Shindeiru,' 'The Road,' all these episodes could fit very well in both mental thrillers (a la Nolan) and unconventional psycho/horror movies. They build a palpable tension that successfully keeps me on my toes as I expect a jump scare or a sudden plot twist to come in at every second given.
In conclusion, Dead Ends' Kino Vol.1 has the virtue of creating a listening experience that, thanks to its references to the world of cinema, becomes interactive and involves the listener in first person. It's impossible not to try to figure out from which films the samples are taken or to try to imagine which scene would be perfect for a specific track."

Within the last ten years the resurgence of sixties Gallic Pop, once known as Ye-Ye music, has escalated beyond an inter-stellar dizzy height. What might have been a waning, embarrassing genre destined for a shelf life/death gathering dust amongst the Eurovisions of yesteryear, the ‘jerk-beat’ psychsploitation records of the latter day French-Disco had soon found new floor space in some of the most credible nightspots in London and Japan.

Without a shadow of doubt, the flagship LP with best odds on becoming a discerning household object was “Histoire de Melody Nelson” by one Serge Gainsbourg. An inimitable, 45-minute concept LP handcrafted by a bass-driven psychedelic rock group and a heaven sent, 1001 piece orchestral and choral symphony. The album left hip hop producers alongside progressive rock aficionados crying out for more and more for years to come. This LP was in a league of its very own… or was it?

The seldom-sung musical arranger for Melody Nelson has become one of the most enigmatic names in French-funk; lorded by many as the “French David Axelrod” Jean-Claude Vannier’s name is the lesser-spotted, tell-tale seal of sample-friendly quality when it comes to crate-digging ‘en Francais’. Suitably, when rumours amongst French record dealers claiming “the band who played Melody Nelson recorded a follow-up lp” became a legend of psychedelic folk-lore. Another unconfirmed rumour about JCV taking the remaining out-takes of the beloved Melody Nelson to create a promo-only experimental rock LP left sample hungry producers and DJs in turmoil…

For those in the know the answers to these mysteries lay flat between the anonymous gatefold sleeve of an undiscovered conceptual album bizarrely entitled “L’Enfant Assassin des Mouches” by a custom-built avant-rock entourage called Insolitudes. The rocking-horse manure treasure hunt began.

So here we have it. The mythical teen-tonic for all those suffering from Melody Nelson withdrawal symptoms. For record collectors looking for that special something, this LP contains the extra-special EVERYTHING. Peruse the following genres: Psychedelic, Classical, Soundtracks, Jazz, Hip Hop, Samples, Avant Garde, Funk. Then place a copy of “L’Enfant Assassin des Mouches” in each section.

History denotes that when ‘our man in Paris’ Msr. Gainsbourg first heard the initial bones of this LP he took his poetic pencil to paper providing bizarre liner notes, thus consummating the most extraordinary concept album of all time. The story “The Child Assassin Of The Flies” was to be included as the only information to grace the LPs highly collectible, concertina gatefold sleeve. The story in full is reproduced in its native-tongue on this very special re-release package. The CD also includes the bonus track “Je M’ Appelle Geraldine”, a beat heavy John Barry-esque track taken from Vannier’s super-rare 7? EP “Point D’Interrogation”.

DJs and Producers such as Jim O’Rourke, Stereolab’s Tim Gane and David Holmes have spent sleepless nights in perusal of original copies of this perfect release and now regard it as ‘One Of The Best’. Recent copies on eBay have commanded ridiculous price-tags, and is now one of the most sought-after articles amongst the vinyl hungry hip-hop community.

When Irish DJ and producer Pineal Navigation set up Awareness System in 2020, he intended to use the label as an outlet for music, specifically Techno & Electro, that told an evocative story. As the world went into lockdown, Niall, aka Pineal Navigation, decided to hone in on a sound that produced a positive frequency and dismantle the negative energy that started to seep into everyday life. Two years on, the Dublin-based artist launches Awareness System with a split EP called ‘Combination 1’. Swedish producer Daniel Andréasson contributes two tracks to the release, adding another layer of intensity that aligns with the label’s aesthetic. Andréasson is an artist who approaches music with a no-frills attitude, which inspired Niall to invite his long-time friend into the fold of Awareness System. On ‘Sensory Open’, Pineal Navigation creates an eerie atmosphere with swirling synths and gnarly basslines — a response to the chaos unfolding in the modern world. Daniel Andréasson cranks up the pace on ‘Enable’ with wonky drum patterns and distorted FX, veering into the darker textures of techno. The flip-side opens with Daniel Andréasson’s ‘Money Is A Motivator’ where he mutates bleeps and crackling percussion, luring the listener into a dystopian soundscape. Pineal Navigation closes the EP with ‘Off The Earth’, a stomping blend of rumbling bass and stabby percussion. A potent club-orientated track to mark the first chapter in the story of Awareness System.

Marbled Vinyl
In the wake of Portable’s acclaimed album My Sentient Shadow comes a trio of remixes which expand on his unique slant on techno and synth-pop. Finding three artists who reflect his own experimental
tendencies within dance music, Alan Abraham’s original productions head into unexpected new places while retaining the physical, club-ready energy he manages to instill in his own creations.
A true auteur within techno, DJ Qu brings a sense of poise and drama to ‘The Spacetime Curvature’ as he patiently builds the track into a fierce peak time monster driven by snarling bass and his signature sizzling, shuffled percussion.
Patrice Scott has a reliably smooth, immersive approach to deep Detroit house, and it lends itself beautifully to Abraham’s melancholic vocal on ‘I Feel Stronger Now’.
Leaning in on the jazz dimension of his wide-ranging electronica, Call Super revels in the sweetness of ‘Ripple Effect’ and places delicate piano playing upfront before slipping into a relaxed, sentimental kind of garage and eventually edging towards an uplifting, off-centre strain of house music.
Individual in their own right and yet naturally entwined with the emotional intention of the original versions, this is a set of remixes which pay full credit to the source material while offering something
you won’t expect, like a great remix should do.

It’s common knowledge that KOMPAKT’s TOTAL series serves as our yearbook, a musical wrap up of the past 12 months. Therefore it doesn’t come as a surprise that this year’s edition is informed by another pandemic year, where dancefloors were still mostly deserted and the devastating developments in Eastern Europe. Kompakt’s A&R team still kept on foot on the imaginary dancefloor, while scouting different realms apart from the big room euphoria. Anyway, brain dance has always been a key ingredient to our catalogue.

The Voigt brothers are opening this years vinyl edition in an unusually romantic fashion. ‘Why’ combines a bubbly FM bassline with lush washes of looped guitars. High off the (presumably high) heels of her recent album ‘Jesus Was An Alien’ she delivers a spanking new excursion into her sonic world, ‘The Hill’. Our Mexican friend Rebolledo makes his first ever solo appearance on TOTAL with his trademark hypnotic desert sound. Jürgen Paape is calling a spade a spade with ‘Le Monde À Changé’ – The world has changed indeed. Our prodigal son, Matias Aguayo, returns to the mothership with ‘Cinco Y Rojo’. An exercise in Chicago-esque groove theory paired with a cheeky visitor from Denmark. Spot the reference and win a pair of hooves. It’s hard to find a quality party around Cologne without Jonathan Kaspar on its bill. Rightly so, as he continues to hone his craft as an impeccable DJ and producer. Michael gives the tremendously talented Danish singer songwriter eee gee a proper Mayer treatment and Kompakt founding member Jörg Burger closes off the festivities with a groovy midtempo chugger that reminisces ‘Blue Lines’ era Massive Attack as much as the late Andy Weatheralls low slung psychedelia.

Es ist allgemein bekannt, dass die TOTAL Reihe eine jährliche Positionsbestimmung des Kölner Labels KOMPAKT darstellt und der Jahrbuch-hafte Charakter war ja auch immer beabsichtigt. So wundert es wenig, dass man TOTAL 22 die Irrungen und Wirrungen des zweiten pandemischen Jahres 2022 deutlich anhört. Die A&R Abteilung des Labels hatte zwar – trotz geschlossener Clubs – weiter mindestens einen Fuss auf dem imaginären Tanzboden, aber man spürt, dass es ein eher verhaltener Jahrgang geworden ist. Dance Tracks brauchen einen entsprechenden Resonanzraum – und der war zumindest bis zur Deadline dieser Platte kaum gegeben. Aber Kopfdisco gehörte schon immer zum kompakten Repertoire. Letztlich entsteht in diesem vom Big Room los gekoppelten Bereich meist die interessanteste Musik.

Die Gebrüder Voigt eröffnen TOTAL 22 auf einer unerwartet romantischen Note. Quirlige FM Bässe schmiegen sich an verhuschte Gitarrenloops, so dass es eine wahre Freude ist. Perel hat gerade ihr fulminantes Album “Jesus Was An Alien” abgeliefert und spurtet bereits mit Siebenmeilenstiefeln (oder vielleicht auch Pumps?) zum nächsten Ziel: ‘The Hills’. Unser mexikanischer Freund Rebolledo ist erstmals solo auf einer TOTAL zu finden und beschwört mit ‘The Sharper Image’ seinen hypnotischen Prärie Sound herauf. Jürgen Paape nennt das Kind direkt beim Namen: Le monde a changé… Die Welt hat sich verändert – ein Kommentar zum Zeitgeschehen, der keiner Erklärung bedarf. Nach längerer Abstinenz hat Matias Aguayo wieder am Mutterschiff angedockt. ‘Cinco Y Rojo’ ist ein Lehrstück in Sachen Chicago-esquen Grooves, kombiniert mit einem frechen Besucher aus dem Dänemark der 80er. Findet die Referenz und gewinnt ein paar nagelneuer Hufen. Es ist derzeit schwer eine qualitativ hochwertige Party im Rheinland zu finden, auf der Jonathan Kaspar nicht spielt. Zurecht, denn er schärft seine Skills als DJ und Produzent wie ein Sushi Chef sein Messer. Michael Mayer dreht die überaus talentierte Singer Songwriterin eee gee auf links und überlässt seinem Weggefährten Jörg Burger das letzte Wort. "Crawling Up That Hill’ ist ein slicker Midtempo Groover, der in seiner behutsamen Psychedelik irgendwo zwischen Massive Attack in der ‘Blue Lines’ Epoche und Andy Weatherall changiert.

Grey Marbled Vinyl

Clear water hits the surface of a grainy ball. The stream slowly dissolves and flows down the spherical structure until it finally drops on a candle. The flame extinguishes; fragile streaks of smoke ascend until they hit the rough surface of the colossal globe again.
The cover art to Marble Arch, the second long-player of Vienna- and Berlin-based artists Oberst & Buchner, depicts masterly the dramatic juxtapositions the musicians have always been reflecting in their musical outcome.
The massive density of a giant sound wall is contrasted by spacious openness. Fragile sonic details are sparkling out of colossal pitch-black clouds. The songs are filled with gentle warmth and cold roughness, bright digital clarity and deep analogue crackle, ranging in style from pulsating dark-disco over classic pop to experimental ambient.
The duo's two-week artist residency in a 250-year-old house, located in the mystic landscape of the Bavarian woods set this specific mood for the 10-track album which became a mixture of electronic synthesis, organic instrumentals and field recordings. Heavy-weight basslines in combination with bitter-sweet orchestral instrumentation and the minutiae of precise percussion recordings and drum programming are the characteristics that formed the sound of Marble Arch.
Oberst & Buchner's way to deal with tension is in how they compose their song structures as extreme arcs of suspense in a near classical manner. Their intense dynamic arrangements always alternate between rise and explosion or implosion and fall. This way the compositions pick up the motive of creation and destruction throughout the long-player in the same way as the cover-art.
Taken together, all these fragments form the duo`s signature cinematic articulation of dramatic slowed down club music and moments of surprise.

