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"Gaerea", das selbstbetitelte Debüt portugiesischen Post-Black Metaller, offenbart die Wurzeln der Band. Ursprünglich im Jahr 2016 veröffentlicht, ist dieses Album - die früheste Inkarnation der Band - deathiger und doomiger als der epische Black Metal, den sie heute verfolgen. Jetzt zum ersten Mal seit mehreren Jahren wieder erhältlich, mit erweitertem Artwork und einem Bonustrack.

"Gaerea", das selbstbetitelte Debüt portugiesischen Post-Black Metaller, offenbart die Wurzeln der Band. Ursprünglich im Jahr 2016 veröffentlicht, ist dieses Album - die früheste Inkarnation der Band - deathiger und doomiger als der epische Black Metal, den sie heute verfolgen. Jetzt zum ersten Mal seit mehreren Jahren wieder erhältlich, mit erweitertem Artwork und einem Bonustrack.

After a successful series of party’s Leeds based 'On The Button' launches it's first release from rising Yorkshire born producer Miles.
Miles encapsulates the identity of the brand with a varied clubby EP. Each track has a different energy and groove but tie together perfectly on this well rounded 4 tracker.

A bit of skanking, space disco for you from mystery outfit Outtaface. The bass line is the ride on this clubbed-out big dipper to the far reaches of the dancefloor. Epic breakdowns make for a superb journey into house.

DJ Support:

Kryder, Eelke Kleijn, Sophie Francis, Mark Knight, Lost Frequencies, Jamie Jones, MING, Vanilla Ace, Neal McClelland, Joe T Vannelli, Chris Lake, Nic Fancuilli, Alec Monopoly, Christian Homan (RTE Radio), Colin Dale, Paul Roberts and Don Diablo

Die "JoJo's Bizarre Adventure: Golden Wind" Vinyl enthält mit 26 Titeln von Komponist Yugo Kanno die musikalischen Highlights der vierten Staffel des Anime und ist so der erste Vinyl Release zu dieser Serie. Mit dabei sind natürlich einige der eindrucksvollsten Titel wie "Il vento d'oro" (Golden Wind) und "Esperienza d'oro", die diese gelb-orangene 140g Doppelvinyl zu einem Must-Have für Fans macht, das die Energie der Serie gekonnt transportiert.

Ches Was born in Barbados, and from that faraway small group of islands comes this outstanding piece of Caribbean Soul. Like many of the artists we love, Ches had his fair share of travels and troubles. He dedicated his whole life to music pursuing that ideal of living by the dream we all keep sticking to when it comes to soul music. After the teenage years spent listenting to the sound of the American Black Music legends of the times, whose frequencies made it to the radio stations in the middle of the Atlantic Ocean, he decided to pack up and go big studying music in New York City thus finding he was gifted with songwriting, where he always puts soul, jazz and a touch of reggae music. Wirl label (West Indies Record Ltd.) was his recording home with which he released a number of tunes both solo and with his band The Outfits. He then traveled far and wide, spending a couple of years in Canada (another proof of Canada’s music industry solid ties with the sound from the islands), eventually ending up where Funk Investigators’ patrol member Yann Vatiste has found him and secured the license for this release. Stay tuned for more tales about this man, he might be closer to you than you think.

Sharing a mutual love for Dance Music in all its shapes and forms please welcome Philipp Lauer & Johannes Albert for the first time together. These Bucketheads overcame the franko-hessian border and give us a 3-Tracker on the A side that is "Based On Boss". The title track swims in 909 Drums, vocal samples shine through, and organ chords lead the way. You will be moving your feet with "Four 44", still all about a basement, a red light and lots of feeling. Rounding things up with the loopy powers of "Posh-O-Rama", if you are in need of soft breaks with a lovely twist. Now who's the boss?

Speaking B sides: Hamburg-Moenchengladbach-London? Probably not your everyday route. Three pillars in their own leagues team up for "Survivor": Boris Dlugosch, Marc Romboy and C.A.R. on vocal duties. Created in times of lockdowns and standstills "Survivor" is a midtempo stomper, slightly dark yet extra moving. Clocking in at 110 BPM a percussive beat is haunted by C.A.R.'s voice and a hypnotic robot bassline. Occuring melodies and pads do the rest. Remix time? Oh yes! Spicing and speeding things up a little the Johannes Albert remix arrives with additional chords, gated snare drums and maybe even happiness.

Celebrate Hip-Hop At Fifty with this 25th Anniversary Compilation Album produced by Sean "Puffy" Combs and featuring the biggest hits from the early days of Bad Boy. Tracks include a who's who from the Bad Boy lineup, including The Notorious B.I.G., Mase, Faith Evans, Craig Mack, 112 and Diddy himself. This Limited Edition Black & White Split Vinyl also includes Exclusive Bad Boy Vinyl Etching on side D.

DJ Clear X DJ Kurtiss Featuring Alicia Keys DJ Clear and DJ Kurtiss (Curtis Vodka) team-up for a double dose of fresh remixes of this soulful slept on classic interlude. Taken from the multi-platinum sophomore album The Diary of Alicia Keys released back in '03, these remixes breathe new life into this incredible Alicia Keys production.

When he‘s not writing or recording, Baba Stiltz immerses in fearless fiction by the likes of Denis Johnson and Dodie Bellamy; prose where pedestrian details become transcendent in aggregate and the inner lives of marginal characters are examined as though they were kings.
A similar thesis runs through „Paid Testimony“, the essential second tape of minimalist guitar music from the FilipinoAmerican-Swedish artist.

In recent years, Stiltz has made like Lee Hazelwood‘s Cowboy In Sweden in reverse, making annual pilgrimages from Stockholm to California and reconnecting with his roots via a guitar and a Fostex 4- track. He‘s drawn to the less glamorous corners of the golden state, an observant habitué of unkempt streets and dive bars stretching from LA to Vacaville. It‘s a long stretch from the jetset techno clubs
where Baba originally plied his musical trade, but it‘s where he finds characters and ideas worth writing about.
The characters on „Paid Testimony“ are on the edge and on the run. Surrounded by flawed men with big schemes since childhood, he extrapolates characters who plot bank heists and order milk and vodka in AM hours, the type of confrontation- prone characters who „say some shit, make everyone uncomfortable and then just split.“ To focus on the rawness of this document would discount the humor and sympathy with which he treats his characters, not to mention the subtly- psychedelic songwriting recalling David Berman, early Smog, the original indie rock minimalist poets.

On the final song, Stiltz looks back on the city that raised him „Stockholm,“ referencing „young professionals carelessly living“ before adding „I can‘t say I‘m not jealous even though I live my life just like they do.“ There‘s an honesty in the small details revealed on „Paid Testimony“, and a defined sense of place, be it Stockholm, Sacramento or some dim barroom across from the Bank Of America.

Baba doesn‘t quite fit in anywhere. This outsider quality has often been used as a marketing tool, yet here, it lends a writerly aspect to the proceedings, an unreality to the everyday.

Ein exzellentes Album, das jedem Black, Death oder Symphonic Metal Fan gefallen sollte! Zum ersten Mal auf Vinyl! Hollenthon ist eine Symphonic Death Metal-Band, die von Martin Schirenc von Pungent Stench gegründet wurde. Hollenthon debütierten 1999 mit "Domus Mundi" und erlangten mit ihrem zweiten Album "With Vilest of Worms" Kultstatus.mit ihrem zweiten Album "With Vilest of Worms to Dwell" im Jahr 2001. Nach diesem Album wurde es ruhig an der Hollenthon-Front, da Schirenc sich darauf konzentrierte, Pungent Stench wieder zusammenzubringen. Nach zwei Pungent Stench-Alben kehrte Schirenc jedoch zu Hollenthon zurück und "Opus Magnum" war das Ergebnis."Opus Magnum" zeigt eine neue Entwicklung des Bandsounds, da die symphonisch-orchestralen Elemente nahtlos mit dem gebotenen Death Metal verschmelzen. Das Album zeichnet sich durch großzügige Chöre, Synthesizer, Streicherarrangements und weiblichen Soprangesang aus, die sich perfekt mit Schirencs
klassischen und ethnischen europäischen Folk-Elementen verbinden. Das Gitarrenspiel hat ein neues Niveau erreicht, mit unglaublichen Soli auf dem gesamten Album. Das Album ist ein perfektes Ganzes, bei dem jeder Song anders ist, aber dennoch einwandfrei zusammenarbeitet. Hollenthon experimentiert auf diesem Album furchtlos mit verschiedenen Sounds, und das funktioniert unglaublich gut. Das Album ist ein durchgehendes, hochenergetisches Erlebnis, und jeder Song ist einzigartig und doch zusammenhängend. Fans von Therion und Symphonic Extreme Metal werden "Opus Magnum" lieben, das unserer Meinung nach sogar besser ist als alles, was Therion seit langem veröffentlicht hat. Insgesamt,"Opus Magnum"
ist eines der besten Extreme-Metal-Alben des Jahres 2008! Sehr empfehlenswert!

