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STEAL VYBE revises the beloved soul classic “IT SEEMS TO HANG ON” by ASHFORD & SIMPSON with STEPHANIE RENEE & CHRIS DOCKINS. This Disco anthem is filled with colorful riffs & melodies that will give your spirit chills & connect you to the music. Includes 3 different mixes!

Much like its predecessor, In Decay, the 2014 compilation of unreleased, early Com Truise recordings, In Decay, Too unlocks a new set of rarities and unheard fragments from the past for the producer's legion of fans. To accomplish such a feat, the Com camp tapped the Internet's foremost Com Truise archivist, Polychora (formerly Comrade), whose YouTube channel has diligently documented Seth Haley's musical output since his earliest Komputer Cast (Haley's podcast mix series) days. Polychora's vault and input helped Haley and the team locate and curate the ultimate sequence of career-spanning off-album material, showcasing an artist in perpetual orbit of hazy machinist nostalgia. Haley's singular style of melodic beat music is the work of countless iterations; with In Decay, Too, his idiosyncratic exercises, experiments, and pivots pause for a rightful wave of appreciation. Following the smeared introductory tones of "Zeta," the album locks into its first robotic groove on "Compress_ Fuse," a trademark Truise treatment with cascading synth lines and deep, sinister low-end bass stabs. Further down is the suspiciously bright "False Ascendancy," which lures listeners through a labyrinth of drum patterns and siren-like keys, all colliding into "Constant Fracture." The track pushes to the point of stress, reaching the album's apex with a punishing series of blows before fading to relief, where the beatless and contemplative "Trajectory" awaits. In 2019, Com Truise left his previous sci-fi narratives behind for the visceral Persuasion System, a markedly more human record, which now makes In Decay, Too something like a bookend to an era. One last transmission from coordinates unknown; a culminating exhale ahead of what's still yet to come.

D Leria debuts on Avian.

Giuseppe Scaccia shows his range on a new six track EP, arriving late 2020.

Produced diligently across the last two years, the record showcases a range of styles. Tonally, the material is bound by a recognisable engineering palette – driven, but not to the point of corrosion, tight and focused in the low end with caustic, percussive synth patches driving much of the more dance floor material.

In the terms of the form, though – Scaccia draws for a disparate arrangement. Opener A Life On The Run clocks in at over 140bpm, with a demented lead synth line providing the action buoyed by a simplistic drum machine rhythm. Divergences offers a more immersive experience in terms of tempo – again letting the lead do the work, while shifting hats operate around the sonic periphery to break up the recording. On Il Giardino Degli Unicorni the artist utilises a single, staccato sequence, letting the sends do the bulk of the business with careful processing and live articulation helping to build the intensity. On the flip, pulsing workout Noises from The Room develops surreptitiously over its run time – fathoms deep kicks are submerged under a heated sequence and Red Flowers, an exercise in careful reduction reintroduces a little musicality to the record, before warping closer Tribalism places the listener back on the dance floor with a half-time rhythm driving the droning sound design.

A careful meeting point at which the multiple styles that underpin Scaccia’s D Leria project meet, Still Standing offers insight into how future work might manifest whilst remaining a valuable document on the current state of both left field Techno music and the artist’s own creative identity.

Much like its predecessor, In Decay, the 2014 compilation of unreleased, early Com Truise recordings, In Decay, Too unlocks a new set of rarities and unheard fragments from the past for the producer's legion of fans. To accomplish such a feat, the Com camp tapped the Internet's foremost Com Truise archivist, Polychora (formerly Comrade), whose YouTube channel has diligently documented Seth Haley's musical output since his earliest Komputer Cast (Haley's podcast mix series) days. Polychora's vault and input helped Haley and the team locate and curate the ultimate sequence of career-spanning off-album material, showcasing an artist in perpetual orbit of hazy machinist nostalgia. Haley's singular style of melodic beat music is the work of countless iterations; with In Decay, Too, his idiosyncratic exercises, experiments, and pivots pause for a rightful wave of appreciation. Following the smeared introductory tones of "Zeta," the album locks into its first robotic groove on "Compress_ Fuse," a trademark Truise treatment with cascading synth lines and deep, sinister low-end bass stabs. Further down is the suspiciously bright "False Ascendancy," which lures listeners through a labyrinth of drum patterns and siren-like keys, all colliding into "Constant Fracture." The track pushes to the point of stress, reaching the album's apex with a punishing series of blows before fading to relief, where the beatless and contemplative "Trajectory" awaits. In 2019, Com Truise left his previous sci-fi narratives behind for the visceral Persuasion System, a markedly more human record, which now makes In Decay, Too something like a bookend to an era. One last transmission from coordinates unknown; a culminating exhale ahead of what's still yet to come.