BIO
Oberst & Buchner are two friends and musicians living in Vienna and Berlin. They look back on a mutual musical journey that is as rich in variety as it is more then 15 years long. For one thing, countless high-energy DJ sets in clubs and at festivals all over Europe in recent years have earned them a reputation as a dynamic duo infernale. At the same time, their own productions draw from the full palette of moods and emotions.
Boiled down to the very essence, there's one common denominator running through the duo's musical works: colossally massive elements are masterfully set against a shimmering backdrop of incredibly detailed layers. Each so full of subtle suspense that they feel like the first raindrops before a monstrous thunderstorm. You can literally hear the calm before the storm in every break they build up, then feel the force of the wind in your face when it hits you.
Ranging from pulsating electronica over slow organic sounds derived from both nature and acoustic instruments to deep dance pop ballads, their songs are full of suspense and packed with drama. In their productions, the two friends conjure up soundscapes that are extremely dense and at the same time infinitely open and spacious. Within this framework, they play with stark contrasts of antithetic elements: repetition and improvisation, functionality and emotions, emptiness and overload, clarity and crackling.

LP with Digital Download Card

"Honestly, this album from Sam Redmore is having it" - Craig Charles

"Very clever. Very Nice." – Fatboy Slim

"Totally loving this. It's been on repeat since I heard it." – Nemone

"Amazing. Where can I get all your stuff?" - Jazzy Jeff

Having established himself first as a DJ and then as a remixer, Sam Redmore is now very much making himself known as an original producer of quality global grooves that can light up any dancefloor, carnival or party.

After garnering early support for his remixes from the likes of Gilles Peterson, Quantic, Nightmares On Wax, The Nextmen, Lauren Laverne, Danny Krivit and Craig Charles, Sam has built a name for crafting soul-drenched remixes of the classics, with his army of fans eagerly awaiting every new re-work.

Signing to Jalapeno Records for his debut album of original material, Sam has kept the eclectic tastes of all his fans satisfied with a series of very different singles showcasing the wide range of styles he is known for - all picking up rave reviews and a very wide spread of radio support including Radio 1 / 6 Music / Radio 2 / Jazz FM / Worldwide FM in the UK as well as hitting Number 1 most added on US college radio charts (world).

The single Nagu in particular has become a mainstay on daytime 6 Music but each successive release has been finding new fans. From his killer cumbia covers (Tears / Just Be Good To Me) through to the afro-house exuberance of One More Time and leading neatly up to Just Can't Wait, an extremely soulful disco house floorfiller, this is an album with broad appeal both in the UK and overseas.

In the meantime, Sam has been honing his live shows throughout 2022, with festival bookers keen for a piece of the action. Boomtown, Wilderness, Green Man, Kendal Calling and a whole host of others have seen what the punters at Mostly Jazz, Funk & Soul Festival saw last summer, when Sam debuted his live show on the main stage of a key festival on the Saturday afternoon. Anyone who was there and saw the audacious 12-piece live ensemble playing their first show knew they were seeing something special.

Pretty Girl is in some sort of purple patch. Storming off the back of stellar releases ‘Arc’ and ‘Sun Phase’, the Naarm neophyte has officially arrived with her debut EP ‘Middle Ground’. What is now becoming somewhat of a signature, the artist lathers the debut in her very own saintly vocals. This is a four-track exposé of emotive dance music. 


The A1 ‘Arc’ sets the tone. Flexing her muscles in sound design, PG pieces together a shimmering house runner. Featuring laser-like chords and delectable drum patterns, ‘Arc’ sends you skyward. Racking up giant streaming numbers and snaring features on more than 20 Spotify Editorial playlists, this one’s an underground bullseye. 


'Empathy’ is the next to arrive. A call and response record that walks a lovely tightrope, perfectly balanced in both vocals and production. As the name suggests, the piece is stacked with deep motif’s that act as a window into Pretty Girl’s day-to-day. Her standout vocal production to date is met with her distinctive driving percussion and melancholic chord progressions. 


'Lavender’ is a sharp percussive creation and a fitting welcome to the B-side. A one-line affair that burrows deeper and deeper. Once again, showing off her prowess in production, PG plays masterfully with sub-bass and glitchy drums resulting in a stellar display of late-night audio. 


Although devoid of lyrics ‘The Only Way Is Through’, brims with feeling and is the perfect climax. Here’s a record full of hope and promise. Manipulating an array of judiciously chosen synths, PG shapes a vast interstellar space. Over the 8 minute trip, a palette of tight drum patterns come knocking, pleasantly surprising you with each visit. With time on her side, the producer gives each sonic element its moment in the spotlight. And girl do they shine! Where there is light, there is darkness and PG plays with both moods to perfection. Listen closely and you can almost hear the concentration involved in piecing this moving galaxy together. 


With staggering streaming numbers across multiple platforms along with additions to some of the world’s most sought-after playlists, the time is now for Pretty Girl and the release of ‘Middle Ground’.

2022 Repress

Multi-faceted artist Calibre today shares his sixteenth studio album "Feeling Normal". The album is out now to pre-order on Vinyl, CD and on digital platforms via his own independent imprint Signature Recordings.

The record is his first bonafide 140bpm record and a staggering body of work that shows the genius levels of one of electronic music's most respected auteurs. Across the 13 tracks, he transcends through space and time, creating music that will take the listener on a weighty sonic journey. The album announcement is accompanied by two dub versions "Bad" and "Badder" deconstructed from the track "Badman" with DRS from Mark Ernestus available via his Hardwax store January 29th and Bandcamp February 12th. "Getting to work with Mark Ernestus is a real honour, I collected Basic Channel, Rhythm & Sound and his other work for many years and still do. It's hard to avoid the influence of this guy in electronic music across genres and so it is a real pleasure to have him do his thing with the Badman tune which I think sounds closely related."

All of the tracks on the record have been road-tested in Calibre's DJ sets over the last 2/3 years with many of them being sought-out by his hardcore fans. It was only a matter of time then that he put them out for all to consume. With a nod to the dancefloor, the clear idea for the album came about following the release of his most personal album to date "Planet Hearth". "It still works in the headspace but ultimately it's been written for the sweaty club experience we miss now, also after an album like Planet Hearth it felt very liberating to do," he remarks. When writing albums, he often just puts it down to the general chaos of life, not citing any one influence but generally just waits to see what comes. With one of the tracks on the album written 7 years ago on the island of Valentia, It became a project that he spent the intervening years collecting tracks for, not really knowing when he was going to put it together as an album. "The whole album is special to me, everything on there has import and meaning beyond for me, I have spent much time on all these and hope they are special for other people too."

Belfast-born, Berlin-based Calibre - AKA Dominick Martin - shows no sign of slowing down. As a producer, DJ, songwriter, multi-instrumentalist and painter, he is one of the most unique and inspiring living artists. With a career spanning two decades, his ability to remain underground whilst being one of the most-respected is testament to who this enigmatic artist is. To this day, he has never been remixed and has a seriously impressive amount of unreleased music under wraps. With everything on hold and gigs on the backburner, this record is exactly what the world needs right now.

(2022 Repress)

"The story: "few years ago in rehab - everything was forbidden there, including music, and for several months I learned to listen to music in my head and remembered the television game, called Field of Miracles, or rather I remembered the sound with which the wheel spins; this is a cult TV program in Russia.

Having returned from rehabilitation we got down to business. We took samples from this program, some changed beyond recognition, some rethought. We recorded this release with a balearic mood, despite the fact that at that moment it was winter and there were severe frosts."

*The very first of it’s kind, My First Book of Drum & Bass is an alphabetical adventure for little ravers and misbehavers! This 32-page illustrated hardback takes readers on an educational journey across airwaves and rumbling dance floors, introducing them to some of the most celebrated artists and icons of the Drum & Bass world along the way. The book features artists such as Andy C, Pendulum, DJ Zinc, Goldie, Calibre, Jenna G, Shy FX, Harriet Jaxxon, and many more. Following the classic ABC format, this hillarious and educational book has had support from many of the biggest artists in the D&B community and has been a huge hit with children and grown ups with a sense of humour alike. It appeals to all ages and to anyone with a love of all things Drum & Bass. The book comes with a variety of free downloads including an Audiobook recorded by award winning MC Harry Shotta.

FEATURES
Andy C, MC Bassman, Brockie, Calibre, Dillinja, MC Eksman, MC Det, MC GQ, Flava D, Goldie, Harriet Jaxxon, Icicle, Jenna G, Kasra, London Elektricity, DJ Marky, Nicky Blackmarket, Optical, Pendulum, The Qemists, Riya, Shy FX, Tali, The upbeats, Voltage, Wilkinson, XOYO, DJ Zinc

Boogie Angst is proud to announce Boogie Beats Volume 3; the third installment in their critically acclaimed,club-orientatedcompilation series. Known for showcasing fresh new talent as well as industry titans, Boogie Beats has become a well-lovedshowcasefor both dance floors and home playlists alike.

Kraak & Smaak - Fittipaldi

Opening track Fittipaldi is the previously released Euro heater by label heads Kraak & Smaak. Magnificent Clavinet parts sway hand-in-hand against the diced wall of electronic goodness. Classic sounds brought into the present-day. Named after the famous Brazilian 70s F1 driver, Fittipaldi is a nostalgic, nu-disco groover ready to bridge the classic-to-modern gap in any club this summer.

Steven Kimber - I Wanna Be The One (Drop Out Orchestra Remix)

Next up is a Steven Kimber song, by way of a gorgeous Drop Out Orchestra remix. Drop Out Orchestra are the reigning edit kings of the soulful disco scene. Taking on the Birmingham-based vocalist and producer Steven Kimber's I Wanna Be The One,they managed to turn it into a brilliant yacht-house infused bouncer. Beach-proof from the get go, we wouldn't be surprised to hear this one tear up some island clubs this summer.

King Mutapa - Gimme That Funk

Third in line for Boogie Beats Volume 3 is South-African producer King Mutapa with the ever so shiny Gimme That Funk. Heavily influenced by 70s Disco, Funk and Boom Bap, King Mutapa expertly sprinkles funk chops over the shiniest groove we've heard in ages. Moving through several parts of the song, it's clear to hear that Mutapa's the King of bounce and will steadily continue this trajectory into his fresh career.

Pontchartrain - Cheap Plants

Detroit-based producer Pontchartrain (of Kolours LTD., Delusions of Grandeur, Whiskey Disco, Toy-Tonics and Razor-n-Tape fame a.o.) rain steps up to the plate with Cheap Plants; a bouncy and classy house number which could only have come out of the Motor City. Exuberating percussion parts sway ear-to-ear, whilst the mesmerizing piano stabs stay ever present, providing a steady backbone for the menagerie of lively synth swirls.

FUTVRST - The Feeling

New, mysterious Californian indie-vibed and post-disco duo FUTVRST light up the night with The Feeling. Swirling disco chops under laid with an infectious bassline, all dancing around an irresistible arpeggio sequence. FUTVRST takes us back to the blog house days with this one, and we can't wait to hear what's next for them.

The five songs are rounded off with the longer, original mix of Fittipaldi, plus an extended version of the I Wanna Be The One remix—all set to suit your DJ needs.

Listening through the featured tracks it's clear to hear that the compilations are always a brilliant indicator of the label's variety and broad scope in the electronic music scene, whilst always being undeniably funky and danceable. With exciting times ahead for the Netherlands-based label, the Boogie Beats series always feel like a little homecoming.

'Various Artists – Boogie Beats Vol. 3' is out via Boogie Angst on all digital platforms on April 8, with a limited edition vinyl 12" coming soon after.