N8noface is globally acclaimed as one of the most fresh and raw acts of the United States. For his debut in Oráculo N8noface presents an album where reviews some of his classic tracks exploring his most dark and minimal side, but not forgetting his unique new-punk sound for the likes of Sleaford Mods.

His proposal is extremely minimalistic but effective at the same time with that classic 90’s west-coast attitude that could remind even to the best era of Cypress Hill.

The whole thing surely deserves a place in the best vinyl collections. Presented in a one-off truly limited edition of 300 copies, lacquered pressed on 180gr. high quality solid black vinyl. All tracks have been specially restored and remastered for long cut vinyl by Daniel Hallhuber at Young and Cold Studios.

Rock and Roll Hall of Fame® inductees, Songwriters Hall of Fame inductees, and GRAMMY® Award-winning music legends The Isley Brothers proudly present their anxiously awaited new album, Make Me Say It Again, Girl. It marks the duo’s first full-length LP since 2006 and thirty-first original album overall. They originally set the stage for the record with a recreation of The Isley Brothers classic 1975 love ballad, “Make Me Say It Again, Girl,” joined by none other than Beyoncé. It recently catapulted to #1 on the Billboard Adult R&B Airplay Chart, standing out as their first #1 since “Contagious.” It incited a flurry of critical applause from the likes of The FADER and Vulture who proclaimed, “For this one, Bey is out of Club Renaissance, trading lines with Isley over a smooth, polished track.” Make Me Say It Again, Girl THE ALBUM places the pair’s classic sound in the spotlight for a whole new era. Whether it be the cinematic scope of “Long Voyage Home” or R&B escapism of “Disappear,” they lean into the hallmarks of their signature style with undeniable energy. They’ve also brought a few friends—both old and new—along for the ride. El Debarge and Earth, Wind & Fire team up with The Isley Brothers for the generational banger “There’ll Never Be,” while Rick Ross flexes with pure lyrical fire during “Biggest Bosses.” Elsewhere, Quavo and Takeoff ignite the irresistible and infectious “Keys To My Mind.” After more than 60 years of creating massive hits, The Isley Brothers continue to produce timeless and impactful music showing why they are international treasures who are firmly woven into the fabric of our culture.

Rock and Roll Hall of Fame® inductees, Songwriters Hall of Fame inductees, and GRAMMY® Award-winning music legends The Isley Brothers proudly present their anxiously awaited new album, Make Me Say It Again, Girl. It marks the duo’s first full-length LP since 2006 and thirty-first original album overall. They originally set the stage for the record with a recreation of The Isley Brothers classic 1975 love ballad, “Make Me Say It Again, Girl,” joined by none other than Beyoncé. It recently catapulted to #1 on the Billboard Adult R&B Airplay Chart, standing out as their first #1 since “Contagious.” It incited a flurry of critical applause from the likes of The FADER and Vulture who proclaimed, “For this one, Bey is out of Club Renaissance, trading lines with Isley over a smooth, polished track.” Make Me Say It Again, Girl THE ALBUM places the pair’s classic sound in the spotlight for a whole new era. Whether it be the cinematic scope of “Long Voyage Home” or R&B escapism of “Disappear,” they lean into the hallmarks of their signature style with undeniable energy. They’ve also brought a few friends—both old and new—along for the ride. El Debarge and Earth, Wind & Fire team up with The Isley Brothers for the generational banger “There’ll Never Be,” while Rick Ross flexes with pure lyrical fire during “Biggest Bosses.” Elsewhere, Quavo and Takeoff ignite the irresistible and infectious “Keys To My Mind.” After more than 60 years of creating massive hits, The Isley Brothers continue to produce timeless and impactful music showing why they are international treasures who are firmly woven into the fabric of our culture.

No More Sound, Sad Park’s third full-length, begins with an ending. More specifically, with its own ending. Because the short, just-over-a-minute-long “No More Songs” is kind of a stripped-down reprise of the title track that closes this record. In one way, it means this album—the band’s first for Pure Noise—travels back in time over its 38 or so minutes, but in another it’s also traveling forwards. Because while “No More Sound” is a more fleshed-out version of “No More Songs”, it also contains melodic and lyrical throwbacks to the eleven songs that sit between them. Perhaps more importantly, as everything comes full circle on the record, it offers something that the opener doesn’t. Recorded across ten days at Balboa Studios in Los Angeles, No More Sound is, in fact, the sound of a band really coming into their own.

No More Sound, Sad Park’s third full-length, begins with an ending. More specifically, with its own ending. Because the short, just-over-a-minute-long “No More Songs” is kind of a stripped-down reprise of the title track that closes this record. In one way, it means this album—the band’s first for Pure Noise—travels back in time over its 38 or so minutes, but in another it’s also traveling forwards. Because while “No More Sound” is a more fleshed-out version of “No More Songs”, it also contains melodic and lyrical throwbacks to the eleven songs that sit between them. Perhaps more importantly, as everything comes full circle on the record, it offers something that the opener doesn’t. Recorded across ten days at Balboa Studios in Los Angeles, No More Sound is, in fact, the sound of a band really coming into their own.

Freakazoid was written mostly in the months before the pandemic. When we were ready to start tracking, we found ourselves with a lot of free time to be creative but no opportunity to get together, so we tried something we'd never done - recording an album all by ourselves in isolation. To create the sessions, we would record instruments separately in our houses and email the tracks to each other. That was an extremely frustrating and time-consuming process that took from the fall of 2020 until late 2022 to complete. We were used to banging out albums in a studio in a few weeks so it was a blessing and curse to have all the time in the world to work on it. They say great art is never finished, it is only abandoned and that's how it felt to wrap this up. There are still little changes I wish I could make from time to time but I've had to learn to just let it go. That being said, I'm so proud of the album and so happy that the reaction has been so incredibly positive so far.

Seminal progressive rock icons, FATES WARNING, back from a four-year recording hiatus, return to form with 2004's highly anticipated studio release "FWX". In 2003 fans of progressive rock & metal were treated to a U.S. TOUR that took almost fifteen years to come together. When DREAM THEATER, QUEENSRYCHE and FATES WARNING hit the road in the summer of 2003, both the members of Fates and the fans in attendance were in for the surprise of a lifetime. As far as Jim Matheos, Ray Alder and journeyman bassist Joey Vera were concerned, FATES WARNING would be the opening act on a national tour that would shine the spotlight squarely on co-headliners Dream Theater and Queensryche. Much to the band's delight, they were able to reach a whole new and very appreciative audience. Accolades for the band reached fever pitch during the tour with new fans embracing the band on every tour stop. This excitement has rejuvenated FATES WARNING and you can clearly hear it on "FWX", as the return of the more aggressive side of Fates has breathed new life into the recording of "FWX". Produced by guitarist Jim Matheos and vocalist Ray Alder, "FWX" is the best of FATES WARNING flexing their creativity combined with a new sense of purpose and drive.

Originally reissued as part of the Promise Kept: The Complete Artist House Recordings boxed set, now available separately LP contains the original 5 tracks – CD/Digital include an additional 3 bonus tracks Remastered by Grammy® winner Michael Graves, with vinyl cut by Jeff Powell Producer John Snyder had always wanted to record Pepper and booked him into a week at the Village Vanguard in New York. At the time, Pepper was under contract to Contemporary Records and label head, Les Koenig, decided he would record the gigs, quashing any notion Snyder had of doing the same. However, Art promised Snyder that he’d record an album for Snyder’s label, Artists House, at some point down the road. Together they wound up making four. Here again on vinyl, CD & Digital are the original albums drawn from these sessions, lovingly recreated in their original form, remastered by Grammy® winner Michael Graves and recut by Jeff Powell. So In Love (originally issued in 1980) features Pepper’s takes on classics from Thelonious Monk, Cole Porter, and Hoagy Carmichael, plus a pair of originals including “Blues For Blanche.” The CD and Digital add three bonus performances from the sessions. The AllMusic review by Scott Yanow noted: "Pepper is in excellent form throughout the album, giving these songs heart-wrenching interpretations". “John and Art both kept their promises. John brought Art into the wider world; he put him on the road. Just as he said he would, he brought him to New York and to the Village Vanguard, got his picture in the papers, got him on the radio. From Art, John got his dearest wish. He made these recordings.” —Laurie Pepper