The Mighty Jah Stitch was a legend in Jamaica, making the move as so many ghetto youth’s have tried from Bad Man to Music Man. Jah Stitch embraced the DJ Culture that he himself was an integral part of.
He put not one but two musical stamps on the format. His initial Big Youth sounding chants grew from working alongside the man on the mic. The second almost spoken vibe came about after a well documented incident that led to him being shot .He lived to tell the tale and cut some of the finest Roots DJ cuts, with his new vocal style that many copied but few have surpassed.

We have selected some of his best known tracks to show the knack of working a killer rhythm and dubbed vocal with an almost call and response story telling style.
The opening and title track to this set ‘Dread Inna Jamdown’ sees him working over John Holt’s ‘In The Springtime’.
The second cut ‘Dem Seek Natty Everywhere’ works another John Holt classic ‘Forgot to Say I Love You’.

After some hits in the 1970’s, the 1980’s would see a short name change to Major Stitch.
But we feel that his best loved monicker Jah Stitch serves the man well.
So sit back and enjoy some fine DJ Cuts

No Dread Can’t Dead…Jah Stitch R.I.P

In these dark times of Covid we still have our music. We have the sounds to soothe us, distract and take our minds away from the chaos and uncertainty.
We can't dance like we used to but we can hear and feel. Our release must be found in another way, we must look within. We find solace and grant ourselves space and time in the music.

Sam McQueen (Indio co-producer with John Beltran, Indigo Aera, Delsin Records, Furthur Electronix) presents his debut album Dreams In Sepia for Mojuba sub label a.r.t.less and hits us with a real time soundscape of the moment, an epic-like document of these times. The rhythms are subtle, sometimes broken, the time structures often complex, this is not primarily dance floor orientated music. These sounds are way more cerebral, for the heads. They reflect perfectly the complexities of life we are experiencing in 2020.

The edges are rounded with occasional strolling bass lines and comfy chords. Slabs of keys and spaced out female vocals like a psychedelic journey that scares you at first yet comforts you soon after. Sam McQueen's mediatory sounds give an overwhelming sense of the moment. The music makes you take time out and listen. Its purposeful manner suggests there are more hours in the day, like time slowing down a pause, like the sun slithering slowly behind the horizon. These are sunset sounds for dark back-rooms.

Daytime or night, it works. This is the soundtrack for the other room, the deeper sounds not designed to make you dance. This music doesn't get in your face, it creeps up and smacks you on the ass. There are elements of early nineties UK Techno, a warmth and delicateness that pervades a distinct lack of four four dance floor in the beat structures, a softer tone throughout than the harder Detroit techno sounds of the same era but still nods and acknowledgements to the D in the layout and way the sounds present themselves. Think John Beltran, Symbols and Instruments, Black Dog or Kirk DeGiorgio, mid 90s Berlin sounds from Basic Channel / Rhythm & Sound, but in lockdown. Music for today's modern lacking landscape. The sounds often familiar, analogue, the drums, hi hats and snares, shimmer, jazz style. They accentuate and push the rest of the elements around them.
?In a bygone era this would be crudely classed as Chill Out music. In 2020 Covid era its about how it makes you feel as you relax and really listen to it. It is about emotion and empathy, a oneness, a new unknown and a deeper train of thought for the listener. Much like 2020, Sam McQueen lays the pieces round the edge of the jigsaw and lets you fill in the rest.

This 3LP compilation documents B.B.King's breakthrough years, when, initially signed to the Bihari Brothers' RPM label, he unleashed a torrent of superb recordings that would establish him as the world's most famous blues singer-guitarist. He made scores of remarkable recordings during his career - but the ones on this compilation represent that marvelous moment in time when Riley King and Lucille combined to make their indelible mark on the history of the blues.

Catz 'n Dogz are back with album 'Moments'. Written and recorded in the midst of this crisis. Twelve tracks form the backbone to this wide-spanning sonic journey that document the highs and lows of this time. Drawn out of their comfort zone, it's safe to say this shift in their creative paradigm resonates throughout 'Moments'. Inviting you to gaze deeper inside, the album floats in a haze of dreaminess and cottony serenity. Though seemingly simple, the track titles point at themes more complex and universal that will strike a chord with every soul.