With their ability to move seamlessly from the triangle to the donkey jaw, cymbals to Chinese gong, vibraphone to wind machine, percussionists are undoubtedly the most atypical members of the classical orchestra. Paul Changarnier, Nicolas Cousin and Alexandre Esperet are a case in point. Having set their sights on the marimba - Latin American xylophone, cousin of the African balafon - they decided to use it as the main vehicle for their artistic dreams. With the label No Format, they embarked on a project which would see them taking on pop hits of the kind that are produced in mega studios on the other side of the Atlantic and dazzle with a thousand lights and special effects. But they wanted to do it without leaving France or their beloved instruments. They wanted to make pop without machines, guitars, bass or synths. They ended up finding a hitherto unknown instrumental formula that belongs to them and them only, one conceived as the perfect fit for the voices from the well-known French artists that were called upon to interpret the songs. Camille, with her extraordinary energy, makes Rihanna"s "Don"t Stop the Music" waltz in a new organic mode; Blick Bassy redecorates Ariana Grande"s "One Last Time" in the colours of Bassa; Malik Djoudi envelopes Frank Ocean"s "Super Rich Kids" with a subtle ethereal texture; Camélia Jordana made her mark on this bonanza of reinvention by slowing down the tempo of "Dance Monkey"; The voice of Sandra Nkaké, imbued Lana del Rey"s "Video Games" with a solemn and sublime mystery. Like an old love that"s rediscovered with new eyes, an air that comes back from far away but could have been born today, somehow familiar but never seen before. Déjà vu but never heard until now. Déjà Vu: the name of this magnificent, unprecedented experience, this unidentifiable flying platter.

With arrangements and piano by Alfredo Linares, this is a thrilling double-sider sought after by collectors and DJs because of the funky dancefloor cuts 'Enyere Kumbara' (covered by Quantic a few years back) and 'INS-Rock'. Proper Afroantillano party business melting Cuban, Nuyorican and Colombian tropical traditions. First time reissue on 7" vinyl. Julián y su Combo was founded in 1962 by left-handed guitarist Julián Angulo Ponce, who was originally from Guapi, Cauca, Colombia and made his name in Cali and Buenaventura, signing initially with Bogotá's Sello Vergara in 1966. During a 20-year period Julián y su Combo released eight records (with several band name variations). Angulo was part of the first generation of artists from the Colombian Pacific who migrated to Bogotá in the 1970s, and his combo enjoyed popularity in his adopted city as well as in Medellín and Mexico. The band also travelled to Venezuela and the US. Angulo described his sound as Afroantillano, combining Cuban, New York Latin and Puerto Rican elements with Colombia's own tropical traditions. The combo's arrangements were distinguished by the bandleader's funky, jazzy electric guitar work (Angulo played without changing the order of the strings), a hot rhythm section and the potent brass line-up of two saxophones and a trumpet (much like Cortijo y su Combo). At that time Alfredo Linares was musical director at INS and this album -the first one Julián Angulo recorded for the label- bears his influence in the funky 'Mambo Rock' sections (breaks and handclaps galore!) and hot Cuban and Latin jazz piano styles that also graced his own records.

SONIKKU announces the release of their new album ‘Joyful Death’, via Bella Union. “I love songs that make you want to cry and dance at the same time,” says Tony Donson, the London-based musician who records as SONIKKU. That sense of unfettered release and liberation drives their new album, ‘Joyful Death’. A fluent, fertile and full-colour hybrid of vibrant Italo-house, liquid synth-pop, righteous disco and French philosophical asides, it’s an album that signals the emergence proper of SONIKKU - a fully formed dancefloor artist. It’s also a farewell of sorts, perhaps, but with an emphatic rebirth at its heart. “This album feels like a transformation in the sense that I’m creating the music I’ve always wanted to make. A fully realised, coherent pop record that showcases my craft as a song-writer and producer.” Total control of their craft is swiftly asserted on ‘Let The Light In’, where the
influences of lost-in-music disco and the Pet Shop Boys merge under vocals from immersive, exploratory British singer-songwriter Douglas Dare. The pace accelerates as ‘WKND’ gets into a groove pitched somewhere between Madonna, Daft Punk and Indeep, with LA future-pop singer LIZ primed for dancefloor abandon on vocals. Meanwhile, SONIKKU’s independent intent is firmly asserted on the freestyle-inspired ‘Don’t Wanna Dance with You’, where singer Aisha Zoe coolly brushes off unwanted advances in favour of dancefloor pleasures.
LIZ assumes vocal duties again for ‘Sweat’, a song fully equipped to make dancefloor devotees do as its title suggests. Dreamily melodic evidence of SONIKKU’s dynamism (and love of melancholy Swedish electro-pop queen Robyn) beckons on ‘X Hopeless Romantic’, where Little Boots contributes a sweetly loved-up vocal over a sublimely
infectious chorus. Pummelling synths signal a dramatic shift of pace on the almost electro-darkwave dash of ‘Remember To Forget Me’, where actor/singer Chester Lockhart presides over a summit meeting between Depeche Mode and New Order. Performance artist Tyler Matthew Oyer takes the vocals for the Italo-disco-inspired title-track, a vividly imagined album manifesto - of sorts - inspired to varying degrees by an 1892 poem, French thinker Gilles Deleuze’s concept of the “body without organs” and a 1997 anime called The End Of Evangelion. Finally, that grand piano takes over as Dare returns, presiding over an achingly stripped-back version of ‘Remember To Forget Me’. With help from friends and artists they admires on vocals, ‘Joyful Death’ is a hugely confident and self-contained leap forward for SONIKKU after his time as a feted DJ. Having moved from Derby to London at the age of 18, Donson worked as an intern (at MTV, Dazed & Confused, SHOWstudio and elsewhere) then turned to DJing (from
London to Tokyo, Paris and Berlin) after they were signed to London label Lobster Theremin. Though they continues to DJ regularly at Tottenham’s LGBTQ rave-up Adonis, they have extra ambitions in mind: “I love DJing but I’m more looking forward to developing a live show.” LP pressed on mint green vinyl with digital download.

Continuing the ‘first time on vinyl’ purge of the AMT archives. Here’s the band's classic 2006 album finally available on double vinyl for the first time. Housed in full colour gatefold sleeve.
‘Myth of the Love Electrique’ is another scorcher from these ridiculously prolific psych masters. This album is notable for being the debut of their newest band member: Kitagawa Hao. Kitagawa's presence doesn't dominate the recording by any means, but her contributions nicely complement the swirling chaos the group generates. Acid Mothers Temple always manages to find a breath of fresh air at the most opportune times, and this is no exception. While remaining a tight unit, bringing Kitagawa into the fold adds another dimension to their chaotic sprawl without having to sacrifice any of their strengths on this incendiary album.
“Comprised of four lengthy tracks, the album explodes with a start: "The Man from Giacobinid Meteor Comet." Kawabata Makoto's guitar quickly becomes a tangle of screams, a frenzied surge that drags the band along with it. The rhythm section is ferocious. Bassist Tsuyama Atsushi frequently ventures out to the stratosphere, but he also knows when to hold back or to provide a vaguely melodic foundation. Likewise, the amount of energy drummer Shimura Koji dedicates to his performance is a lesson in endurance. Divided into three movements, this track eventually cools down and then glides to a drone landing, alighting the listener breathlessly upon calmer ground.
Kitagawa's voice makes its first appearance on "Five Dimensional Nightmare," floating over a bouzouki arrangement that sounds like singing glass. This one is divided into three sections like the previous track, but starts airy and then goes into a drone as Tsuyama briefly takes over the vocals. From here, strings are tortured like fingernails on a blackboard before a guitar and Higashi Hiroshi’s water drop electronics restore balance.
As much as I loved the two previous tracks, the band forges ahead into something different on "Love Electrique." Kitagawa's presence is most felt on this track. Her voice streaks across the mix as blistering guitars and freaky electronics blast all over the place. Over the course of 20 minutes, it hits several different moods and textures on a truly transcendent journey.

Of the four tracks, only the live staple "Pink Lady Lemonade (May I Drink You Once Again?)" may seem a little redundant. Kitagawa, however, breathes new life into this standard by bringing her vocals to the fore over the entire track, as if restoring an element that previously had been missing. It's hard to call it a definitive version because so many other excellent versions already exist, but it is a great one in its own right. For fans who may be weary of this song after all of its appearances over the years, it is easy enough to stop the disc after gorging on the first hour of music, and it is still a welcome dessert if the mood should strike”

Up next on A Tribe Called Kotori, please welcome Berlin's very own Madmotormiquel - all set and ready to storm the house after several transmissions on an array of quality outlets, including our good friends at Katermukke. His maiden incursion on the label, "Bombo", will not only be released in digital shape as per usual for the rest of our catalogue, but also in 12" vinyl format - with the special and endearingly peculiar trait that each cover is hand-designed by Chrisse Kunst and Madmotormiquel himself, making these collectible one-off pieces of art to adorn your shelves with.

Opening cut and lead-single "Bombo" sets the wheels in motion at a slow and steady rate, progressively fleshing out its initially stripped-back funkiness with a polychromatic webwork of tribal rhythms, spectral synth murk and frizzling machine talk. The quirky "Kohiko" serves up a mischievous buffet of further syncopated moves and chirpy chimes pouring in cascades as a sturdy bass unfalteringly dictates the momentum.

Shifting the scope to no-nonsense floor-busting objectives in its first stages, "Timezone Chaser" slowly evolves from sheer DJ functionality to jazzed-up abstraction through perfectly inlaid superimpositions of processed clarinets, dubbed-out drums and an overall hazy sound design to satisfyingly lose yourself in. EP closer "Rodrigues" opts for a more jagged approach, as it fuses skittish snares and hats at the fore with deep and vaporous pad tapestries in the background, resulting in the kind of heavily FX-layered, acid-leaning sleepwalker that'll keep the dancers' legs in motion even though their eyes seem shuttered.

During the last four years, MentPlus has released a string of sold-out 45s, cassettes and digi-singles including Stormy Nights EP and LP, A Spoonful EP, "Cali Summers"(feat. Planet Asia), and "King of Kings"(feat. Blu) to name a few. He's been featured in URB, OkayPlayer, DJ Booth, 2DopeBoyz and many more.

After a sold out 20 Anniversary 3XLP, Turntables on the Hudson returns with a diverse 3 X vinyl set that carries the Inside the Dance series (previously on WONDERWHEEL Recordings) to all new releases made between the international friends & family between 2020 - 2022. It was a call to action for inspiration, creation, motivation & moving your body in response to the depressing times of initial lockdown & continued music gathering closures during the pandemic. What we did instead was invested in music, art, collaborations, videos, remixes hoping to keep the spirits alive & inspiration high for each other. It’s now Spring of 2022 & we’re happy we did it all. Here’s the fruits of those seeds planted. Songs from artists across the sound spectrum from Morocco, Italy, USA, Spain, Argentina, Peru, UK, Montenegro, France, Belgium, Turkey, Dominican Republic, Niger & more. Almost all songs slightly edited to make sure we got enough output on each side of the record to mix the music in the clubs & on sound systems everywhere. Combining the singles artwork of Marcus (Tupi Lab) & the album LP vinyl art of Bodo (Marcial Arts), we have a very special limited edition 400 until pressing of this soon to be collectible. We hope you enjoy the collective effort that makes this look & sound so special. Ever since the party & label began in 1998, its mission was to shine the light on the underground international community making dance music & after 15 compilations, this is another proud example. Thanks for your continued support.

Repress 22.11.22 !

A STUNNING RHYTHMIC FUSION OF LATIN AND JAZZ WITH A UNIQUE SPIRITUAL PULSE.

If ever a record called be called a lost masterpiece then this record more than deserves that epithet. First released on an obscure French label in the 1970's it might have sunk further into obscurity and left no trace of it's passing but somehow a handful of copies turned up in various Jazz shops in London where it was snapped up by DJ Paul Murphy who was then playing to the embryonic jazz dance scene, based at the very first Jazz Room club: The Horseshoe in London's Tottenham Court Road, a decaying, seedy, sticky carpeted old West End ballroom that had seen better days. This and a select few records in a similar vein were being played to an appreciative audience who demanded tough raw percussive rhythms overlaid with some furious jazzy soloing and whenever this record hit the turntable it left even the most demanding groover sated.