[f] 6. Yesterdays (Take 2) [Bonus Track]
[g] 7. Landscape [Bonus Track]
[h] 8. Straight, No Chaser (Take 4) [Bonus Track]

Valentine Lover Red Vinyl. Die Apart Demos wurden zwischen 1980 und 1984 in verschiedenen Kellern und professionellen Studios in Chicago aufgenommen und dokumentieren 12 intime und reduzierte Skizzen, Demos und unveröffentlichte Tracks von Andre Gibson und der Universal Togetherness Band, als sie sich auf ihre Solokarrieren zubewegten. Von tief empfundenen Huldigungen an die Liebenden, die von einem seidigen Fender Rhodes verziert werden, bis hin zu Disco-Party-Startern über spirituelle Dankbarkeit - Andre Gibson lässt uns in sein Herz blicken und bringt am Ende alles zusammen. Die Universal Togetherness Band aus Chicago, verband in ihrem eklektischen Sound Funk-, Soul-, Disco-, Jazz-, Rock- und New-Wave-Einflüsse mit intelligenten und fantasievollen Texten. 1978 gegründet und geleitet von Andre Gibson, mit seinem Bruder Arnold Gibson (Schlagzeug, Bass), dem ehemaligen Colorvision-Mitglied Fred Misher (Bass, Hintergrundgesang) und Freds Bruder Leslie Misher (Leadgitarre), während Andre die Keyboards, das Vibraphon und den Leadgesang übernahm. Obwohl die Gruppe mehrere Jahre lang in den Clubs von Chicago auftrat und gelegentlich größere Auftritte absolvierte (vor allem als Vorgruppe von Peter Gabriel), hatte sie Mühe, ein größeres Publikum für ihre anspruchsvolle R&B-Melange zu finden. Zwischen 1979 und 1982 nahm die Band Dutzende von Sessions auf, die Gibsons weitreichende Vision als Komponist und Bandleader dokumentierten. Während Gibsons Zeit am Columbia College kamen Paul Hanover (Mundharmonika und Klavier) und Louis Sanford (Schlagzeug) zu den ursprünglichen vier Multiinstrumentalisten hinzu. Nachdem sich die ursprüngliche Besetzung der Universal Togetherness Band schließlich Mitte der 1980er auflöste, nahm Andre Gibson weiterhin mit einer Besetzung mit Frank Alexander (Schlagzeug), Allen Burroughs (Gitarre), Art Love (Bass) und Michael Young (Saxophon) auf. 2015 veröffentlichte Numero Group eine erste Zusammenstellung mit unveröffentlichten Aufnahmen mit dem schlichten Titel Universal Togetherness Band.

Who did Aretha Franklin not want to miss out on when she recorded
her most inspiring albums in the early Seventies? Who gave Steely
Dan the beat? Who did Isaac Hayes, Donny Hathaway, BB King,
‘Sweet’ Lou Donaldson and Joe Cocker give the chair behind the
drums? No drummer has seen the inside of a studio as often as
Bernard ‘Pretty’ Purdie.
 Not for nothing do colleagues attribute the ‘funkiest soul beat on the
scene’ to the drummer, and consequently, Purdie has never relied on
the genre of jazz alone, but rather curiously looked beyond the
borders. Sessions with The Rolling Stones, James Brown, Jimi
Hendrix or Tom Jones are no problem for him, whose precise and
sensitive playing is synonymous with drive and groove. This is
probably one of the reasons why his rhythms are still sampled by
many DJs today.
 Released on CD back in 1996 and 1997 (and now out of print), the
two ‘Soul to Jazz’ recordings have a cult factor today and sound as
fresh as they did back then. Now both albums are released together
for the first time as a 3LP set.
 These recordings are peppered with lots of prominent star guests
from jazz and soul, from Eddie Harris, Michael Brecker and Nils
Landgren to Hank Crawford, Stanley Turrentine and Cornell Dupree.
 Purdie’s ‘Soul to Jazz’ project takes two different approaches: The
first part focuses on the renowned WDR Big Band led by Gil
Goldstein. Soul classics such as Stevie Wonder’s ‘Superstition’,
‘When a Man Loves a Woman’, Eddie Harris’s ‘Freedom Jazz Dance’
and Lee Morgan’s famous groove tune, ‘Sidewinder’, are interpreted
in large scale sound. One discovery of these recordings amidst all the
renowned guest soloists is the New York-born singer, Martin Moss.
 The great success of this first album, released under ‘Soul to Jazz’,
led to ‘Soul to Jazz II’, a more intimate record, but one that picks up
where the first recording left off, by exploring similar themes. Again,
Purdie has called together a notable band of kindred spirits, including
saxophonists Hank Crawford (BB King, Ike and Tina Turner, Ray
Charles), Stanley Turrentine (Jimmy Smith, Shirley Scott) and Vincent
Herring, as well as guitarist Cornell Dupree (King Curtis) to pianists
Benny Green and Junior Mance.
 Bernard Purdie’s ‘Soul to Jazz’ is a timeless classic and a blueprint of
the soul jazz genre in all its facets. Above all, it is a portrait of one of
the most influential and best drummers in the world, who made jazz
groove with his inimitable funky soul beat

Part fantastical historic sonic biopic, part anthropologic
journey into the deep roots of Belgium’s monstrous
cosmic rock sound, this wholly individualistic concept
album combines the lead members of the mighty COS
(Daniel Schell and Pascale Son) with studio genius
Alain Pierre (Ô Sidarta / Des morts) and celebrated
Dutch progressive rock singer Dick Annegarn, for what
many consider to be both the overlooked hiding place
of Belgium’s deepest psychedelic moment and
European prog’s lost map to the ‘Franco-Flemish
Boom’.
 Emerging from the wider musical family that counted
Marc Moulin, Placebo and Marc Hollander amongst its
creative kin, Daniel Schell’s most profound conceptual
project ambitiously combines the tale of the heroic
historical figure of Count Egmont (1522–1568), while
simultaneously tracing the evolution of the ud, or oud,
(‘the grandfather of the guitar’) in this multifarious
hallucinogenic epic.
 Featuring key members of other collectable groups
such as drummer Felix Simtaine from Solis Lacus and
bass player Jean-Louis Baudoin from the mythical
Classroom (COS predecessor), this best-kept secret
vinyl release also harbours the voices of Dirk Bogaert
(of Belgian hard rockers Waterloo), as well as Catalan
singer Ilona Chale (Marc Hollander / Aksak Maboul)
before her later tenure as the COS front woman.
 Initially released in 1978 via Zeuhl school distributors
Free Bird alongside French pressings of Don Cherry,
Jacques Thollot and CAN, it is plain to understand the
niche nature of this maligned ‘lost COS’ LP as it finally
blooms from between the cracked branches of
European jazz-rock-synth-psych-prog-pop history…
and beyond

Das Album „Queen Radio: Volume 1” der amerikanischen Rapperin und Sängerin Nicki Minaj ist ab dem 07.07. als 3LP erhältlich!
„Queen Radio: Volume 1“ ist das erste Greatest-Hits-Album der amerikanischen Rapperin und Sängerin Nicki Minaj.

Es wurde am 26. August 2022 über Young Money Entertainment und Republic Records veröffentlicht.
Das Album wurde zwei Tage später erneut veröffentlicht, um einen Remix von Skengs 2022er Single ”Likkle Miss” hinzuzufügen.

Das Album enthält Songs aus all ihren Studioalben—”Pink Friday“ (2010), „Pink Friday: Roman Reloaded“ und seine Neuauflage „The Re-Up“ (beide erschienen 2012), „The Pinkprint“ (2014) und „Queen“ (2018).
Songs aus dem Mixtape „Beam Me Up Scotty“ (Originalversion von 2009 und Neuauflage von 2021), der Young Money Entertainment-Compilation „Rise of an Empire“ (2014) und einigen Nicht-Album-Singles, die sie 2022 veröffentlicht hatte. Es wurde überraschend ohne vorherige Ankündigung veröffentlicht. Eine der Singles von 2022 und der Eröffnungstrack des Albums, ”Super Freaky Girl”, debütierte und erreichte den Höhepunkt der Billboard Hot 100.

"No Jacket Required" is the highly successful third solo album by Phil Collins. Released in 1985, it features a blend of pop, rock, and R&B. With hits like "Sussudio," Collins' soulful vocals and catchy melodies dominated the charts. The album's polished production and heartfelt delivery solidified Collins' status as a prominent figure in 1980s pop music.