Traversed by a vaporous jazz vibe and highlighting an obvious lean towards laid-back atmospheres, 'Moments' effortlessly alternates between. Lo slung house 'Sunrise' features James Yuill, the heavy-lidded, funky bass-heavy 'Memories' and the rolling brass anthem 'Time', in collaboration with Jaw - and more doped up trip-hop-ness. 'Life', the slo-mo chugger that will get the feels on alert, the chillax of 'Nothing' and 'Love,' and the luscious 'Moment' feat. Angelika Nowak, a sample-heavy, soul jam whose naive charm will prove hard to resist, even for the stonehearted.

Catz 'n Dogz explore inwards the heart's non-spoken spheres, where the pop-infused hip-hop 'Meditate' introduces Heather Chelan. A more personal affair 'Listen' makes for a playful interlude. 'It's OK' invites you to let go of the shame at shedding tears, a memorable cut with its joyful whistling, elated guitar riffs and rousing bass.

To close off this sonic micro-odyssey, 'Tomorrow' casts a spell of positiveness. With blazing synth lines and robotised talk, unfolds an anthem for tomorrow's world. One where music holds the crucial place it's always had. So be the kids' dreams, the person they want to be in the future. Be Batman, be a firefighter, be a rock star.

Called “a killer album of funk and soul” in an internet reminiscence, Magnum’s combination of jazz and funk were advanced for their

time when the album came out originally in 1974. The sound is still fresh almost 30 years later with songwriter and vocalist Michael Greene’s groovy organ licks played against Harold Greene’s smooth bass. The eight-member group collaborates on many songs, bringing a variety of sound that ranges between sweet soul ballads and aggressive funk. Producer Cal Wade generates all the heat and light that bring to mind Tower of Power and made this a lost funky classic for a quarter century. Their small but devoted following has persistently requested the album in its original vinyl form. This remastering by Tom Moulton brings out the music digitally in its full stereo strength.

Oldies fact: Phoenix Records was a West Coast label distributed nationally by Jamie/Guyden. The label’s only two groups were Magnum and Great Expectations.

Having established himself in the UK's contemporary Jazz funk scene with a slew of high calibre releases, Dr Rubberfunk holds a reputation for quality productions surgically delivered by an accomplished multi-instrumentalist and producer.

After being hounded to join the roster in his early career, he signed to Jalapeno Records in 2008, and the years since have seen him release multiple albums, produce label artists, such as Izo FitzRoy, and be regularly called upon to bring his flair to remixes across the roster.

In 2018 he stepped back into the limelight to release a series of limited 7" singles, winning praise from fans throughout the 45s scene. This wide-ranging support led to the release of his LP 'My Life at 45' in early 2020, garnering critical acclaim from the likes of Bandcamp, BBC 6Music, Fatboy Slim and Blues & Soul Magazine, to name a few.

Now, and not a moment too soon, Dr Rubberfunk brings us a pair of outstanding beat treats from his back catalogue, pressed to 7" vinyl for the very first time. Featuring 2 tracks originally written for the 2006 Red Bull Beat Battle at the behest of Rocksteady Crew legend Mr. Wiggles, 'Come Back Breaker' & 'Beats Working' have become firm favourites with breaking crews worldwide.

Drawing on his continued influences from the sample-based collages of early cut and paste pioneers, 'Come Back Breaker' and 'Beats Working' suitably highlight the lessons learnt from that era. Coupled with the good doctor's signature drums and rolling basslines, spoken words snippets and needle-drop samples get the party started and carry it on well past bedtime.

Following the well received inclusion of Bonus Beats on all of the 'My Life At 45' series 45s, and upholding the noble drum-a-pella tradition, Dr Rubberfunk went back to his original session recordings to bring you 'Drums Working' - grab yourself two copies and keep the beats working for days!

Mini LP with insert.

The musical vagabond returns to spread his Gospel of L.O.V.E.

San “Dr.” Proper presents his third EP on Dopeness Galore with a selection of kindred sounds and spirits encountered around the earth while on tour. The result is an intriguing six-track EP that documents the musical collaborations that sparked to the pulse of cities like Casablanca, Bogota, Amsterdam and Medellin, straight back to the dungeon of Volkshotel where they fused these tracks in an Amsterdamic fashion.

“where we did some afternoon-jams alongside some after-effects to spread the gospel of sentiment and love.”

L.O.V.E. part 3 features upcoming artists such as Mr. Cruz, Bobbi, Elias Mazian, and V. Bannier as well as local musicians from studios around the world, moulding a colorful record with traditional Arabique, Latin-Americain and western influences to create that unmistakable Proper sound.