It's a really fantastic collection from this barely known reedman and his excellent band which also features a guest appearance by American Legend Horace Parlan who is best known for his Afro-Cuban session "Headin' South" on Blue Note Records.

Superbly produced by drummer Peter Schmidlin, who has conjured up a spiritual modal mixdown of Afro-Cuban & Jazz extended percussive workouts that are uncompromising in their groove and which manage to sound both timeless and modern. The record is being re-released with the original striking artwork, guaranteed to be a talking point.

Her debut LP, Banshee, was released on Wax Poetics. Has collaborated with MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and more. Kendra Morris’s Nine Lives, to be released on Karma Chief Records (a division of Colemine Records) in early 2022, marks not only the culmination of the decade since the release of her first LP Banshee, but also a turning point in Kendra’s life. Nine Lives heralds the beginning of a new chapter; label, and an evolution to the next level of adulthood. This collection of her original songs encapsulates moments from what could be nine lifetimes. Kendra, while very much a New Yorker and veteran of almost 2 decades on the NYC scene, hails from Florida and aesthetically embodies the broader sense of American culture, bringing to her contemporary sound influences found in music and cinema dating back to the mid 20th century. Her music conjures imagery evocative of road trips to weird and wonderful places. Concurrently a visual artist, filmmaker and animator, Kendra harnesses the feline nine lives metaphor repeatedly. In the context of the chapters of her musical trajectory alone, we see at least 9 lives. From discovering multi-tracking on a karaoke machine as a child, to playing in bands in Florida, moving to NYC and creating music alone on an 8 track, releasing her first 2 LPs on Wax Poetics, releasing her 2016 EP Babble and collaborating with DJ Premier, 9th Wonder, MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and David Sitek, to name a few. The life of this multi-disciplinarian artist contains units of time and story lines through which we can all relate to universal themes of love, loss and overcoming one's fears. Kendra, never ceasing to heed her spiritual calling to continue creating music and art, no matter what, has no plans of slowing down but a belief in only evolving, eager to begin experiencing her next nine lives.

10x12inch bundle + book

What is going on here then? Well, digging through the ever shrinking tunnels in the cave system that is our warehouse we come across many forgotten ore and metal deposits that silently beg to be unearthed. Since we are not the beroerdste, we reckon it's about time to put some of these on offer to you, the unsuspecting consumer. And we have hit the jackpot in this case! For a limited time only (and as long as stock lasts) we offer 10 (yes TEN) records from the vast Creme Organization back catalogue + a copy of the glorious Godspill Artwork Book for just 50 (yes FIFTY) Smackeroonies! Which titles you will get will be a surprise, so take a chance take a chance boys & girls and all shades inbetween, cause here's a breath of fresh air in these times of inflation and global uncertainty! Love, the management.

New album from South London producer, multi-instrumentalist and vocalist Wu-Lu.

Leader of the punk-rap awakening, Wu-Lu pulls inspiration from personal hardship and the underrepresented on his latest for Warp entitled 'LOGGERHEAD'. Miles Romans-Hopcraft based his artistic moniker on the Amharic word for water, “wu-ha”. True to his fluid sound and nature, he decided to change it to something that felt more liquid. He ended up with Wu-Lu, a name he has been using since 2015. His first record GINGA opened the floodgates to a career that would take him to various places, people, and genres. From breaking bones at skateparks as a teenager, to DJing as one of the original members of Touching Bass, and eventually getting signed to Warp in 2021.

As an artist, Wu-Lu seems concerned with feeling and communicating the full spectrum of human emotion. Throughout his varied discography, he touches on disparate themes and sounds, straddling a divide between blissed-out beats and grungy guitar dirges, and often mixing both into one amorphous, unclassifiable sound of his own.

On ‘'LOGGERHEAD'’, Wu-Lu hones his unique sound. On ‘Take Stage’, a despondent spoken word intro opens with sombre strings and underlying bows dragged delicately across them. Then the lights flicker to life on ‘Night Pill’, and the mosh pit with them - the bassline approaches like a hungry shark and the guitars snarl with a homemade 90s grunge energy. This grunge drawl and punk spirit is peppered with dry old-school drum sounds of classic hip-hop, with laid-back beat-oriented tracks are spread amongst those with intermittent growls, scratches, and shrieks. Sonic elements are constantly rearranged and juxtaposed throughout the album, like on ‘South’ where the fluctuating pitch of squealing guitars and screaming vocals is contrasted with the steady flow of Lex Amor.

Listening through the album you are constantly greeted with about-turns, and through the element of surprise and deft use of contrast 'LOGGERHEAD' sits at an exciting point in Wu-Lu’s genre-defying artistry.

Ten years on from a remarkable debut album that traversed genres and put the duo’s trademark melodic mastery on display for the world to see, 2022 sees Spectrasoul’s ‘Delay No More’ album more than deservedly receive its 10 Year Anniversary Repress. Now being pressed to vinyl in it’s entirety for the first time, this milestone release highlights just how in-keeping Spectrasoul’s earliest album was with the forward-thinking, energetic, and beautifully deep ethos that has gone on to define their astounding career in music. 

A diverse, experimental, and genre-bending debut offering, ‘Delay No More’ cemented itself as one of 2012’s finest electronic albums and a Shogun Audio bestseller. Fast forward ten years and the impact of the album on Spectrasoul, Shogun, and the wider electronic music scene is still one of meteoric proportions. 

Receiving mass support from Mixmag, DJ Mag, BBC Radio 1, and countless other press outlets at the time, ‘Delay No More’ went on to be remixed the following year, with the reworked project featuring Calibre’s remix of ‘Away With Me’, a release which has gone it to
become one of the most iconic drum and bass tracks of the past decade. 

Since their emergence in 2006, SpectraSoul have carved a truly unique position, not only in Drum & Bass, but electronic music as a whole. The 10 Year Anniversary Repress of ‘Delay No More’ is not only a celebration of this, but a reminder of the stunning sonic soundscape that the albums alluring, enthralling and irrevocably charming sound still exists in to this day.

California-based label Ritual Release introduce new & as-yet unknown duo Guruku. Love Runaway is their debut EP and comes with remixes by disco don Ray Mang.

Title track ‘Love Runaway’ features criminally underheard Tamara Lee on vocals and co-writing duties. LA funk/R&B/future twang auteur Harriet Brown (Innovative Leisure, Phantom Island, World Building) provides guest vocals on the EP’s second original track, ‘Crimped Hair’.

On the flip, Ray Mang delivers a masterclass in honing ‘Love Runaway’ for peak dancefloor effect in a choice of extended remix or dubby reprise.

“Absolutely essential release. A really good song is turned into a modern disco monster by Ray Mang, channeling Prelude Records circa 1982.” – Bill Brewster (DJ History, UK)

In the Beginning (Vol. 2) continues the treasure trove of the early works of Declaime & Madlib, the longtime collaborators who helped usher in a new sound and style from the city of Oxnard, Calif. This collection is brimming with previously unheard tracks from this beyond-creative duo that blends hip-hop with funk, jazz, soul, and psychedelia to lay the groundwork for so many other emcees and producers.

For Declaime (a/k/a Dudley Perkins), this series serves as a way to honor his friends and the city that raised them. He shouts out names like The Almighty Metaphor (aka MED), Oh No the Disrupt, DJ Romes, Kazi, and more, who he says “created a lane for the city of Oxnard to get the recognition it deserves.” Some of them make an appearance in one form or another on this collection, too—Romes, for example, mastered the project—that compiles 10 previously lost tracks that were recorded from 1993 to ‘96.

In The Beginning (Vol. 2) is entirely produced by Madlib, who provided all the cuts as well. His instrumentals are on that raw and dusty vibe as they move freely through genres and sounds, like on standout cuts “Bandwagon,”WLIX,” and “Signs (feat. Wildchild).” Those are all highlights for Declaime, too, and they demonstrate his ability to blend his observations of the world with bravado and third-eye insights. Even as young kids just getting their feet wet in the studio, these two were firmly on their path.

Repress

From the creator of Deep Reggaeton and the hit record ​"​¡Estéreo Bomba! Vol. 1​"​, DJ Python, returns with the first masterful full length album "Dulce Compañia". Comprised of eight ethe-real, banging hits of the most unique and thought provoking calibre - mixing Deep House, Shoegaze, Trance, and of course, Reggaeton - these songs-not-tracks slide over the Dembow in the unique way only Python can dream up. Rated E for Everyone.

Affirming their status as dedicated tastemakers, Crazy P call on some of their favourite producers, and deliver 12 immaculate remixes of their beloved 2019 album, 'Age Of The Ego' A cosmic, vibe heavy, and eclectic journey through low-slung, groovy balearic, big room disco, deep house, lo-fi, and beyond with artists Crazy P have admired, and friends encountered along the way.

Joining the dots between Brazilian musical culture and the sonic melting pot that is New York City, Saidera are a trio on the rise. They’ve already released a pair of critically acclaimed, carnival-ready singles on Brooklyn’s Let’s Play House label and are now ready to make their debut on Leng Records.

The band’s roots can be traced back to a trip that Lemonade band member Alex Pasternak made to Brazil in 2014. While DJing at a house party in the bohemian Rio de Janeiro neighbourhood of Sta Teresa, Pasternak was left gobsmacked when a mysterious local singer/sambista Vadinho Freire, grabbed the mic and started freestyling lyrics and melodies over his set. Realising their instinctive musical connection, Pasternak and Freire decided to work together on some music, with New Yorker Le Chev joining them to complete the Saidera trio.

Now based in Rio and California, the group’s sun-soaked sound – which they describe as “samba disco-Afro melody” – is a cross-cultural stew in which infectious Brazilian percussion, colourful synth sounds, glistening guitars and celebratory vocals combine to create magical, life-affirming musical moments.

‘Luzes Da Cidade’, their first outing on Leng, encapsulates all that’s good about the Saidera sound and the trio’s approach to music. The song is about identity and connection and in its original form is languid, loved-up and joyous, with acoustic and electric guitars, Portuguese vocals and Korey Riker’s gently breezy flute solos rising above a squelchy synth bassline and energetic, sweat-soaked samba drums.

The song’s main mix comes accompanied by a wonderful instrumental pass featuring more extensive solos by Riker, and Saidera’s own remix of ‘Luzes Da Cidade’ – an extra-percussive, breakbeat-tinged fusion of hazy deep house, energetic samba and sunset-ready synth-disco that will delight DJs and dancers alike.

To round off the EP, Saidera has delivered a brand new “Uprockin Dub” of debut single ‘Deixa Tudo Fluir’, this time with female vocals from Irina Bertolucci taking the lead. Brilliantly kaleidoscopic sonically, with dub delay-laden vocals, guitars and flutes, it’s a superb, life-affirming Balearic reggae interpretation of a now familiar favourite. If you’re not singing along with the chorus after your first listen, we’d be very surprised.