2023 Edition - Now a 'cult classic' , repressed for 2023 ears on All City Dublin. Onra started the project in August 2006, freshly returned from a trip to Vietnam, the land of his grandparents. A vinyl junkie at heart, he really couldn’t come back to France without bringing back some wax.

After hours spent riding on a motorbike through the streets of Saigon, a taxi finally helped him find some Asian records - he almost felt like an explorer discovering a forgotten treasure. He bought 30 records, most of them in poor condition, went back to his crib and started making beats with material that he wasn’t quite used to …

A1 - Burst Transmission

ASC returns with another stellar solo EP and Burst Transmission dives straight in head first to kick things off, pulsing crafted breakbeats and computer FX intertwine and stack with smooth synths, keys and trademark vocal hits. A powerful undertone bassline perfect for the dancefloor keeps the momentum going with blissful speckles of detail in the composition, including expertly tuned bongo drums scattered throughout.

A2 - Whispers

Sci-fi vibes take center stage as ASC channels that classic 720 energy with Whispers, a track which utilises sharp stabbing snares in distinct, forceful drum patterns which develop and adapt over halcyon synthwork. Respite comes in the middle of the track as the breaks change and settle the vibe briefly, before we are thrust forward again with those epic breaks commanding our attention once more.

AA1 - Psionic bond

ASC continues the retro sci-fi vibes with Psionic Bond, entering with zapping laser FX and a haunting vocal sample echoing before thunderous breaks thrash their way into the track, epic kicks and sharp thrusting snares dominate proceedings while through the wooshing layers of synthwork a distinctive bassy melody elevates the composition. This one is going to send the lucky discerning dancefloor into extra-sensory fever.

AA2 - Future Music

Ending the EP with something a little different, Future Music gives us a true taste of the old school brand new. A building intro lashes you with jabbing bass and effects, classic hi-hats rattle and slowly the 90's jungle breakbeat edits are released in waves as the piece progresses. The construction of the breaks is staggered sparingly, weaved with an influx of effects and samples creating a truly unique experience.

Elvis Presley’s self-titled debut album forever changed popular culture on release in 1956, its earthquake aftershocks still felt some 65 years later. Gritty adaptations of Carl Perkins’ ‘Blue Suede Shoes,’ Ray Charles’ ‘I Got A Woman’ and Little Richard’s ‘Tutti Frutti’ helped make it the first Rock ‘n’ Roll album to top the Billboard charts, where it remained unchallenged for a full ten weeks. The iconic cover image with its distinctive lettering, showing Presley brandishing his acoustic guitar, helped embed the instrument in rock mythology too, indelibly changing how we conceive of the genre and its axemen. Elvis Presley proved that our hero was already the undisputed King of Rock ‘n’ Roll, just as he still is today.

Armand is the debut of a sound collage project called PVNCTVM, which refers to Roland Barthes' term "Punctum". A handful of field recordings, taken during extensive walks through nature and landscapes of certain places, evoke memories in a similar way as sometimes photographs do. Based on this material, personal impressions, literature, photographs, sketches and more a process of various sound experiments begins to create soundscapes which reflect the deterioration of memories between various states of mind. Instruments and other sound sources are used symbolically, as are elements of musique concrete, ambient, glitch and drone.

Catorce reflexiones sobre el fin (Fourteen Reflections on the End) originated from an installation exhibited at the Museo de Arte Contemporáneo de Oaxaca, Mexico, in 2019. Fourteen magnetic bodies of tape that dialogued with the fourteen pieces of electroacoustic music now contained in this album composed from the sound anthology of Angélica Castelló. Thus, Catorce reflexiones sobre el fin is a complex piece consisting of multiple parts that, although articulated with each other, hold a life of their own.

Like every body, these have a unique history made up of mixed fragments spun by Angélica, ranging from field recordings, references, and self-references to previous pieces, experiences, and voice recordings made specifically for these compositions re-recorded in various formats, from lo to high fidelity, analog and digital, composed, decomposed and recomposed (Castelló, A., 2019). Likewise, as any body, they also reflect on their end, whether absolute or temporal, of the many ways of being finite and of saying goodbye.

During the Catorce reflexiones sobre el fin, Castelló takes you on a journey that is difficult to locate. An ethereal space between shattered glass, stridulation of cicadas, war drums, murmurs in French, Italian maledictions, and soft recitations in Spanish. From uproar to solace, all wrapped in a soft abstraction that only allows access to the subtle whisper of these expressions. A gesture between invitation and sharing because who does not recognize oneself in this emotional storm?

First, the approach of the winds, the first breeze that caresses the body. Then the bewilderment announced by the scent of uncertainty condensed in the air’s humidity. The prelude to the storm, to something that will shake you from head to toe, something from which there will be no return.

To the acceleration of the winds comes the percussions, the tremor of the storm with its lightning. la Ira (1). A vibration running through the whole body, unstoppable. This reverberating sound, resulting from its re-percussion with our body acoustics, owes its tones and echoes to the cavities and organs of different masses. From what is hollow and what is full; what is void and what is matter. There is no turning back. It is a dive into the void; to fight and resist because there is no other way to go. It is a matter of survival.

Ma fin est mon commencement Et mon commencement ma fin (2)

After this, the cicada resumes at the crack of dawn, a gentle breeze, and solitude, that temporarily musical silence of embraces (3) with hints of harpsichord and bells.

The breaking of the waves in Sicily is accompanied by the antenna that picks up radio transmissions that already invite other tastes. The Mediterranean and its currents mingle and divide tense routes of escape, exchange, and struggle between Blutorangen, tides, and birdsongs.

An immersion into deep waters.

And in the end, we all commit sins! Queste maledette! (4)

Lorena Moreno Vera, 2023

BLACKSCAPE ist der Schlag ins Gesicht, nach dem du dich sehnst. Verschwende keinen Gedanken an den Schmerz, wenn du dich dieser musikalischen Lawine hingibst, denn du wirst reichlich belohnt werden!
"Suffocated By The Sun", das Debütalbum des schwedischen Trios ist vollgepackt mit schweren Riffs und einer Mischung aus Thrash Metal und Death Metal, die dich mit ihren majestätischen Melodien in ihren Bann ziehen und dich mit einer heftigen Dosis Metal fertig machen wird.
Die eingängigen Kompositionen des Albums beinhalten eine Fülle an innovativer Gitarrenarbeit, halsbrecherische Drums, kreischende Soli und brutalem Leadgesang.
Taucht tief in die Lyrics ein und erforscht die inneren menschlichen Konflikte in absurden Realitäten und schmerzhaften existenziellen Erweckungen.
Die Tracks des Albums verkörpern Metal in Perfektion und markieren den Beginn einer neuen skandinavischen Metal-Macht, die man im Auge behalten muss: BLACKSCAPE.

The cheeky yet sophisticated “Manzo Edit” calf returns with a fresh assortment of four lushly revisited cuts. First on the menu is “Digestif”, a laid-back Disco House track ideal for setting the dance floor groovin.

“Get It” also falls into the downtempo realm with its smoky acid beat, while “Dancecraft” hits you head-on with a load of robotic funk. Lastly, “Forneria Moderna” pays a festive homage to the Latin side of Jazzy House.

Yo! Boombox is the new instalment of Soul Jazz Records’ Boombox series on the early days of hip-hop on vinyl and features some of the many innovative underground first-wave of early rap and disco rap records made in the USA in the period 1979-83.

The album includes the first releases of seminal groups such as Grandmaster Flash & The Furious Five and The Funky Four Plus One More through to a host of rarities and little-known obscurities such as the Carver Area High School band’s ‘Get Live 83’, an awesome record made at a Chicago high school.


The album is released as a deluxe triple LP complete with 3x full inner sleeves of extensive sleeve notes, exclusive photography and original label artwork. There is also a very-limited one-pressing only special deluxe version that comes with an extra bonus super-rare 7” single of ‘Magic’s Rap’ by Magic’s Trick, aka ex-marine Magic Fraga, a record that was only ever available on US military bases!


Yo! Boombox also features the stunning photography of Sophie Bramly, one of a very select group of photographers (alongside Henry Chalfant, Martha Cooper, and Joe Conzo) who were allowed full access to document the exciting early days of hip-hop in New York.
These first exuberant wave of innocent, upbeat, party-on-the-block rap records were the first to try and create the sounds heard in community centres, block parties and street jams that first took place in the Bronx in the mid-1970s. Where the first DJs – Flash, Kool Herc and Bambaataa – were back-spinning, mixing and scratching together now classic breakbeat records like The Incredible Bongo Band’s Apache or Babe Ruth’s The Mexican, these first pre-sampling rap records were all made using live bands, often replaying then current disco tunes.