Strut present the 4CD edition of Sun Ra's 'Egypt 1971' along with the original albums 'Dark Myth Equation Visitation', 'Nidhamu' and 'Horizon' released as individual LPs, documenting Sun Ra's first trip to Egypt with his Arkestra in December 1971. In the years leading up to 1971, Sun Ra wrote many compositions and poems specifically inspired by the ancient African Kingdoms and many others with associated mythological and heliocentric connotations. As such, a visit to Egypt and the opportunity for the Arkestra to play there was a matter of necessity. Ra's first ever concerts outside of the US had occurred in late summer and autumn of 1970 with performances in France, Germany and the UK and a second European tour was arranged for late 1971. At the end of that second tour, Ra caught wind of cheap flights from Denmark to Cairo. This release comprises recordings made by Arkestra member Thomas "Bugs" Hunter made in December 1971 in the streets around the Mena House Hotel, Giza, from a concert held at the house of Goethe Institute ex-pat Hartmut Geerken in Heliopolis, from a live Cairo TV channel broadcast and a concert at the Ballon Theatre in Cairo. The impact and significance of these few weeks upon Sun Ra can be measured by the growth and development of his output over the next few years; the immediate post-Egypt period included new studio and live recordings on the Saturn, Blue Thumb, Atlantic and Impulse labels and the 'Space Is The Place' movie. Ra also edited the three LPs of the 'Live In Egypt' series which were subsequently released on his Saturn record label and its affiliated twin, Thoth Intergalactic: 'Dark Myth Equation Visitation', 'Nidhamu' and 'Horizon'. These three albums are now reissued as single LP editions in their original artwork. The 4CD set features these albums alongside previously unreleased material from the December 1971 recordings. All tracks are remastered from the original tapes and the CD set also features a 24-page booklet featuring new sleeve notes and rare photos by Hartmut Geerken and background information on the recordings by Paul Griffiths.

Strut present the 4CD edition of Sun Ra's 'Egypt 1971' along with the original albums 'Dark Myth Equation Visitation', 'Nidhamu' and 'Horizon' released as individual LPs, documenting Sun Ra's first trip to Egypt with his Arkestra in December 1971. In the years leading up to 1971, Sun Ra wrote many compositions and poems specifically inspired by the ancient African Kingdoms and many others with associated mythological and heliocentric connotations. As such, a visit to Egypt and the opportunity for the Arkestra to play there was a matter of necessity. Ra's first ever concerts outside of the US had occurred in late summer and autumn of 1970 with performances in France, Germany and the UK and a second European tour was arranged for late 1971. At the end of that second tour, Ra caught wind of cheap flights from Denmark to Cairo. This release comprises recordings made by Arkestra member Thomas "Bugs" Hunter made in December 1971 in the streets around the Mena House Hotel, Giza, from a concert held at the house of Goethe Institute ex-pat Hartmut Geerken in Heliopolis, from a live Cairo TV channel broadcast and a concert at the Ballon Theatre in Cairo. The impact and significance of these few weeks upon Sun Ra can be measured by the growth and development of his output over the next few years; the immediate post-Egypt period included new studio and live recordings on the Saturn, Blue Thumb, Atlantic and Impulse labels and the 'Space Is The Place' movie. Ra also edited the three LPs of the 'Live In Egypt' series which were subsequently released on his Saturn record label and its affiliated twin, Thoth Intergalactic: 'Dark Myth Equation Visitation', 'Nidhamu' and 'Horizon'. These three albums are now reissued as single LP editions in their original artwork. The 4CD set features these albums alongside previously unreleased material from the December 1971 recordings. All tracks are remastered from the original tapes and the CD set also features a 24-page booklet featuring new sleeve notes and rare photos by Hartmut Geerken and background information on the recordings by Paul Griffiths.