Imperfect Stranger is the pseudonym of Glasgow based soundtrack composer and producer Kenny Inglis. “Everything Wrong is Right” is his debut solo album for Castles in Space.
Born in 1975, Kenny didn't listen to much music, unless it was the opening credits to a TV show or a film score that had caught his ear. "I loved the pre-title music on a lot of those 80's U.S. TV shows. From the family orientated stuff like The A-Team, to darker dramas such as The Equalizer. My mother would let me stay up to watch the opening sequence of the latter then send me to bed because the story would be too heavy for a kid. That left me with this hanging sense of ambiguity as to what would happen in that hour after the titles came up.”
Exposure to a work colleague’s tiny project studio in a kitchen cupboard was a lightbulb moment for him and the experience of utilising music technology as a way of writing and producing entire tracks stirred a wave of determination to chase a career in music using the opportunities that technology could offer. Kenny figured the best way to move forward was to start a small project studio and learn his craft as a recording engineer. "It was a bit of a shock to the system. I literally had no idea how to work any of the equipment. Kenny focused on learning as much about the craft as he could whilst winging his way through recording and mixing everyone from the likes of singer/songwriters to bands, to voiceovers artists and anything in between. "Eventually, I stopped writing the music I thought people would want to hear, and started writing the music I wanted to make. I didn't come from a music loving background, but I was always obsessed by the way music and film would interact - how music brings this atmosphere and tone to even the most mundane visual stuff. I wanted to capture that. I wanted to grab some of that ambiguity I felt from the TV shows of my childhood and make it into a project of some sort". That project was Spylab. A dark, downtempo project with a cinematic edge. The initial demo consisted of three tracks, with the melancholic 'This Utopia' leading the playlist.
"At the time you did demos on normal cassette tapes. I remember having this endless battle with the bias control to try and get the best sound I could on these little tapes. Ten went in the post one Monday morning, and the following Monday there were three offers from three different labels. Studio K7 were interested in a singles deal, as was Flying Rhino in London. But then there was an offer from a Chicago based label by the name of Guidance Recordings. They wanted an album, and were offering a $15,000 advance. It wasn't a difficult decision to make"
Writing and recording Spylab 'This Utopia' began in 1999. The album took a whole year to produce. The album was to catch the attention of Mary Anne Hobbs at Radio One. At the time Mary Anne was presenting The Breezeblock - a late Sunday night show with an eclectic playlist of alternative electronic music. Picking out the album's title track 'This Utopia', Mary Anne would go on to play it no less than 8 weeks in a row. A request for Spylab to DJ on the show was to follow. "I had never DJ'd before. I think I had a week to figure out how to do that and put a playlist together. I'm not entirely sure how I pulled that off.” In March 2001 the Spylab album was finally released to a hoard of excellent reviews. A North American live tour would follow. From the launch party in Los Angeles, to a sell out show at SXSW in Austin. "I then started a new project under the name Cinephile. It had some of the core elements of the Spylab sound but it was deeper, more cinematic.” Kenny received news that a track from the previous project Spylab had been requested by HBO for the first episode of a new TV drama called Six Feet Under. This was to become a major turning point in Kenny's career. The Spylab track 'Celluloid Hypnotic' dropped during a poignant party scene of the first Six Feet Under episode. Within a couple of days Kenny was getting requests for music from other music supervisors. "It was a chain reaction. The Six Feet Under sync was like the tip of an iceberg. One day I called CBS in America and they put me on to the CSI music supervisor and I managed to get on a call with him. I sent the Cinephile stuff out and within a few months I got this fax through from CBS - a quote request for one of the tracks for a potential use on CSI. It changed my life."
The tone and style of Kenny's music sat perfectly with the CSI score requirements. So much so he found himself part of a pool of incidental writers who worked on all three aspects of the franchise - CSI, CSI: NY, and CSI: Miami. This would continue until 2013, when the last of the series would come to an end.
"I was juggling a bunch of stuff for those ten years. Writing material for CSI, whilst releasing new Cinephile stuff and playing live. As Cinephile continued to gather pace, one of the tracks from Kenny's efforts on CSI was chosen for the Hollywood trailer for the Samuel L. Jackson film 'Lakeview Terrace'. Further trailers would follow, from Gangster Squad to Dead Man Down, Spike Lee's Undisputed Truth, to Fifty Shades Freed.
At the same time, Kenny picked up his first factual commissions in the UK, and this too would be the beginning of a regular run of fully scoring factuals and documentaries. By 2021, six of these had won BAFTAs. He also would find himself soundtracking adverts for the likes of Nike, Audi, and American AirlinesIn early 2020, Kenny made a return to focusing on his own music under the pseudonym Imperfect Stranger. A tweet from Colin Morrison from Castles In Space regarding a charity compilation album 'The Isolation Tapes' caught his eye. Kenny had made a start on his debut album as Imperfect Stranger and submitted the track 'Hymn To The Sun' (which would become the lead track on the album). Further discussions ensued, and the album found a home on CiS. "I had been doing TV and film stuff for almost ten years. It paid the bills and was as close to a 'real job' as I'd had, but I yearned to get back to writing for myself, so doing an album for Castles in Space was a joy.
“The music I write is like a diary. There's an authentic narrative to everything i do. I don't write tracks for the sake of writing. I write tracks to diarise and process the stuff that I've lived through, and the experiences that have come along with the passing years. That's what makes me tick. It's a very public and vulnerable way of expressing myself. If people want to know the real me, all they have to do is listen."

Dana Kelley, aka DKMA, is a much revered writer, producer, remixer, performer and creative force whose releases have become timeless classics and Holy Grails amongst DJs, music heads and collectors alike. A true artist and innovator, his productions possess the unique ability to engage, transport, challenge and enthral as only next level musicians can.

Grounded in the deep, soulful US House sound of the mid '90's, his earliest releases can be found on Strictly Rhythm, before moving on to produce under his DKMA alias as well as releasing music as Callisto on Guidance. Although Dana sadly passed away in 2013, he left us with a remarkable body of work that has remained both exciting and relevant throughout the last 2 decades and beyond.

Boston Boy Vol.2 is the 2nd in a series of compilations that focuses on Dana's visionary work as DKMA, during his most compelling and creative phase between 1997 and 2002. The compilations themselves are collated from an incredible & far reaching archive of over 20 of Dana's original DATs that have been generously shared with us by the Kelley Family. In the archive, some of Dana's most sought after & cherished works were uncovered, restored and meticulously assembled alongside previously unheard archival material.

The tracks themselves are bold, clever and inventive, characterised by a need for innovation. Passages of deep soulful house underpin more forward thinking electronics without ever losing dance floor appeal. Jazz solos sit imaginatively on top of gritty swinging rhythms, deep infectious b-lines, eerie textures and chord sequences are warm and effortlessly soulful yet with a sound design, sonic range, dynamism and a technical prowess that most could only dream of.

These compilations celebrate the life, vision and art of one of house music's most hallowed producers. Unique and essential, these collections pull together DKMA's most coveted works. Respectfully sourced, restored and compiled from all audio sources courtesy of the Kelley family and Above Board Projects.

Mastered by Frank Merritt at The Carvery, London, with special artwork by Atelier Surplus featuring a special unseen image of Dana from his family's photo albums.

House Of Lucy is a special project by three friends and music producers from Warsaw, Poland (TAMTEN, Ivan Bayor & FOPA) who also happen to organize a mysterious event called “Lucyna” on Half Year’s Eve (sunny New Year’s Eve in summer). It is a local thing with lineups consisting of DJ’s and bands with very different musical backgrounds. This genre bending and melting situation, together with an utterly open-minded audience, creates some of the most unexpected encounters. This is the place where dub meets new wave, post punk meets house, electro meets jazz… This is the place where House Of Lucy comes from. Following the lyrics on the opening track:

“…welcome to house of Lucy
you can do anything at house of Lucy
anything at all
the only limit is yourself…”

Dark 80-ish synths, guitar riffs, dubby basslines, aggressive percussion, haunting vocals, and some soft cozy spots seem a bit much for one record? This is House Of Lucy after all, the only limit is yourself.

The first fully electronic album by the italian DJ/producer becomes physical in a very special vinyl containing 7 tracks of the "WAXTAPE" selected by the artist himself Ceri, alias Stefano Ceri, is currently one of the most influential personalities in the Italian music scenario: an eclectic musician and producer that redefined and “refreshed” the sound of the most recent years through his artistic
sensibility and innovative spirit.

He collaborated with some of the biggest Italian music icons such as Mahmood, Alan Sorrenti, Marco Mengoni, Salmo, Coez, Calcutta, Franco126, Frah Quintale, Crookers, Joan Thiele and many others:

If working as a producer gave him the chance to define the sound of the new urban/pop environment, his solo project got him to explore
more personal and deeper aspects while searching for his own original dimension.

His 2022 new project is named “WAXTAPE”: it’s an album published with a “4 movements structure” where new tracks have been added
each “movement” release, reaching a total number of 29 tracks.

In the 33rpm vinyl version he selected 7 tracks which, according to his vision, represented best the deepest soul of "WAXTAPE". A real journey from light to dark, from intimacy to community.

Air, Nico, St Etienne, Kid Loco, Young Marble Giants, Sandy Denny, Vashti Bunyan, Andrew Weatherall, Robert Wyatt and Serge Gainsbourg. Limited edition first pressing of 500 copies on "Mock Turtle" Blue. International collaboration between artists in Glasgow, London, Paris & New York. Mastered by Shimmy-Disc founder Kramer. Accompanying visual art work by Film and art director Tim Saccenti. Inspired by the intensity of lockdown, the self-titled debut album by electro-pop project Gates of Light, is the result of a collaboration between five artists across four cities, three time zones and two continents. Hailing from Glasgow, singer-songwriter Louise Quinn and producer Bal Cooke teamed up with London-based DJ and producer Scott Fraser; Parisian musician, DJ and producer Kid Loco; and film director and photographer, New York’s Tim Saccenti - who has previously worked with Run The Jewels and Pharell- to create a sublime, electro-pop reflection on the grief, insularity and peculiar highs of lockdown. Immediately after hearing the album, revered post-punk musician and producer Kramer offered to release the vinyl edition on his iconic cult label Shimmy-Disc, which boasts an impressive back catalogue of artists including Daniel Johnson, Low and Galaxie 500. A project grounded on collaboration - born from a period of disconnect - Gates Of Light perfectly amplifies the longing, confusion, lucid dreams and appreciation of the outdoors that the pandemic ignited in so many over the last couple of years. Originally written and recorded by Louise and Bal from their bedroom studio in Glasgow whilst their one-year-old twins slept, the tracks were then sent to Scott and Kid Loco who remixed the tracks from home studios in London and Paris before Tim created the artwork and a video for the track ‘When The Leaf Falls’. Gates Of Light is the latest project from Louise and Bal who have released music in the past as A Band Called Quinn and DAWNINGS. Louise and Scott Fraser have also previously collaborated following a chance encounter at a nightclub in Glasgow. Their single ‘Together More’ was released on Andrew Weatherall’s renowned Birdscarer vinyl imprint in 2019 and featured a remix by the Guv’nor himself who described the track as “sublime magik”.

“I’m closing a chapter in my life,” Barbie Bertisch says to me from a park bench in Greenpoint, “I spent the last four years working towards gaining confidence around my ideas and my creative perspective. This feels like a culmination of that process” The “this,” in question is Bertisch’s debut record Prelude, a collection of eleven songs that chronicle 5 years of Bertisch’s life. The legendary musician Anna Domino describes the record best: “Prelude is a record of layers and depths. The melting phases and soaring distances.”


Raised in Buenos Aires and Miami, Bertisch has called New York home for most of her adult life. When she started piecing together Prelude, she was in her Brooklyn kitchen. It was early quarantine. Stuck at home instead of DJing at clubs, she found the space to parse through the archives. What she previously considered unworthy of attention in the era of distractions, finally made sense as a whole once all the noise was turned down. Compiling a list of songs in various states of completion, Bertisch dreamed up an album, a chronicle in growth and healing frustrations of the past, an honest account of someone trying to find her own voice. That in and of itself was a journey. It took years for Bertisch to accept that she was an artist. “I felt like I was surrounded by men who ruled every space. I constantly felt like I had to ask permission to enter, always around bands but never the girl in the band” she says.


Prelude is an introspective record. It explores all of the valences of being and feeling. Some songs are chaotic and choppy. Others are soft and searching. There is rage and innocence, and moments of forced stillness, like capturing the aftermath of panic attacks, as in “After The Storm”. Bertisch also focuses on rhythm, bass guitar being her main instrument, and no stranger to the power of the beat. The record also draws on influences as varied as Kaitlyn Aurelia Smith, Cocteau Twins, Berlin School, and pioneering producer François Kevorkian. Both sonically and conceptually, Prelude is a portrait of who Bertisch is as a person.“Is This What You Wanted?” is fiery, a pointed provocation to domineering figures from her past. It’s full of strobing, strident synths, and heady lines of bass. It gives off the same vibe as a fire alarm, as a big room dance track that subverts your expectations of what it means to dance in a sea of bodies. “28,” the record’s opening track is more peaceful. It’s all languid keyboard arpeggios with the occasional flourish of a cascading synth effect.