As Chic’s ‘Good Times’ was to ‘Rappers’ Delight’, the songs here feature then-current dancefloor hits such as the Tom Tom Club’s ‘Genius of Love’, Cheryl Lynn’s ‘To Be Real’, MFSB’s ‘Love Is the Message’ while MCs rapped over the top, creating a unique new sound. In fact, the links between disco and rap date back earlier to the ‘party style’ MCing of figures such as the legendary DJ Hollywood or radio DJs like Frankie Crocker.

This new Soul Jazz Records collection
celebrates these first old-school rap
records, bringing together rare, classic
and obscure tracks released in the
early days of rap.

Soul Jazz Records are releasing this latest Studio One compilation which features non-step 100% stone-cold classic Studio One killers! Spanning 40 years of the legendary label, this album is a fitting tribute to Clement "Sir Coxsone" Dodd and is a who's who of Jamaicaan Reggae.

Repress!

Ska, rocksteady, funky reggae, roots, dub mixes, disco mixes, they're all here from the queens of the Jamaican music scene - Studio One Women features a wide mix of classics and obscurities from the finest female voices in reggae.

Until now most of these tracks have only ever been available as extremely hard to find Jamaican 7" and 12" singles and even if you were lucky enough to find them they'd cost you a small fortune

Marcia Griffiths and Rita Marley (here with her first group The Soulettes) are two of Jamaica's most famous female singers hugely popular today. Both these artists became internationally famous as The I – Threes (along with Judy Mowatt), Bob Marley's backing singers alongside The Wailers. Also featured are Hortense Ellis, sister of Alton who cut many smash hits on the island, and Jennifer Lara, a lady who had a long career with Studio One, singing on countless sides.

Studio One is the greatest label in the history of reggae and is the foundation of all reggae music. It's where virtually every world renowned Jamaican superstar started out, Bob Marley and The Wailers included. Under the guidance of the legendary Clement Coxsone Dodd the musicians at Studio One recorded hundreds of instrumental rhythms which still provide the backbone for many of the records made in Jamaica today.

Jackie Mittoo is one of the defining figureheads of reggae music!
From forming The Skatalites, at age 15, alongside Don Drummond, Roland Alphonso, Tommy McCook and others, to his work as writer, arranger, producer at Studio One records during the sixties,
writing and playing for artists such as Alton Ellis, Ken Boothe, Marcia Griffiths and The Heptones (to name a few), to his career as a solo artist as well as leader of bands such as The Soul Brothers, Soul
Vendors and The Sound Dimension, Jackie Mittoo is at the heart of reggae music. He was one of the instigators of Ska, Rocksteady and Reggae. In the seventies, DJ music and Dancehall were based
upon classic rhythms of the sixties, many using the instrumental tracks that Jackie Mittoo created at Studio One at this time.

Dub techno don Steve O'Sullivan's Mosaic label is back with a new dubs series and vol 1 kicks things off with a real doozy on lovely red wax. The boss himself offers up a Bluetrain special edition dub of Hidden Sequence's 'Synapse' which is all icy lines and liquid rhythms which make you think of some frozen lake on a misty morning. Sub Basics (Temple of Sound, Lion Charge Records) opens up with a fresh dub laden track with rippling chords, tons of echo and rolling drums on 'Quarters.' Both are timeless dub outings, as you would expect from this label.

In 2019, Snorkel Records had the pleasure of sharing their lost classic "Riders". And now, finally, all planets are aligned for what will become dibidim's future album classic "Superheaven". Soon it will be visible to the naked eye, starting on the western horizon and moving upward and eastward, in the form of a limited-edition 180-gram vinyl record.

STUNNING HEAVY NEW ALBUM! Sounds like Can meets Hawkwind!

Unbelievably killer and super, super heavy brand new Psychedelic Rock/Krautrock album coming out of nowhere from the group Brown Spirits, new on Soul Jazz Records!

Brown Spirits are from Melbourne, Australia. Their stripped down and tight musical unit is a trio (think Cream or Hendrix!) of raw bass, drums and shared guitar/keyboards meets the D-I-Y attitude and punk/post-punk intensity giving them a unique hi-octane sound.

Includes the full length versions of both singles.

With a range of influences that range from Neu! to Soft Machine, Gang of Four, Miles Davis, Hendrix, Argent, Lonnie Liston Smith, King Crimson and beyond, their powerfully progressive hard and hypnotic sound is truly unforgettable.

After two exclusive 100-pressing white label 45s sold out in less 30-mins, Soul Jazz Records are now releasing this their first album for the label.

Like their labelmates Trees Speak, Brown Spirits have a love all things Krautrock - mixed with an overwhelmingly powerful lo-fi psych and punk attitude. The album features super heavy and raw drums, tough basslines, heavy fuzzed-out wah and psyche guitar and analog moog synthesizers, all recorded on analogue ¼ inch tape.

La Escuela Moderna launches with a retrospective revisiting the UK electro and breaks scene at the turn of the millennium. A double album featuring eight tracks, Tactical Shifts covers the years 1995 - 2003, presenting a vibrant era celebrating the creativity and innovation that characterised this pivotal era in British electronic music.

The compilation opens with the starry-eyed Ayemooth, an early transmission from The Wee Paton (The Wee Djs, Distorto). Followed up by The Illistines channelling the free spirited Castlemorton. Re-Incarnated sees the trio on a percussive funk roll. Opening the B-side, System UCS (Neil Keating and Harold Slater) provide a growling electro track with Memory Trace, first released on Break/Flow. The first record closes with a rugged breakbeat number by Milo Smee AKA Kruton.

Rag and Bone co-founder NoYeahNo opens the B-side with the rollicking Pushing Percussion, an early entry in the seminal label. Nick Philphin and John O'Donnell's Orphic project brings the relentless beat science of Obvious Intruder. Lunar builds momentum with the bleepy breaks of Orbiting Ganymede and Phil Holmberg AKA Schematix wraps up the comp with the sinuous pads of Magnum Six.

Loek Frey's Add Interaction is an exercise in damp, eerie atmospherics and intricate drum patterns. Released through Omen Wapta, the Dutch producer gets experimental through drum and bass, IDM and breakbeat deconstructed with unexpected tempo shifts and effects. Produced during the pandemic, the EP conjures loneliness, solitude and unfamiliarity. Expect tunneling, meditative, low-end structures fit for a journey through the earth's layers down to its core. And expansive, pearlescent vocals evoking spiritual bodies. Soundscape-leaning IDM weave into polyrhythms and muted breakbeats. Frey's release positions him as a teacher of brooding textures. The unpredictability can draw you deep into the sonic abyss -- if you let it.

It has been some five years since US ambient maestro zake dropped the first volume of his Orchestral Tape Studies. We're glad to finally have the second instalment in the series available because there has rarely been music as cathartic and soothing as this on our shelves. It's made from drones, field recordings and richly layered movements of fragmented orchestral loops.

It is heavily inspired by the sound of the greatest minimalist symphonic composers and orchestras of the last 100 years and comes in several different colours.

This version is a transparent rose vinyl LP and download code.

New double LP by new face Mandrake on ever-reliable Bunker. Emotive & gloomy synth-scapes that sound like a score to a movie that never was nor will be.

New double LP by new face Mandrake on ever-reliable Bunker. Emotive & gloomy synth-scapes that sound like a score to a movie that never was nor will be.

Three timeless tracks from the esteemed D.C. LaRue back catalogue get brand new remixes from three equally exciting producers to give a modern spin to these ‘70s classics.

LaRue joined the music industry by recording two top 40 pop records influenced by the teen-idol era. In his early adulthood, he began writing songs about the fast-growing club and bar subculture he frequented where the most outcast of society’s young and marginalized could safely congregate after being ostracized in work, church, school, and often family. In this relatively brief selection of LaRue classics, contemporary remixes paradoxically bring out the timelessness of his songs, in tone, message and musicality.

First up, ‘Do You Want the Real Thing’ gets a fresh update from re-edit royalty Opolopo in the style of the lush yet sharp Motown and Philadelphia production pieces that inspired the arrangement originally, still resonates as a nightly inner dialogue or negotiation, another of LaRue’s literary signatures.

‘Let Them Dance’ greeted in its time as a one of the breakthrough moments of new music technology, is reinterpreted by Dr Packer mainly with its live acoustic tracks, also retaining bright, rhythmic synthesizer hooks with results that are still true to his intentionally oblique lyric, a novelistic portrayal of the drug dealers, the LGBTQ+ underground community, and the powerful upper class elite that made up the multi-racial, socially integrated crowds on the dance floors at the height of disco.