Strut present the 4CD edition of Sun Ra's 'Egypt 1971' along with the original albums 'Dark Myth Equation Visitation', 'Nidhamu' and 'Horizon' released as individual LPs, documenting Sun Ra's first trip to Egypt with his Arkestra in December 1971. In the years leading up to 1971, Sun Ra wrote many compositions and poems specifically inspired by the ancient African Kingdoms and many others with associated mythological and heliocentric connotations. As such, a visit to Egypt and the opportunity for the Arkestra to play there was a matter of necessity. Ra's first ever concerts outside of the US had occurred in late summer and autumn of 1970 with performances in France, Germany and the UK and a second European tour was arranged for late 1971. At the end of that second tour, Ra caught wind of cheap flights from Denmark to Cairo. This release comprises recordings made by Arkestra member Thomas "Bugs" Hunter made in December 1971 in the streets around the Mena House Hotel, Giza, from a concert held at the house of Goethe Institute ex-pat Hartmut Geerken in Heliopolis, from a live Cairo TV channel broadcast and a concert at the Ballon Theatre in Cairo. The impact and significance of these few weeks upon Sun Ra can be measured by the growth and development of his output over the next few years; the immediate post-Egypt period included new studio and live recordings on the Saturn, Blue Thumb, Atlantic and Impulse labels and the 'Space Is The Place' movie. Ra also edited the three LPs of the 'Live In Egypt' series which were subsequently released on his Saturn record label and its affiliated twin, Thoth Intergalactic: 'Dark Myth Equation Visitation', 'Nidhamu' and 'Horizon'. These three albums are now reissued as single LP editions in their original artwork. The 4CD set features these albums alongside previously unreleased material from the December 1971 recordings. All tracks are remastered from the original tapes and the CD set also features a 24-page booklet featuring new sleeve notes and rare photos by Hartmut Geerken and background information on the recordings by Paul Griffiths.

Complete with more gorgeous artwork from our favourite graphic designer, Animisiewasz, DP number 28 pops up offering four dance floor ready edits from one of our favourite young producers.

London based producer, multi-instrumentalist and artist Hoffy brings us five explosive disco/house monsters tailor made for when the clubs re-open and everyone goes ever so slightly nuts. With a couple of ridiculously uplifting releases on Forgot Records and a remix or two for Wah Wah 45s, of course, he knows how to move a crowd. His productions illustrate his deep love of classic (but never cheesy) disco, and an ability to create surges of energy even on the most docile of dance floors.

We hope you enjoy this craftily concocted quintet of soulful stunners that could easily sit alongside O'Flynn, early Romare and Dave Lee on your shelves. Another essential slab of foot friendly heat courtesy of your favourite Dubplate provider!

Ocean Moon is a solo project from Jon Tye of Seahawks. A long time explorer of the sounds of spaciousness, having released the ambient classic LP iO in 1994 as MLO, Crystal Harmonics is a document of Jon’s latest discoveries. An ambient/new age/modern classical library suite for KPM, this is inter-dimensional music for mind, body and spirit.

Island Visions, the recent collection of music from Seahawks for KPM, touched on the deeper, more spatial side of music and led to Jon exploring this territory in greater depth, again for KPM, under his Ocean Moon alter ego. This time he brought along some of today’s most visionary musicians: Jon Brooks (The Advisory Circle / Ghostbox) for his intuitive melodic mastery, Seaming To (Graham Massey’s Toolshed) for her extraordinary vocal talents, Steve Moore (Zombi) for his sophisticated and inventive rhythmic sensibility and Richard Norris (The Grid) for his sensitive and deeply resonant ambience. The initial recordings were made at The Centre Of Sound in Cornwall, with the collaborators various contributions coming from London, Derbyshire and the US.

The supremely serene electronic flute and bells of “Crystal Drift” ease us into our journey and we take our next steps with “Rainbow Ripples” as it gently folds space with arpeggiated synth swells and delicate machine beats. Light vocal tones, bells and breath FX on “And Breathe” keep us going, accompanied by synth drones and billows of electric piano.

We travel through the synth-space-surf haze of “Lost Oceans”, with soft bass and warm ambience, to reach the “New Infinity” of revolving melody, spacious pads and light electronic beats. The celestial tone floats of “White Mirror” close out the first side.

Temple bells ring out to running water flowing together with deep resonant vocal tones as the second side opens with “Peace Bells”. “Revolving and Evolving” follows, a tranquil electronic meadow of lush pastoral synth tones where we rest for a while for “Mountain Dreaming”, a light rhythmic dance of zither and birdsong.

The undulating “Forest Motion” ripples with synth arpeggios, dreamy Solina strings and percussive modular electronics before allowing the crackling ambience and Cantonese whispers of “Sleep Golden” to wash over us. Finally we find ourselves on “The Long Path”, its warm temple ambience of drones and chants guiding us home.

Crystal Harmonics is inspired by four particular albums from KPM’s catalogue. There’s The Electronic Light Orchestra by Adrian Wagner from 1975 and then Temple Of The Stars, Breath Of Life and finally Keith Mansfield’s Circles, these last three coming from KPM’s mid-1980s run of modern classical/New Age gems. For Jon, “making library music can be very liberating. I really enjoyed the additional focus it brought to the music working on different facets of composition with each collaborator”.