Since most of the songs already existed in some form or another, Bertisch’s job on Prelude was to refine and reimagine music that had previously been private. She spent time rearranging, rewriting, adding elements newly available to her, such as the saxophone, and pushing the limits of the rough mixes to mold the universe she envisioned. Along the way, Bertisch grew more excited about her abilities as a musician. The resulting record is one that is inherently confident.


Prelude is also a homespun release. It’s coming out on Bertisch’s own label, Love Injection Records, which she runs with her partner Paul Raffaele. The two also DJ and make zines under the name, which started in 2015. Love Injection is a love letter to New York. Prelude is a word of encouragement to those struggling with self-actualization. The record was mixed by Justin Van Der Volgen and mastered by Walter Coelho. Love Injection Records holds the remix tradition in high regard, and they’ve enlisted reworks by some of Barbie’s favorite producers. It’s all a labor of love for Bertisch. Prelude is her: Barbie the musician.
©℗ Love Injection Records 2022

I feel honoured to finally present my first EP on de Lichting. All tracks except A1 were made during my COVID-19 quarantine between 8th-19th July 2021 on an EMU E64 and KORG MS2000. With the EP, I tried to cover most of the sounds that I regularly play during my DJ sets. Side A starts with two house cuts, ‘CAL01’ and ‘Emspacer’ inspired by some of my favourite house records, and ends with the electro title track ‘RDS THEME’. Side B, starts with the minimal-ish ‘Substance’, followed by two Ambient Techno/IDM cuts ‘Trapswet’ and ‘Cwejfx’. Personally, I feel that the tracklist reflects the process of being isolated, which on the one hand, enabled me to (finally) work on music without being distracted, and on the other hand, got me into a melancholic mood over time’.

THE CULT 1990 DEBUT ALBUM OF INFLUENTIAL UK GRINDCORE FROM
PROPHECY OF DOOM - PRESENTED ON THE VINYL FORMAT WITH
COVER ARTWORK FROM THE ORIGINAL 1990 PRESSING.UK grind/death
veterans Prophecy Of Doom formed in Gloucestershire, 1988, with
bassist Martin Holt & vocalist Shrew Schroder uniting to embark upon a
journey to create something challenging & memorable to stand out in the
UK scene
After a few personnel changes whilst looking to establish a permanent recording
line-up after their 1988 demo & the 1989 EP, 'Calculated Mind Rape' (which had
brought the band to the attention of legendary DJ John Peel), the time had come
to create their debut full- length album. And so 'Acknowledge the Confusion
Master' came to be & was released in 1990 on the burgeoning Peaceville Records
& their then newly established sub- label, Deaf Records. A highly effective
concoction of blasting amid a titanic wall of raw grinding riffs & chaos propelled
Prophecy Of Doom to the forefront of the scene, also leading to two recording
sessions with John Peel & further enforcing Prophecy Of Doom's position on the
map of notable British grind acts.
As a further distinguishing factor, there was a great depth & consideration to the
themes of the album, perhaps in stark contrast to how the tracks were presented
sonically. Written by mainman/vocalist "Shrew", there with a strong philosophical
element to the lyrics, an exploration of awareness & intuition amid an era of
increasingly suppressed feelings & an urge to rise above mental restrictions.
This vinyl edition of 'Acknowledge the Confusion Master' contains cover artwork
from the 1990 release with printed inner sleeve containing lyrics & receives its
first vinyl pressing on Peaceville since that initial 1990 edition.

The Entertains were a vocal group from Cleveland Ohio whose line up at different times varied between four to five members. Initially signed to Belkin Productions in Cleveland the group were persuaded by Nick Holiday to move to his Pittsburgh Steel Town Records Label. The group had already been working on two songs penned by C-Way Productions Richard Calloway who had strong links with Cleveland through his work with Jesse Fisher and Lester Johnson at Way Out Records. The two songs in question being “Love Will Turn It Around” and Why Couldn’t I Believe Them”, demo cuts of both songs where touted around to several major labels with 20th Century showing some serious interest, but the owner reputedly turned down 20th Century’s advances and instead chose to release the songs on his own Steel Town Label. Recorded at Jerree’s Studio in New Brighton P.A with the musical arrangements being provided by Don Groton, The Entertains 45 received limited local airplay reputedly due in part to Holiday’s refusal to provide a set of Dining Room furniture for an influential local radio promotion man. Greater radio play was eventually received with “Love Will Turn It Around” gaining air time on WANN, Annapolis Maryland’s largest Black radio station, courtesy of Disc-jockey Charles “Hoppy” Adams. For a time, a popular tune throughout Baltimore, Washington and Delaware without breaking out nationally. Wider appreciation of the Entertains 45 would come from foreign shores as copies of the 45 found their way in the UK. The effervescent dance side of the 45 “Love Will Turn It Around” was heavily championed by Legendary DJ Colin Curtis and became a firm favourite with the dancers within the Highland Room of the Blackpool Mecca and subsequent Northern Soul venues of the time. The Entertains line up on the Steel Town sessions where Donald Rice, Howard Rice (the cousin of Donald) Alfred Wilson and Andrew Wright the lead vocalist on all The Entertains songs. During 1978 Richard Calloway held a second recording session on The Entertains again at Jeree’s Studio’s which yielded a further two songs “I’ll Answer You With Love” and “Your Love I Give It Up” which due to lack of finance at the time of their conception remained in the can. These two songs have now been brought to life through Soul Junction’s licensing deal with C-Way Production’s in the format they originally intended for. The A-side of the release is the emotional charge stepper “I’ll Answer You With Love” with the opening monologue parts been performed by Howard Rice. While the B-side “Your Love I Give It Up” is a punchier up-tempo version of Richie Merrett’s earlier C-Way Records recording “I Gave It Up”, the flipside to “You’ll Always Have Yesterday Standing By” (C-way 103).

In later life Donald Rice would perform with Lonnie Turner Jr a former member of the Detroit groups The Mighty Lovers (Boo-Ga-Loo and Soulhawk) and Innervision (Private Stock and Ariola America) and his daughter Africa Turner in a vocal combo known as The Ambassadors Of Soul, sadly Donald has now passed. It is believed that the other members of The Entertains are still out there performing solo or as members of other different groups.

Mr. K is back again with a double-sider that tackles the ups and downs of love and does it in fabulous style with two solid soul classics.

Yvonne Fair was a veteran of the soul music world when she finally got the chance to record her first full length album in 1975. She had recorded multiple singles under the guidance of James Brown (her “I Found You” was reworked by Brown into the chart-topper “I Got You (I Feel Good)”) and, after leaving the JB camp for the auspices of Motown, a clutch of 7-inches with Norman Whitfield. These were gathered together to form her first (and only) full-length, but before the album was completed a final song was added to fill things out. This last minute touch would turn out to be the crowning achievement of her career. “It Should’ve Been Me” didn’t seem to be a notable addition at first. The song was originally done by Kim Weston a decade earlier and then by Gladys Knight. But Fair’s version had something special. In addition to the novel addition of a percolating drum machine pulse, Fair imbued the lyrics with a heartfelt sincerity and gruff emotion that touched listeners in a way that other versions had missed. Released as a single in the UK in late ’75, the song rose to the top ten of the British charts by February of the following year, inspiring Motown to release it as a US single. The song never replicated its UK success in the States, but went on to have a long life as a staple of drag performances and gay club life. Gay club life being the heart of all great club life, it’s only natural that the impact of the song has continued to spread, from Adeva’s hit house version in 1991 to Miley Cyrus’s recent revival of the song. Danny Krivit pays tribute to this storied history with his own version, a simple yet effective edit that stays true to the original but gives DJs a little more room (and fans a little more time to sing along!) than the all-too-brief original.

Continuing on our theme of lovelorn loss and redemption, Mr. K turns his attention to the New Birth’s “Brand New Lover” for our B-side. While the original slowly moves from the tentative, immediate aftermath of breakup to the eventual positive path forward, Krivit’s edit jumps straight to the joyous resolution to find new love, riding a delicious call and response chorus punctuated by signature breakdowns from master producer Harvey Fuqua. Danny’s edit provides a natural uplifting opportunity that never stops building over the course of its extended five minutes. Until now, the track has only been available on the group’s debut 1970 full-length, and never on a 7-inch single.

As always, this release has been mastered to the highest standards and is certain to find a spot in the bags of discerning listeners and DJs alike.

Following appearances on Ellen Allien’s UFO Inc. and Bpitch Control, Lobster Theremin,and many more, NYC-based singer,multi-instrumentalist, DJ, and producer Heidi Sabertooth readies her first appearance on New York Trax this Spring, turning in a fierce four track EP of gritty hardware techno jams. Leading the release, ‘BeMyISM’ brings raw and crunching percussion alongside grinding low end for a high energy start to the EP. The fast-paced ‘JupiterCalling’ follows, raising thetempo to 150bpm as pounding kicks meet grinding, machinist percussion while trippy synthesis unfurls towards the tail end of the track. On the flip, ‘Welcome2MirrorWorld’ sees warped acid lines and sizzling percussion bring a dark and moodyatmosphere, before ‘You Must Have 10000 Followers (For Me To Book You)’closes out the release. A jittery slice of bass heavy electro, the punchy track makes use of squelchy synthesis, knocking drums and an assortment of unruly sounds. Heidi Sabertooth ‘Nine Hundred Lives EP ’drops this Spring

2001: Guillaume Atlan is nominated with 'Starlight' at the MTV Awards in the best French artists category. 20 years later, the first generation French Touch (Modjo, Demon, Cassius, Stardust, Etienne de Crécy etc.) is almost gone. Among the few still active, The Supermen Lovers, who will release his fourth studio album, 'Body Double', end of May.

A reference to Brian de Palma's film and its perfect plastic, the disc bears witness to the many artistic encounters and tumults of love that feed Guillaume during his trip to Kyiv from 2018 to 2020. Love can move mountains but can also destroy a man. Demons and emotions will make him go back to the studios, firstly in Kyiv, which reminds him of Paris in the 90s : strong energy, a thirst for discovery, creation and pure spontaneity. Straddling 2 musical bodies, the heart of Body Double balances between vocal electro-disco and clubbing, without forgetting this analog/digital jumble dear to Guillaume. He is an electro producer, a DJ, but above all a multi-instrumentalist. Machines in contact with “real” instruments…

The Girl With The Gun for the first time on Ltd 7" Vinyl

Another dream come true! The first 7" ever to contain the three grooviest and most danceable tracks from the legendary soundtrack to La ragazza con la pistola, Mario Monicelli's 1968 cult film depicting the mod subculture of 60s Swinging London and starring Monica Vitti in one of her most iconic roles. (In the mid-90s two of the tracks were compiled in the seminal compilation Easy Tempo Vol. 2.)

Starting the party is Girl With The Gun, a mod-generation classic featuring a psych-funk rhythm section and an exotic-sounding theme played by a sitar. Next on Side A we find the danceable lushness of Shake Balera, a shake number clearly influenced by the London moods portrayed a couple of years earlier by Michelangelo Antonioni in Blow Up, with Antonello Vannucchi on Hammond and Carlo Pes on guitar (the piece was later covered by Calibro35 in their first album). Last but not least, on the flip is the super intriguing Rapimento in Sicilia, which opens with a spy-movie vibe before switching to a hectic dance of sitar, electric bass and wild percussion.

All tracks were written by Peppino De Luca and performed by his trusted and recurring musicians, the legendary super-group of Italian session players I Marc 4, who bring in their signature psycho-beat sound.

Highly recommended for diggers and DJs.