Last up, ‘Indiscreet’ from LaRue’s 1976 concept album, ‘The Tea Dance,’ tells much of the story about how disco had already birthed its own far more popular and influential successor form, Hip-Hop, by the time it was declared dead by the superannuated establishments of the radio, media, and record businesses. Released in a highly limited, personally inscribed 12-inch 45 rpm edition for a select list of top disco DJs, its complex, elastic polyrhythm made it as irresistible to younger black DJs and breakdancing teens as any of the year’s other big street breakouts. Only Good Vibes Music head honchos and Scotland’s finest The Knutsens give it the magic touch for the modern dancefloor.

2023 Repress

Len Faki: Many thanks for sending the promo. Favorites Distillery and will test it on tour.
Whyt Noyz: Listened to your track and it really doesn't hold back, stomping! I dig how relentless it is...
Florian Meindl: Griessmuhle is cool man!
Thomas hebler: Thanks bro! Good Stuff :)
Charlotte De Witte: Strong underground vibes going on here, amai.
Mark Fanciulli: Thanks for sending the music over. My favourite of the 2 is "Distillery". Great track and a great name.
Marc Holzer: KILLER track!
Dave Clarke: Support
Dimitri Andreas: NICE! vet en vuil!
Oliver Deutschmann:'Griessmuhle' is amazing!
DanceTrippin: Griessmuhle is my favorite
Groove Magazine: Two bangers

Label by Emmanuel Top: FoKaLM
FK002

“Session Victim debut on Rhythm Section Intl with an EP of understated but highly effective jazzy house rollers“

Having cemented themselves as firm favourites on the Rhythm Section dance-floor over the years, the German duo step forward to present their debut EP on the South London label: “ Basic Instinct”.

Known for their unparalleled energy when performing live or DJing, Hauke and Matthias fly the flag for sample based, soulful house music and a commitment to the art of vinyl DJing. With the never- ending search for the perfect beat at the core of what they do, it was no surprise they found a deep affinity with Rhythm Section INTL over years of playing for each other, jamming in the studio and crossing paths at festivals and airports around the world. In short, this record was an inevitable culmination of two passionate, like minded groups, a match made in Heaven and a long time coming!

Despite hailing from the techno meccas of Berlin and Hamburg, Session Victim are direct descendants of the German Jazzy House masters, tracing inspiration from the likes of Jazzanova, Soulphiction & Compost Records - the likes of which have gone on to inspire a renaissance of this more soulful sound in German clubs, spearheaded by labels like Tartelet and Toy Tonics - the latter of which the duo recently released an EP with.

This latest effort on Rhythm Section INTL is a masterclass in restraint, demonstrating a deep understanding of dancefloor dynamics, putting the maxim ‘less is more’ to great effect. The
opening track, ‘Trying To Make it Home’ is the most immediately engaging cut: a double bass riff drives along a Kerri Chandler-esque filtered piano pattern which gives way to a soaring Gospel

Vocal , allowing the groove to take control as flutes, strings and occasional guitar licks meander in and out of the mix to create a real ‘heads down, arms up’ moment for the dancefloor.

The state51 Conspiracy is proud to announce Wacław Zimpel’s long-awaited fourth solo album, ‘Train Spotter’, due for release on 31 March 2023 on state51 Records.

In the seven years since the release of his debut solo album, ‘Lines’, Wacław Zimpel has developed from his idiosyncratic approach to jazz to growing into a potent and inventive force in the field of electronic music.

‘Train Spotter’ was created for a specific brief from The City of Warsaw: to capture the Sound of the City of Warsaw. But, as Zimpel soon found out, the sounds of a city don’t exist in isolation; they’re part of a wider environment that is itself undergoing upheaval against a background of internal and external forces.

“Train Spotter is about my experience of a city that recently went through a pandemic, endless anti-government demonstrations against human rights violations against women’s right to choose and the LGBTQ community, as well as waves of war refugees from Ukraine and the extraordinary solidarity of people willing to help and unite across political divides to help others in need.”

Spread over six tracks, the manipulated samples are blended with Zimpel’s own electronic production flourishes and playing to create a seamless blend that’s uniquely his. Recording a variety of mechanised and repetitive sounds including tramlines, baggage carousels and bouncing basketballs in municipal parks among many other found sources, Zimpel fed the results through a host electronic equipment including synthesisers, keyboards and plug-ins.

For all its production methods, ‘Train Spotter’ bears an organic warmth that reflects the city that inspired it. But what also adds to the sonic intrigue is a rise in intensity within each of the individual tracks that themselves become ever more forceful as the album continues.

The first release from GREED singles club: Grove - Sound of the Underground.

“I whipped up this evil Bristol-soaked, bashment-heavy edition cover while touring, and have been playing it out at festivals throughout Europe, inspiring big queer mosh pits and walls of death.”

Grove have released a cover of the pop classic, “Sound of The Underground” by Girls Aloud. This is the first release under The state51 Conspiracy singles club and is available digitally and on limited edition 7” vinyl.

Doubling down on the D’n’B stylings of the original and adding a bashment twist, Grove moves the song into a propulsive new territory. The bass hits that extra bit harder, the lyrics given an extra sense of bite and bounce.

Super limited edition 300 vinyl

A seismic, cinematic double dose from two sonic veterans with previous in Wire, Electrelane, and Better Corners. MEMORIALS’ kaleidoscopic debut covers broad musical territory, encompassing protest songs, fuzz-flooded pop, searing drone, and psychedelic freakouts whilst carving out a sound that is uniquely their own.

Both halves of this dynamic double album were originally conceived as individual film soundtracks but once the multi-instrumental duo of Verity Susan & Matthew Simms brought ‘Music For Film’ into a live space, the desire to shape it into a cohesive whole was more than they could resist. The resulting, intoxicating, musical odyssey can be viewed independently from the associated films and stands proudly as an ambitious artistic statement.

“The music we like and admire ranges from challenging to really tuneful, and we try to bring all that together in a way that sounds natural.” - MEMORIALS

‘Music For Film: Tramps! & Women Against The Bomb’ – is scheduled for release on May 12th 2023 via The state51 Conspiracy. The limited double LP (500 only) comes in an embossed reverse board sleeve and indie shop editions will also include an exclusive poster.

"Bastian Epple makes an eagerly anticipated return to marionette under his elusive MinaeMinae guise that imagines rich sonic architectures for the journeying spirit to voyage to. Räumlichkeit is Epple’s debut album and third release to date following Gestrüpp from 2020, venturing further into melodic electronic nostalgia and percussive beat oriented soundscapes.

Growing up in a small village in southern Germany, Bastian Epple was never interested in kitschy folk sounds, rather he took solace in the time he would spend meditating to repetitive and hypnotic patterns. His guitar strumming and what sounded to his mother like a young Philip Glass on a cheap Casio keyboard encouraged little Epple to tread on this self-taught path of developing his own musical language. This led him to start experimenting with a tape recorder and layering sounds with non-musical samples to eventually working with a DAW.

Bastian went on to study Media Art at the Center for Art and Media (ZKM) in Karlsruhe and graduated with a diploma in film and documentary media - where he now works as a freelance filmmaker and lecturer at Stuttgart Media University. However, this never stopped him from creating and playing with wide-eyed sounds, eventually amassing a vast collection of tunes and finally emerging from this anonymity.

Utilizing modular synth, self made tape echos, synthetic sounds, recordings of ethnic percussion and guitar, MinaeMinae understands musical material similar to documentary footage which he would splice, repitch, and rearrange intuitively into captivating worlds."

On their sophomore effort Tusky, surrealist duet Robbie & Mona ascend beyond the lo-fi scrawlings of their debut album to something altogether more grandiose. Between the lights down drama of sprawling opener ‘Sensation’, to the ‘roll credits’ coda of closer ‘Always Gonna Be A Dead Man’, Tusky exists as a glitzy, lucid journey playing out before the listener.
While debut album EW captured William Carkeet and Ellie Gray as they were finding their feet with one another, creating Tusky was a wholly symbiotic process from day one. “We got better at knowing what each other wanted,” William offers. “This was the album that we were trying to make from the beginning.”

Simultaneously evoking multiple eras of music, the album drifts through worlds of synth pop, jazz, trap, drill, ballroom waltz and leftfield electronica, with the scatterbrain sound palette melded by a peppering of instrumental motifs and William’s addiction to sampling sounds across multiple tracks. “I wanted there to be this weird dimensional thing going on,” William explains, “where songs from the album are playing in multiple places.”

The record sees an expansive cast of musicians assembled, with a much heavier focus on live instrumentation than previous outings. Alongside the expected fare of crackly synths, samplers and drum machines, Tusky gets its glossy sheen from a rich tapestry of jazz drums, double bass, grand piano and saxophone.