But Crystal Harmonics is no mere exercise in vulger pastiche. As the past, present and future sound of paradise, this fresh exploration of mid-90s ambient and original New Age sounds exists outside of our linear experience of time.

The cover started as a collage Jon made a couple of years ago, a different expression of the same impulses that guided the music. As a nod to the records that provided seeds of inspiration, the collage was framed by KPM’s house style of the 1980s for the finished sleeve by Richard Robinson.

Mastered for vinyl by Be With’s sonic shaman Simon Francis, cut by the legendary Pete Norman and pressed in the Netherlands by Record Industry, Ocean Moon’s Crystal Harmonics is the tranquil balm for these turbulent times.

East London record shop World of Echo debuts on the other side of the counter with a reissue of Two Wishes, the solitary 12" by Anglo-German collective, Mutabor!. Seemingly lost to time, Mutabor! were first brought to World of Echo's attention when drummer/singer, Gary Asquith, played at the shop's first birthday celebrations while promoting one of his other bands, Rema Rema. And so the story goes...

Mutabor! emerged wraith-like from the monochromatic grit of Berlin's art punk underground late in 1981 when Asquith left London to set up temporary residence in the city following a chance meeting with Malaria's Bettina Koster backstage at a Birthday Party gig at the Lyceum earlier that year. Beguiled by the possibilities of collaboration, musical and otherwise, he was soon to make his own contributions to what was an already fecund scene. Partnering with Koster, and Gudrun Gut and Manon Duursma also of Malaria!, Mutabor! were publicly birthed via an impromptu performance at punk rock polestar the Risiko. Asquith found himself playing percussion in what would be a first, while the rest of the band ossified in front of him in typically idealistic post-punk democracy. Little documentation of the performance survives beyond that which exists in the memories of those playing - that itself shaky enough - though there was clearly sufficient encouragement for them to commit to a recording session.

Later that winter, the four booked time at Music Lab, the studio operated by Harris Johns, for what would ultimately be their only studio visit. Two songs were laid to tape, and soon after a photoshoot was to take place at Koster's flat, resulting in a handful of images that, along with the music, comprise the sum total evidence of the band's existence. 1001 Nights and Treats both found their way to Peter Kent, a co-founder of 4AD who had recently left the label with the ambition of starting his own imprint. Entitled Two Wishes, the two track 12" was to be the first and only release on Loaded. It seems that Mutabor! were to represent a series of firsts and lasts, a trend that continues now as they open the World of Echo imprint.

It's fitting to think of Mutabor! in these prescient terms given how they sounded. Berlin at that time shared a spiritual axis with New York, the conceptual & aesthetic discordance of no wave and a nascent off-beat dance culture underpinning much of the respective creative activity. There are shared signifiers, but even in that context, Two Wishes sounds oddly out of step, moving to its own unusual rhythm. 1001 Nights stutters along on a tribal beat that seems to run independent of skronking sax, spidery guitar lines and deadpan vocal incantations, the ghosts of two songs meeting in some kind of incompatible voodoo union. On the reverse, Treats slows down and dims the lights further, as Asquith sardonically recites desirous threats as an increasingly malevolent sax and guitar grinds behind him. No surprise the darkness within the music given the parent bands and the backdrop of a crepuscular early 80s Berlin, though there remains a complex compositional element to these songs that suggests a broader spectrum of emotion - desire, romance, and ultimately, infinite possibility.

Recut and mastered, Two Wishes is now presented with the original front cover artwork alongside additional imagery, including a 16 page booklet, all culled from Asquith's own archive. A brief bolt of energy at a crucial juncture in music history, Mutabor!'s story is emblematic of the mutli-verse of post-punk and the creativity its ideology necessitated.

Running the anything goes travelling warehouse rave "Fusion mes Couilles"
Emma DJ and Ishaq have created a unique situation with their party series in Paris. The two have been able to do what not many have, which is create a party environment strictly on their own terms, with no outside influence, no pandering to agents or the trends of the day and no outside money rearing its head trying to influence. This endeavor is no small feat considering the oversaturated and bland nitelife climate over the last years in the city. The result of their hard work, has been a large scale dedicated fanbase that trust them, hands down.