Yaya Bey ist eine der spannendsten Storytellerinnen des R&B. Mit einer Kombination aus den Kräften ihrer Vorfahren und denen ihrer eigenen Selbstverwirklichung navigiert die Singer-Songwriterin nahtlos an den Stolpersteinen des Lebens vorbei und direkt hinein in die freudigen Momente der Musik. Beys neues Album, „Remember Your North Star" fängt diese emotionale Achterbahn mit einer Mischung aus Soul, Jazz, Reggae, Afrobeat und Hiphop ein, die die Seele nährt.

Beys Fähigkeit, die emotional kaleidoskopische Natur von Frauen, insbesondere von schwarzen Frauen, anzuzapfen, ist die Essenz des gesamten Albums. Die von der Kritik gefeierte multidisziplinäre Künstlerin und Kunstkuratorin, die mehrere Kunstresidenzen im Brooklyner MoCADA (Museum of Contemporary African Diasporan Art) absolviert hat, beschäftigt sich mit Themen wie Misogynie, Generationstraumata, sorglose Romantik, elterliche Beziehungen, weibliche Ermächtigung und Selbstliebe. „Remember Your North Star“ setzt Beys persönliche und künstlerische Entwicklung fort, indem sie sich bemüht, ein Resonanzboden für schwarze Frauen überall zu sein. „Ich fühle mich durch die Musik gestärkt, weil ich alles, was mir widerfährt, in etwas Wertvolles verwandeln kann. Musik hilft mir, den Wert dessen zu erkennen, was in meinem Leben passiert.“, erklärt sie. „In der Musik steckt ein Geist. Sie ist eine Kultur, und ich bin Teil dieser Gemeinschaft und trage mit meiner Geschichte dazu bei, dass wir miteinander verbunden bleiben.“

In 1997 and 1998, the late great Japanese composer, producer, and DJ Susumu Yokota released two of the most eclectic albums of his decades-long career, Fruits of The Room and Greenpeace. Recorded under his Stevia alias for Tokyo Techno pioneer DJ Miku’s Newstage Records/NS-COM, they were Yokota-san’s homage to the foundational days of club music in Japan.

This year, Glossy Mistakes are proud to present the first official vinyl editions of Fruits of The Room and Greenpeace, originally released on CD during the golden days of the format. Packaged in reimagined cover artwork created by the celebrated Japanese visual artist Masaho Anotani, these two albums perfectly capture the diversity at the heart of Yokota-san’s oeuvre. Across Greenpeace sees Yokota-san conjuring up a heady concoction of dusty loops, sampledelic breaks, kraut-rock and psychedelic downbeat. A remarkable listening experience based on the inspired era of a genius.

When Yokota-san wrote and produced the music on Fruits of The Room and Greenpeace in 1997, he was reflecting on the broader culture that surrounded dance music in Japan in the early to mid-nineties. It was an era when the psychedelic culture of late sixties America, the afterglow of UK acid house/rave, the new age movement and cyberpunk dovetailed together. Within DJ Miku and Yokota-san’s social circles, the thinking of Timothy Leary, Ram Dass, Allen Ginsberg, Jack Kerouac and William S. Burroughs electrified the air.

By 1996, the moment, brilliant and blinding as it was, was over. “We all felt that the rave scene fizzled out,” DJ Miku says. As he puts it, there was a collective feeling around him that it had all become too much. From the calm that followed, DJ Miku, Yokota-san and their open-eared peers made the decision to switch tracks and start from scratch. DJ Miku believes that with his Stevia releases, Fruits of The Room and Greenpeace, Yokota-san wanted to express the sweet and sour nature of the passing of those wild early days and his wish for true peace. “At the time, we saw eye-to-eye, with an implicit understanding of each other,” he explains. “Even now, twenty-five years later, I am confident it was like that.”

As Motorist, LA native Joe Rihn makes music which points in the direction of the soulful, jazz inflections of artists like Wax Doctor and Peshay. Time Is Now White Vol.20 pays testament to his dexterity in creating fully-immersive atmospheres, as well as his penchant for rhythmic experimentation.

The EP's smooth-as-silk opener 'Drip' typifies this, luring you in with the psychedelic-funk tones of wah-pedalled guitar plucks, and the instrumental quality of percussion which cruises along at half-time before Amen breaks pick up the pace. 'Balamb Garden' captures D'n'B's meditative potential, driven by a dynamic syncopation which swings beneath airy pads and piano tinkles before the harder-hitting raw club track 'Caldoria' brings the A-side to a storming close.

'Blast Route' picks things right back up again, together with 'Prism', which nod more to the hardcore proclivities of the likes of DJ Die with distorted drum breaks and warped basslines. 'Rover' strips things back once more, boasting Motorist's capacity for teasing out the slower, more mellow side of 160.

Truly sensational modern soul double sider. Fantastic group vocals, swirling string arrangement and top notch punchy production. Impossible to find on original format (came out on private press on KickBack Records). Spun only by a handful of deejay around the world, to include George Mahood and our very own Dj Camembert. Recorded at United Artist studio, Beverly & 3rd Street Los Angeles California in 1978. Co-Produced by JJ Wilson who was also the band leader at the time and Bert (Humberto) Agudelo who was also Chief Engineer on this project and is a mastering engineer known to have worked at Liberty/United Artists Recording Studio. He also produced the famous Rocky movie album on United Artist. Executive producer Cecil Lyde Holden from the well known Lyde, Fisher & Giles band, who has cut the classic Serve Me Right to Suffer in 1977 on HAB records. Enjoy and support the venture, and if you like the Starfire too, please bundle up and spare something. One in every home!

Ted K. Kaczynski is notorious for both tragically murdering three people (and wounding an additional 23) via bombs sent in the mail and for his numerous writings on the evils of technology he composed during his primitive residency in the woods of Montana. Film director Tony Stone's choice to have the renowned electronic artist Blanck Mass score the film is somewhat ironic and creates an obvious tension perfect for the controversial and complex subject matter. 2020 saw the first Blanck Mass movie score, for the soundtrack to Nick Rowland's acclaimed cinematic debut Calm with Horses. This expansion into new areas of melodic composition and textural exploration won Blanck Mass many new fans, with the BBC's acknowledged number one film buff Mark Kermode proclaiming the work the soundtrack of the year. In 2021, Blanck Mass won the prestigious Ivor Novello Award for Best Original Film Score and has firmly established himself at the forefront of the latest wave of experimental soundscape wizards. Recording during lockdown at his studio in Edinburgh, Scotland, Blanck Mass's Ben Power was in the perfect setting for a musical piece intended to capture the isolation central to Kaczynski's story. Power was also working with a director in a time zone 10 hours behind and thus many sessions required working in the middle of the night, which added a fitting intensity to the composition process. He said of the project "I wanted it to feel like an `epic'" and drew on the legends Sergio Leone and Ennio Morricone for inspiration in encapsulating the energy of the perceived good vs. evil. The gentle madness of sound achieved is exquisite and slowly builds in intensity and desperation as the score moves along. Power is able to perfectly capture the complexity, the terror and the deep emotionality of the film while presenting an often breathtakingly beautiful and always masterful album that stands on its own as a work of art. For Fans of Tim Hecker, Oneohtrix Point Never, DJ Shadow, Coil, Arca, Andy Stott, Fuck Buttons.

“Whoever gives nothing, has nothing; the greatest misfortune is not to be unloved, but not to love “ - Albert Camus

Cristian Marras - OCD - JoeFarr - Codex Empire

After a massive 30-tracks digital compilation celebrating a decade of existence, Gegen keeps moving forward with the release of their third vinyl record.

Starting it off is Berlin-based Cristian Marras: DJ, Producer and Rebels Conspiracy label founder who plays solid driving Industrial Techno and his track for Gegen is no exception. Opening with ethereal chants like a coven calling to arms, Asymmetric sounds like an existential journey from awakening to action, the switch in state of mind materialized by a menacing acid line immerging halfway through, leading us out of darkness.

Next is UK’s JoeFarr, a versatile and skilled craftsman who recently got music out on Soma followed soon by a release on Rebekah’s Elements. His track for Gegen is the bittersweet Timeless, built on the duality between soft emotional hopeful melodies and raw distorted cutting martial basslines and crushing sound design.

On the B side, Berlin’s OCD’s artist statement centered around the ideology of pain and the battle against anxiety caused by a senseless world with the goal to turn people’s fear and information overload into rage and find pleasure from overwhelming emotions in modern rhythms is in full effect on her track Egoismus. With its mournful pads like heartbroken fairies floating above an army on the move and thumping kicks characteristic of her hard sound, OCD brings you into an oneiric state where everything is out of control and too fast — a metaphor for our ages.

To round it all up is British-born, Vienna-based Codex Empire whose productions you might have heard on aufnahme + wiedergabe or Sacred Court. He brings to Gegen his signature dark and intense techno with Hagane, a track built on heavy rhythmic elements and metallic pounding sounds bouncing off each other for an unstoppable groove.

International Feel founder and guru of the sunset soundtrack, Mark Barrott returns with a new EP entitled Travelling Music. After spending the last few years writing & producing for other people, Mark is focusing his creative efforts inwards & rediscovering his own musical compass, calling it ‘the best medicine and therapy there is’. It’s this energy he looks forward to sharing via a number of releases over the coming months, including a new La Torre compilation, a series of Bandcamp only releases (Bandcamp Editions), the soundtrack to a new Japanese documentary (??) and this new vinyl release, Travelling Music.

He refers to the title track as Balearic trance. Not in the overblown Dutch sense, but trance as a metaphor/mechanism for an altered state, through hypnotic unraveling synth lines and a dash of wonkiness thrown in for good measure . Elsewhere on the EP, Arcade Scene flexes its melodic Italo dance moves with a slight nod to New Order, but a version of the group that’s beamed in from an alternate reality, where The Haçienda was called Il Tesoro and relocated to Ancona via a Gerd Janson DJ set circa 1991.

Chillin’ 4 work channels Aphex Twin from his easy listening Gentle People remix era, with added Sketches from an Island / Ry Cooder-esque guitars and the reprise of Travelling Music already feels like a La Torre sunset classic, bouncing with sequenced polyrhythmic arpeggios, before gently evaporating into a Vangelis-meets-Edgar Froese heat haze.

As with most of his work, Barrott calls this folk music…the telling of stories from everyday life and being Ibizan in origin, there are always a lot of varied & crazy stories to tell, but this chapter in particular feels like a deep burnt therapeutic transmission straight from the heart.

The album, which features some incredibly exciting and varied names including neo soul up-and-comer Greentea Peng, American jazz & soul vocalist Lady Blackbird (on ‘Sunlight’) and British blues vocalist Natalie Duncan, shows off both the rich history and calibre of Goldie and James Davidson’s individually but also how they can create something together that’s so cohesive and forward thinking. The sound the duo have been able to create is also partly due to their geographical locations over the past 18 months, bouncing ideas between Davidson’s studio in Bournemouth on the south coast and Goldie’s house in Phuket, Thailand; showing two songwriters and producers at the top of their game responding to a year and a half in very different atmospheres but similar trying circumstances.
Lead single from the album ‘Dassai Menace’ (released with double A-side ‘Fathoms’) was picked up by Virgil Abloh who used it to soundtrack his Louis Vuitton SS22 fashion film ‘Amen Break’ (watch here), with Goldie walking in the accompanying catwalk show. Goldie will also be in residence throughout the month of February 2022 on BBC Radio 1 alongside the likes of world renown DJ’s Sama' Abdulhadi, Folamour, Or:la, LCY and Scratcha DVA.