Most of the tracks are laden with improvised saxophone from Campbell Baum (Sorry, Broadside Hacks) and Ben Vince (Housewives, Joy Orbison), much of which was scrambled by William in post-production, lifting scraps from one song and layering them atop an entirely different track. Elsewhere, session musicians were cherry picked, including Bingo Fury, his drummer Henry Terrett, and a string ensemble led by Caelia Lunniss and Jo Silverston (Spindle Ensemble).

Most surprising is a rap feature from Monika (of South-East London collective Nukuluk), who brings album centrepiece ‘Mildred’ to new heights with a fiery verse on pain. Aside from being the most unlikely addendum to a sombre piano ballad, it demonstrates Robbie & Mona’s natural state of playfulness, forever following emotions and sensuality over any notion of traditional compositional boundaries.
Many of Tusky's tracks owe their inception to cinema, be it the soundtrack to Betty Blue, the glowing films of Wim Wenders, or the surprising parallels between La Belle Et La Bete and Bad Boys. Equally, much of Robbie & Mona's new-found sense of tension and spectacle comes from William’s recent work soundtracking independent filmmakers, while Ellie gave greater priority to threading a narrative through her stream of consciousness writing style.

In all its majesty, Tusky celebrates creativity with creation. “If you begin to see fiction as real, you can reincarnate and become different things. You can grow,” Ellie implores. “Nothing stays the same. You can shed old characters in yourself. There’s great joy in that.”

Foundation music are proud to present our second project with the formidable talent that is Crooked Man aka Parrot, known to his mother as Richard Barratt.

The DJ turned producer from Sheffield, founder and resident at the seminal Jive Turkey night, member of Warp’s Sweet Exorcist, musical partner with the late great Richard H Kirk (Cabaret Voltaire), producer to such maverick talents as Roisin Murphy and Add N to X, longtime Jarvis Cocker collaborator and remixer to a myriad of artists over several decades.

More recently, Parrot's project with internationally renowned Jazz singer Lady Blackbird, Athletes Of God, released two singles on Foundation Music ‘Don’t Want To Be Normal’ and the clubland hit ‘Fontella’ that were both playlisted by 6Music.

Lady Blackbird now flies the nest, with the divine Earth Angel swooping into her place. A seminal, reclusive, heavenly voiced singer, also from Yorkshire and with deep roots in the soul and dub scenes… And no, it's not Lisa Stansfield!

A project that has its roots way back in the Sheffield’s Blues parties and Jive Turkey itself. The club being a home to all forms of exciting new Black music, from ’85 through to the early days of the UK’s dance explosion. It sees Parrot take all that he has achieved, written and learnt over the years at the cutting edge of electronic, dance-inflected, production and DJing returning to those heady days of down tempo, body moving, speaker shaking music that would move the British underground soul/funk scene in the mid to late 80’s.

Call it 'street soul', '80’s soul', 'electro soul'… Earth Angel is all of those things but it is also very firmly rooted in the NOW! Not some retro pastiche, it incorporates so much more. With elements of techno, bleep, dub and any other studio trickery that Parrot cares to employ in order to suck you into Earth Angels’ druggy, hypnotic, sexy, “Mogadon Soul”. A four songed, eight tracked vinyl EP, featuring some classic songwriting from the glory days of soul and Crooked Man’s bass heavy electronic rhythms.

Welcome to the heavenly world of Earth Angel, the journey starts here.


DJ Support:

Luke Una, Ross Allen, Sean Johnson (ALFOS) & Kebal.

We are super excited to present this third slice of exclusive and brand new music from friends and family of the label. We hope you love these big orange slabs of vinyl as much as we do.

Volume 3 takes another deep dive into the diverse range of styles that we love here at SB. Ranging from disco and soul tinged house, to some deeper goodness and on to raunchy acid and techy stompers. Everything you would expect to hear at any one of our parties.

As always a huge thank you to all the incredible artists who’ve contributed to this edition. These wouldn’t happen without you… Now grab your mates, stick these tunes on loud, and DANCE!

What can't be said about Funki Porcini. From doing Film scores to the surreal live performances with his recent 'Laserium' tour.

An Incredible album of weird & wonderful ridiculousness. An exclusive first time on vinyl, collection of Funki's Famous Fat ones. A fusion of downtempo to eclectic jazz cuts & horns with b-boy latin funk breaks with elements of blissfull strings & melodies throughout.

Funki Porcini delivers his most Incredible vinyl, buffed & ready to play. The most joy you will have with a 12" since 'Lets See What Carmen Can Do'.

Cosmic afterburners dialled up to the max, Pamela Records voyage out to the ends of existence with their latest four track trip from Jo Sims. Taking the lead leap of faith is esteemed producer, remixer and DJ David Holmes, who provides a signature cinematic remix of the title track ‘Bass – The Final Frontier’. Like the climax of a sci fi space odyssey, Holmes molds the track into a synthtastic epic with otherworldly vocal refrains ringing around your brain and body. The original mix is up next, a new beat flexing stomper that will have any crowd begging for more.

Flip it for darker, twisted chugathon in the form of ‘Demons Of Dance’ before the trip hop tinged, downtempo delight with a distinctly space age touch ‘Mumbo Jumbo’, takes the final slot.

DJ Feedback:

AXEL BOMAN
Ouff amazing 12" !!!!!!! love love love it

JD TWITCH/ OPTIMO
Excellent stuff!

RON BASEJAM
Ruddy hell, Holmes with the spirit of weathers. love the hi-fi mixdown too, the music providing the power. epic.

JACQUES RENAULT / LETS PLAY HOUSE
Wow, demons of dance and the final frontier...killer 4 tracker

HOT TODDY/ CRAZY P
The David Holmes mix is superb!

EDDIE C/ RED MOTORBIKE
I love this!! The David Holmes Remix is outstanding!

JUSTIN ROBERTSON
Loving this very much

MAKE A DANCE
Huge yes from me. Loved the first release on this label so nice to see it back with more fire

PBR STREETGANG
Really feeling this e.p. every track is strong, and the DH remix is stunning. Can’t wait to play them out.

JKRIV / RAZOR-N-TAPE
I really like the machine boogie vibe of the original Bass and that remix really takes its time and builds to a beautiful peak. All winners here

SUB CLUB HARRI
Lovely stuff

LEO MAS/ AMNESIA
The Final Frontier (David Holmes Rmx) is great, love it

JAYE WARD
YES!!! Glad there’s another Pamela! David Holmes mix is deep and lustrous.. REALLY love the OG’s tougher more dance orientated version.. love the other two tracks too especially mumbo jumbo.. brilliant release!!!

It is with honour & pleasure that we present to you the return of one of the finest in game! Active since god-knows-when, and equally known as artist, label owner, event promoter and all-round champion of all that’s right and proper, Semtek has cast a long shadow in the electronic underground over the past two decades.

Ever the mercurial savant, Benji distils a wide range of influences that have shaped his various endeavours on his first 12” for us: from the darkside revivalism of DJ Persuasion through to the raw productions of L.M.Y.E, and even down to his earliest productions on DBA. RAD-SEM1 is two tracks of ice-cold club cuts that capture the chilly futurism of second wave Detroit Techno, the sparser fringes of UKG and the abyssal soundscapes of late 90s DnB. But as is characteristic of Semtek’s output, always far greater than the sum of its parts.

RNT welcomes Amy Douglas to their ever-growing lineup of illustrious talent with a double A-side 7" of pulsating, Rough-N-Tumble NYC Disco.

Known to the heads as a voice and pen behind Horse Meat Disco, Roisín Murphy, and as the face of HARD FEELINGS (her project with Hot Chip’s Joe Goddard), Amy’s distinctive vocal swagger and songwriting talent are on full display on this EP. Co-written with and produced by RNT co-honcho JKriv, both tracks are bass heavy instant earworms, and wickedly naughty party starters.

Grab this pair of future modern disco classics, conceived by a pair of experienced dance-floor auteurs.

What’s happening in the streets? This right here, a celebrated engineer Yas Inoue and Dj Takaya Nagase come together in the studio and rework the Voltage Brothers rare groove jam “Happening In the Streets” with a cleverly put together edit with filters, effects and sonically tweaking it to perfection. They've created a perfect dance floor masterpiece already championed by Louie Vega, Joe Claussell, Spinna, Mike Dunn, and Rich Medina. This choon has everyone in anticipation for it’s release.

Japanese sound engineer Yas Inoue, based in New York began his career in the world renowned Maw Studios in the late 90s and has engineered for producers such as Masters At Work, Patrick Adams, Leroy Burgess, and Randy Muller contributing to the creation of various New York house and disco hits.