Over these years both Emma DJ and Ishaq had been working independently on their own productions as well, with Emma DJ recently releasing a slew of tapes in a hyperactive, machine gun manner, while Ishaq makes his first appearance on wax here.
On the "Fusion" split lp we get four tracks from Emma DJ on the a-side and four tracks from Ishaq on the b-side...both artists bring their unique takes on modern dance music on each side of the record from gnarled acid, to tweaked IDM, to broken techno, or ADD chopped guitar loop beats, this is a truly unique release documenting the sound of the top crew in the Paris underground.
Artwork licensed from NYC street photographer Richard Sandler

After two years since her debut full-length release, Grand River presents her second album “Blink A Few Times To Clear Your Eyes” on Editions Mego. The 8 track LP shows an evolution towards a more experimental side of the Dutch-Italian composer which is here superbly combined with her ability of creating melodies previously heard on her 2xLP “Pineapple”, released on Spazio Disponibile in 2018.

“Blink A Few Times To Clear Your Eyes” expresses how acoustic instruments can be perfectly merged with electronic and analog synthesizers to become one new organic whole. The composer, whose birth-name is Aimée Portioli, brings the listener along on her personal explorational journey of expressions within a certain genre. The title of the album indicates the desire to explore what is new and see what is around us from different perspectives.

The album opens with the track “Side Lengths”, a complex and dreamy sequence made with one of her favorite synthesizers, the Yamaha DX-7. From there we are brought from extended panoramic sound design and cinematic ambiences, back and forth to synthetic melodies, field recordings, strings and for the first time ever, Aimée’s own modified voice in the closing track “All There Now”.

Recorded primarily at her home base in Berlin, Grand River’s music is pure, magnificent and elegant which documents a solemn atemporal story where her experiences are translated into another language.

Dark, Hard, Harsh, dirty and evil techno... Rampage Hardtek !

Trad Vibe records started in Paris in 2005 when two friends and open minded musicians decided to set up a label that would mainly focus on vinyl releases. In times when Serato and other midi controllers dominated the dj booths and when vinyl record sales were experiencing a major downturn, this endevour did not look like an easy bet . "Moar's Remixes", the label's first release allowed Trad Vibe to set foot in the business and to meet people like Grandmaster Dee Nasty, Cortex (Alain Mion), Raashan Ahmad, The Audible Doctor (NYC) amongst many others which resulted in fruitful collaborations."
Ten years and over thirty vinyl releases later we are poud to present you with this compilation that includes unreleased tracks and remixes by Dj Cam, 20syl (C2C/Hocus Pocus), Venice Beach, Lord Funk, Blanka (La fine Equipe / Juke Box Champions) as well as brand new tracks by artists we like among which LS Brigandes (NYC) feat Insight, Moar & Elodie Rama, Dj Suspect & Doc TMK, King Most (San Francisco) and Madjir."

Evolution is our main target and we hope that you will enjoy our new projects as much as we do."

Counterchange presents 'Eigenlicht' by Portuguese-German multi-instrumentalist, producer and award-winning film composer John Gürtler.

Gently teetering between krautrock-influenced synth mantras and saxophone improvisations, down-tempo electronica, sound design experiments and moments of rich ambience, 'Eigenlicht' is a diverse album of electro-acoustic music. The 11 tracks were recorded between two studios and on location at Berlin's infamous Teufelsberg, the abandoned Cold War era US spy-radio and radar outpost named 'Field Station Berlin', surrounded by forest to the west of the city.

A document of Gürtler's development, many of the pieces here were first laid down in his bunker-like former basement studios at Drontheimer Straße in north Berlin, before he eventually elevated above ground - both physically and musically - building his current Paradox Paradise studio and becoming an established film music composer. In 2019 John won the European Film Academy Award for Best Score, for his soundtrack for Nora Fingscheidt's debut feature 'Systemsprenger' (System Crasher).

In recent years John collaborated on a number of projects with acclaimed German producer and composer Phillip Sollmann aka Efdemin, performing live and releasing the 'Gegen Die Zeit' EP on Sky Walking, a subsidiary of Dial records where he also remixed Efdemin's 'Parallaxis' under the moniker The Borderland State.

In part an ode to the Macbeth Systems M5 modular synthesizer, with its three oscillators, much of the album features the towering instrument, whose uniquely rich tone and rumbling, pure bass end characterises tracks like 'Eigenlicht', 'M5', 'Synthetics' and 'Five Voice'.

"The M5's built in spring reverb and huge sliders and faders - as opposed to all the tiny knobs on Eurorack synths - make it as playable as any acoustic instrument."

John's primary background is in acoustic music, coming from woodwind and keyboard instruments, improvisation and composition. The leap into working with computers and electronic instruments found him exploring ways to make synths and samplers sound as organic as possible.