Gemini Wax Records is pleased to present Summer Sample 2022. Our sixth release has a collection of Deep house, Soulful house, Minimal tech and Lo-Fi house from across the globe: Adrien Calvet (FR), Mindbuster (IT), DJ Romain (US), Mr. Pepper (RU), So.young (RU), Arie Mando (NL). “2 Sides of House” – Gemini Wax Records. All tracks written and produced by Adrien Calvet, Mindbuster, DJ Romain, Mr. Pepper, So.young, Arie Mando Mastered by Rob Small Mastering (GB)

Ted K. Kaczynski is notorious for both tragically murdering three people (and wounding an additional 23) via bombs sent in the mail and for his numerous writings on the evils of technology he composed during his primitive residency in the woods of Montana. Film director Tony Stone's choice to have the renowned electronic artist Blanck Mass score the film is somewhat ironic and creates an obvious tension perfect for the controversial and complex subject matter. 2020 saw the first Blanck Mass movie score, for the soundtrack to Nick Rowland's acclaimed cinematic debut Calm with Horses. This expansion into new areas of melodic composition and textural exploration won Blanck Mass many new fans, with the BBC's acknowledged number one film buff Mark Kermode proclaiming the work the soundtrack of the year. In 2021, Blanck Mass won the prestigious Ivor Novello Award for Best Original Film Score and has firmly established himself at the forefront of the latest wave of experimental soundscape wizards. Recording during lockdown at his studio in Edinburgh, Scotland, Blanck Mass's Ben Power was in the perfect setting for a musical piece intended to capture the isolation central to Kaczynski's story. Power was also working with a director in a time zone 10 hours behind and thus many sessions required working in the middle of the night, which added a fitting intensity to the composition process. He said of the project "I wanted it to feel like an `epic'" and drew on the legends Sergio Leone and Ennio Morricone for inspiration in encapsulating the energy of the perceived good vs. evil. The gentle madness of sound achieved is exquisite and slowly builds in intensity and desperation as the score moves along. Power is able to perfectly capture the complexity, the terror and the deep emotionality of the film while presenting an often breathtakingly beautiful and always masterful album that stands on its own as a work of art. For Fans of Tim Hecker, Oneohtrix Point Never, DJ Shadow, Coil, Arca, Andy Stott, Fuck Buttons.

First ever reissue of one of the most sought after titles in the catalogue of Peruvian's label MAG, in high demand not only among Latin music collectors but also among those interested in the most exotic and experimental psychedelic sounds around. - It includes 'Astronautas a Mercurio', a cosmic descarga full of electronic effects, filtered voices and fierce guitars with wah wah and raw distortion, as well as guarachas, cumbias and descargas. - Details: Hugo Macedo was a member of the first sonora in Peru, directed by his brother: the Sonora de Lucho Macedo. His brothers were the singers of the band while he performed as a timbalero. After nine years he founded the Sonora Casino of Hugo Macedo in 1964, later incorporating his wife, Lucía "Pochita" Rivera as a vocalist. "Trompeteros" was released on the Peruvian record label MAG in 1972. Previously, the Sonora Casino had already recorded several albums for Philips since the mid-60s. At the time their repertoire was fed by rhythms such as cha cha cha, bolero, guaracha... Their MAG period would start in 1970 with the album "Pochita y la Sonora Casino de Hugo Macedo" in which Hugo Macedo's wife was granted with an important visual presence on the front cover, with a similar follow-up on "Trompeteros", creating some confusion since vocalist Pachito Nalmy was the actual main singer on the record. The vocalist, who hails from Callao, demonstrates here a great vocal versatility as captured on songs like 'Guajira del amor', with a heavy rhythm that will surely delight boogaloo lovers, or the bolero number 'Pasa, pasa', being both songs own compositions of the multitalented Nalmy. Guarachas, descargas and cumbias complete the offering of this fantastic album, one of the strongest tropical LPs in the MAG catalogue. But the real banger here is the almost magical 'Astronauts to Mercury', a cosmic descarga full of electronic effects, filtered voices and fierce guitars with wah wah and raw distortion, closer to the sound of any psychedelic recording than the classic tropical sound of La Sonora Casino, and right next to those elements, an impressive brass section that boosts the intensity of the song to the highest levels. It is not surprising that "Trompeteros" has become in recent years a highly sought-after album not only by Latin music collectors but also by those after the most exotic and experimental psychedelic sounds around... Pablo Iglesias aka DJ Bongohead

Headless Horseman, known for his sophisticated, experimental and adventurous productions and sound design has been a regular performer (live & DJ) worldwide since 2014. Not often seen on others labels, this original track featured was originally made as a direct support for a Various Artists (digital compilation called ‘Beirut Will Rise Again’) for Charity ahead of the horrific port explosion in Beirut in 2020.

Kind enough to agree to the track being featured on the 001 release of a new series of the System Revival Recordings label called ‘Minor Setbacks’ - a reflection of the struggles we have been facing over the last 3 years with the global pandemic and various ongoing social and humanitarian crises in the Middle East and beyond.

Stepping up in support of this project and offering a beautiful alternative takes of the original track are 2 pioneering artists, Berlin’s boundary breaking hero, Monolake and one of Detroit’s highly influential figures over the last 2 decades Erika.

Adeen Records comes with its series of funk, soul, dsco and jazz only edits label called The Bird. And it's first releases comes from label head Camille and Spanish graffiti artist and dj Cad73, and edited by DJ Boring. These two 7" gems came from each selectors childhood memories from living in Detroit and Barcelona respectively. While Camille draws such tunes as "Stop Bajon and Carino" from influences Detroit, Cad73 pulls "Shakedown and The Vulture" from early radio and parties growing up around Baecelona. Already a staple series amongst Adeen's catalog, This "The Bird" series may be the label we've been craving.

More Late 70s/early 80s Westcoast Yachtpop you can almost dance to!
Buoyed by the incredible love felt for TSTD Vol. 1 in summer 2014, Berlin's renowned pop archaeologist, that master musical excavator DJ Super-markt, has leapt straight back into the soft-top and been out digging for the lost gems you'll find here on Volume 2. This is another perfect collection of missing-in-action, late-70s/early-80s smooth, singer/songwriter, AOR-paced, yacht-based pop and blue-eyed soul. Every song brims over with that West Coast sunshine, and for Volume 2 we've dug even deeper into obscure corners of LA, London, even Cologne, to create an even more potent soundtrack to that lost world that's somehow always with us. So join us on another sunset trip as we soundtrack summer 2015 in the company of these lost luminaries. Bask in every detail of that glorious over-production, and recall an era when the music industry had the time, money and sheer musical talent to make everything BIG. Pay no mind to the cynics, the cooler-than-thou-erati, or the buzz kills of the sincerity police. These are big tunes that deserve to be hits, even if it's taken 40 years to get there, driving slowly up that winding California coast road in the wonderful warm summer air.

''The acts Mermaid Chunky call to mind here tend to lean on a blithe naivete: Animal Collective, Peaking Lights, youthful Norfolkians Let’s Eat Grandma and fuckwitted freak-folkers Cocorosie. This isn’t a fashionable sound in 2020 – venture your own sociopolitical reasoning – and I reckon I’ve found the one record of its type I want to hear this year.''
Mermaid Chunky are an audiovisual duo made up of artists Freya Tate and Moina Moin. Bathing in milkmaid serenity and improvised chaos, the duo boast of pumping trance rhythms, sad Easter time chicks and seriously arousing sax solos. Much of their cultivation has come out of the mossy club culture of Stroud's SVA and London's Total Refreshment Centre, collaborating with the likes of Alabaster DePlume, Danalogue, Donna Thompson, Grove, Snapped Ankles (UK tour support) and Yama Warashi.

Their debut Faith and Industry album VEST (produced by Capitol K at Total Refreshment Centre), was birthed last year out of a history of improvised cheek and club dexterity forefronting their live shows and audiovisual solstice celebrations, recently captured by British Vogue's 2021 PRIDE series. Championing this action is the Mermaid Chunky Mothership, a gang of fellow artists and performers, often clad in nauseous satin frills, swamping the stage with french mime and slut drops (Roundhouse 2021, End Of the Road 2021, SVA Solstice always.) The MC gang just scoured their PRS Woman Make Music funding so who knows what they will be stirring up in the heat of summer soup 2022 (the most ducks in a year we will ever experience.) The only way for you to find out is to join the chunklett buffet and dip your wicked, webbed fingers into something mega.

Mermaid Chunky will perform Camp Bestival (Shropshire), Kite Festival (Oxford) and at Orbury Common’s PrahEP launch (a collaborative audiovisual May Day celebration) at the Brunel Goods Shed, SVA, Stroud 30th April - 1st May.
They will aslo be collaborating with Percolate Music on a series of London based audiovisual events this year focused on experimental, electronic womxn performers, visual artists and DJs. More special announcements to be revealed in the present future of your past.

Greg Dowling and Shane Johnson return to the Go Deep label for their third album, ‘This Bit of Earth’. Beginning work in the relative normality of 2019 and finishing over the strange summer of 2020, the resulting music mirrors the thoughts that such upheaval brings out - our world and our place in it - while also functioning as a kind of travelogue of journeys past and planned, real and imaginary.

Mixing samples with modular synths, programmed drums with jazz loops, and quirky plugins with outboard gear, the album ranges far and wide while retaining a warm, natural core sound.

The title track opens proceedings on an ambiguous note. A simple double bass motif weaves around a misheard vocal sample, layers of piano and vibraphone take up the call, and the whole thing gradually spins off axis to a distorted, disjointed finish. ‘Suburban Key’ follows on a groove of busy drum work and deep sub bass, the stately piano and strings setting the stage for an undulating synth solo.

Further in, ‘Alice on Jupiter’ takes a deep breath and blends field recordings, gently swelling pads, modular bursts and a recurring picked melody.

‘Back Trace Dub’ strolls the imagined streets of Irish author Kevin Barry’s ‘City of Bohane’, noting the “taint of badness” in the air and revelling in the tense, dub-noir atmosphere. Later on, the spoken word intro of ‘I Could See’ expresses the dread of confinement and the relief and ecstasy of release, a theme the music reflects as it steadily builds to a joyful climax.

And closing the album on an optimistic note, the languid, emotional Culatra Ferry remembers better, beautiful days in the sun and looks hopefully forward to more.

“Highlights are the stunning sonics of Suburban Key, with its dusty groove and fast paced drums, stately piano, and cinematic strings reminiscent of a Four Hero orchestral masterpiece. High As Scaffold is full of warmth and soul and is yet another example of Fish Go Deep going even deeper into the dark blue waters of their brilliant musical minds.” Ban Ban Ton Ton review, Japan

“So good. Real beauty” Laurent Garnier, Radio FG, France

“Really liking this, would love to support on radio” Colleen 'Cosmo' Murphy, WorldwideFM, UK

“Lovely album” Osunlade, Yoruba Soul, US

“Very very nice album...love the new directions here” Charles Webster, Openlab, SA

“Absolutely beautiful piece of work” Darimont, RWAV, Germany

“A lovely LP of eclectic sounds” Jimpster, Freerange Records, UK

“Delightful album this. Very much appreciate the musicianship and we need that in the world right now as the commercial music world starts to fire up its nonsense for the new beginning” Vince Watson, Yoruba, Netherlands

“Such a fucking great body of work, and on par with ANY of the great albums I've listened to recently” Billy Scurry, Ireland

“There’s some REAL magic here. Possibly the deepest year from this duo” Charles Levine, Soul Clap, US

“A fabulous surprise. I'm sure if he were still alive Jose Padilla would have hailed this as his number one album of the year, it certainly is mine” Steve Miller, Afterlife, UK

“Great album... will play in next shows” Franck Roger, Real Tone, France

“Beautifully produced and great atmospherics” Ashley Beedle, Black Science Orchestra, UK

Radio and DJ support from Ron Trent, Hector Romero, Ame, Cian Ó Cíobháin, Bill Brewster, DJ Sprinkles, Harri, Honey Soundsystem, Alexkid, Moodymanc, Hifi Sean, Kassian, Freddie Garcia, 6th Borough Project, Stuart Patterson, Lars Behrenroth, Fred Everything, Mark Roberts, Cut n Shut, Will McGiven, Stefano Tucci, Tristan Jong, Matthias Schober, Trevor Fung, Ben Davis, Max P and more.