Takaya Nagase, a New York based Japanese Dj started as an A&R for Japanese record label Soundmen On Wax. He learned and studied under the great David Mancuso of the Loft Party NYC and later held his own Joy parties along with other Loft members. Having had regular gigs at Club Shelter from 2006 to 2007 and at Club Output from 2017 until the closing in 2019, he built his dj chops and now currently djs at New York City's top venues such as Le Bain, Good Room and Nowadays along with monthly shows on the famed Lot Radio in Brooklyn.

Together they are Domo Domo and with their first project on Vega Records they are on their way to becoming New York household names in the dance music industry. Look out for “Happening In The Streets” coming soon at all digital and streaming outlets with vinyl releases on 12” and 7”. Lookout everyone, this one’s a sure HIT!!!

Domina TRXXX presents Kirill Junolainen aka Konerytmi - Teoreema EP
Big retro release - not only for the lovers of good old Gigolo Records!

Detroit's John Beltran can do no wrong if you ask us, and what he does do is always famously varied, from sound design for TV to melodic techno excellence via ambient beauty. Here for MotorCity Wine he revisits his Back To Bahia series with a third volume that finds him flexing his Afro-Brazilian deep house chops. The 7" opens up with the jazzy boogie of Lsaura' which is steeped in Minneapolis funk and will get cultured dancefloors in a spin. 'As The Sunsets' that appears on the flip and is a superbly emotive sound with wispy late night melodies and glowing harmonies and shuffling Latin grooves. Essential.

'BATSUMI’s 1974 classic. Repressed at Pallas in Germany on 180g black vinyl. Cover printed on reverse board and includes printed inner sleeve with liner notes from Francis Gooding. Initial copies shipped with exclusive 30cm x 30cm print of Batsumi performing in 1974.

Batsumi is a masterpiece of spiritualised afro-jazz, and a prodigious singularity in the South African jazz canon. There is nothing else on record from the period that has the deep, resonant urgency of the Batsumi sound, a reverb-drenched, formidably focused pulse, underpinned by the tight-locked interplay of traditional and trap drums, and pushed on by the throb of Zulu Bidi’s mesmeric bass figures. The warm notes of Johnny Mothopeng’s guitar complete a soundscape that is at once closely packed with sonic texture and simultaneously vibrating with open space, and in whose shimmer and haze Themba Koyana and Tom Masemola soar. A sonorous echo emanating from an ancient well, reverberant with jazz ghosts and warmed by the heat of soul and pop, Batsumi is nothing short of revelatory.

Many groups from this period did not issue recordings at all, and Batsumi are unusual in even having left an official recorded legacy. Out of print since the 1970s, and never issued outside of South African in its entirety, Batsumi is a landmark South African jazz recording, and a key musical document of its time.'

Circles is the sixth and final studio album by Mac Miller. Conceived as a sister album to 2018's full length Swimming, the album was completed with the assistance of Jon Brion, with whom Miller worked on Swimming and had been working together on Circles at the time of his passing. While sonically distinctly different than its predecessor, Circles features many of the hallmarks for which Swimming was critically-acclaimed upon its release -- Miller further realizing his singing voice in addition to rapping, live instrumentation and earnest, confessional lyrical content. Listeners will hear shades of some of the album's influences in its songs, from the T-Rex guitar tone of "Surf" to the Plastic Ono Band-era John Lennon feel of its production and the inspired cover of Arthur Lee's 1972 single "Everybody's Gotta Live." It's a momentous final entry into the discography of an artist that remains at the centre of reimagining the limits of rap.

'Since 2018, João Pais Filipe (drums) and Burnt Friedman (electronics/synth) have investigated into automatic pattern–composition rooted in doubling and halving; the unimpeachable laws of motion. The offer of freedom can be seen as a way to get in touch with necessity.

On "Mechanics Of Waving" the attempt is made to succumb to such a mode of action, the drilling of a method, not through individual cunning or displayed musicianship.

Through constant practise Friedman & Pais discover the principles of rhythmic phenomena while dis–associating the music from cultural idioms. Inspired by rare infrasound–ratios ranging from 11 to 23, Nonplace releases the results of a 4 years long operation.'

Drums recorded and engineered by José Arantes.
Mastered by Kassian Troyer, Dubplates & Mastering.

Will Hofbauer brings his unique, playful take on UK club music to Facta and K-LONE’s Wisdom Teeth imprint. Previously appearing on Rinse Recordings, Rhythm Section and his own label, Third Place, Will has already gained a cult reputation for producing tried-and-tested club weapons, with fans including Ben UFO, Moxie, Danielle and OK Williams. Arriving on Wisdom Teeth, he presents his most accomplished and complete work to date, spanning a variety of moods to suit a range of dancefloors. The EP opens with ‘Hiccups’ - a mischievous club heater that borrows from the gulliest ends of electro and UKG to forge a winking, gunfinger-inducing bassline banger. This one has been doing the rounds in select circles in recent months and has passed all checks and balances with flying colours. Next up, ‘Subtracting The Egg’ flips the script and strips things right back to to the bare essentials: a reduced beat and a warping sub-bassline - because what else is needed, really? On the flip, the title track provides the record’s most straight-up club moment: a 4x4 house smasher with a mammoth low-end that underpins a whirring cacophony of warping synths and dubbed-out drum fills. To close, ‘Crow’ drops the tempo back down to a low-slung, humid crawl.

For the very first 7’’ of the label, La Freak reissued this very sought after disco gem recorded in Quebec by the one and only Nina Dunn. Inimitable voice (she was vocalist for legends like Zachary Richards), "Stay and Dance" is a clavinet, strings and horns arrangement masterclass, that won’t leave your 45's bag!

Amsterdam based musician/producer Djosa (long time band member of Arp Frique & The Family) joins the Rush Hour Store Jams imprint with two uplifting songs. The legendary Ronald Snijders is featured on ''Vampiro" with whom he (together with Arp Frique) made the documentary Easy Man and the album The Nelson & Djosa Sessions. TIP!

Please note: Due to an unfortunate production mistake, the tracklisting on the labels and sleeve are in the wrong order. The correct order is: A. Botanica Obscura and B: Vampiro (feat. Ronald Snijders).

2023er LP Nachpressung auf schwarzem Vinyl! Nach eigenen Angaben verbrachten Gitarrist Mike Sullivan und Drummer Daniel Turncrantz eine gewisse Zeit in amerikanischen Nationalparks und fuhren durch Berglandschaften, als sie "Station" aufnahmen. Ihr Album klingt auch entsprechend episch, monumental und besitzt eine unglaubliche Tiefe. Sullivan und Turncrantz bekamen prominente Unterstützung vom THESE ARMS ARE SNAKES/BOTCH Bassisten Brian Cook, während sich Morgan Henderson von den BLOOD BROTHERS (R.I.P.) auf "Xavii" dem Kontrabass annimmt. Aufgenommen in Seattle von Mastermind Matt Bayles (ISIS, MASTODON, MINUS THE BEAR), verpasste er der Band diesen intensiven und beeindruckenden Klang und achtete gleichzeitig darauf, dass "Station" den Namen Album auch wirklich verdiente: ein kohärentes Werk, vom ersten Lied Campaign bis zum letzten Lied mit Double Bass Xavii. Insgesamt sechs Stücke befinden sich auf "Station" und es ist ohne Untertreibung instrumentaler Postrock at its best! Ein echtes Kunstwerk. Gegründet 2004 haben RUSSIAN CIRCLES von Anfang an mit Versatzstücken des Metal, Elementen des Minimal Jazz und kryptischen Riffs, die so klangen, als sei ein Komet in einer Großstadt eingeschlagen, verwirrt, polarisiert und unendlich verzückt. Ihre Musik verwebt einen Teppich aus intensivsten cinematischen Eindrücken, der einem auf der einen Seite mit seiner Härte den Boden unter den Füßen wegzieht, es auf der anderen Seite aber auch versteht, den Aufprall zu bremsen und für Kopfkino ohne Gleichen sorgt. "Enter", ihr Debüt von 2006, bescherte RUSSIAN CIRCLES Shows mit Größen wie TOOL, DALEK, DAUGHTERS und PELICAN. RUSSIAN CIRCLES setzen mit "Station" genau dort an, wo sie mit "Enter" aufhörten, erschließen sich aber gleichzeitig einen neuen Weg in die musikalische Tundra, um Kopf und Körper mitzuziehen und nicht nur dem Jahre 2008, sondern der ganzen Musikgeschichte ihren Stempel aufzudrücken.