The Games new album - Born 2 Rap - gets a limited 3LP unoffical Record Store Day release!
• ***PLEASE NOTE THAT THIS IS A NON-DISCOUNTED TITLE***
• The Game, two-time GRAMMY® Award nominated multiplatinum Compton rapper, songwriter, producer,
actor, and entrepreneur. He locked down a place in the pantheon alongside greats of both coasts by a
combination of bar-for-bar bravado, provocative observation, hard-hitting hooks, and sharp introspection.
And now the prolific rapper returns with his 9th album fittingly titled, Born 2 Rap. Collaborated on the
album with artists such as Ed Sheeran, Miguel, Anderson .Paak, Nipsey Hussle, 21 Savage, Bryson Tiller,
Chris Brown, Trey Songz, and many more.
• The Game’s prior album 1992 debuted #1 on Billboard’s “Top Rap Albums Chart” and tied Drake for most
#1 album debuts since the chart began in 2004. Also, the album gave The Game his eighth #1 on
Billboard’s “Top R&B/Hip-Hop Albums Chart” tying him for third with 2Pac and Lil Wayne. He started this
impressive legacy with double platinum 2005 full-length debut, The Documentary. It not only bowed at #1
on the Billboard Top 200 and garnered GRAMMY® nods in the categories of “Best Rap Song” and “Best
Rap Performance By a Duo or Group,” but it also emerged as a classic avowed by Pitchfork among the
“Top 50 Albums of 2005”. The 2006 followup Doctor’s Advocate retained his spot at #1 on the Billboard
Top 200 and went platinum. Maintaining positions in the Top 10, he ignited a prolific string of blockbuster
releases—L.A.X. 2008, The R.E.D. Album 2011, Jesus Piece 2012, Blood Moon: Year of the Wolf
2014, The Documentary 2 2015, The Documentary 2.5. [2015], and 1992 [2016].
• “Born 2 Rap” has over 75 million streams worldwide and peaked at #2 on Billboard charts

Die in Los Angeles lebende Harfenistin Mary Lattimore kehrt mit ihrem neuen Album ,Silver Ladders" zurück. Seit ihrem letzten Longplayer ,Hundreds Of Days" aus dem Jahr 2018 ist Lattimore international getourt und hat gemeinsame Alben mit KünstlerInnen wie Meg Baird und Mac Mccaughan veröffentlicht. Außerdem erschien 2019 ein Remix-Album von ,Hundreds Of Days" an dem sich unter anderem Jónsi und Julianna Barwick beteiligten. Bei einem ihrer Festival-Auftritte traf Lattimore Neil Halstead von Slowdive: ,A friend introduced us because she knew how big of a fan I was and Neil and I had a little chat... The next day, I just thought maybe he'd be into producing my next record." Das tat er schlussendlich auch. Lattimore nimmt ihre Alben traditionell allein auf, daher hinterlässt Halstead als Produzent und Mitarbeiter eine ganz eigene Note. Der Aufnahmeprozess in Halsteads Studio, das auf einem alten Flugplatz stationiert ist, dauerte über neun Tage. Lattimores unverkennbarer Stil ist auch auf ,Silver Ladders" elegant - im Vordergrund stehen sich ausbreitende Harfen-Schichten, welche mit aufblühenden Low-End-Synthesizern und Halsteads Gitarre angereichert werden. Die Musik kann sich teils bedrohlich anfühlen wie der Klang des Ozeans, der sich mit den Gezeiten verändert. Inspiriert von den Erzählungen aus Cornwall, die Halstead mit Lattimore teilte, sowie von diversen Gesprächen, Ideen und ihren eigenen Reisen, haben die Songs deutlich etwas märchenhaftes - und doch ist ,Silver Ladders" offen für eigene Interpretationen. LATTIMOREs Erinnerungen - ,the Cornish landscape, the hotel from the movie The Witches, the cream tea, winning the pub quiz, the Sunday Roast, the ghosts of all of the surfers who had died in the wild waves, the night walks to the top of the hill to see the moon shining on the water." - scheinen durch diese Werke hindurch, ohne sie zu definieren. In gewisser Weise gehören sie, ähnlich wie das Meer oder der Himmel, allen. Das ist die Schönheit ihres Handwerks!

Available on vinyl for the very first time: the 1992 album "Apocalypse Across The Sky" by the legendary MASTER MUSICIANS OF JAJOUKA. Produced by BILL LASWELL, remastered for vinyl by HELMUT ERLER at D&M Berlin and according to Songlines one of the essential recordings of the ensemble.

No matter if you consider the MASTER MUSICIANS OF JAJOUKA a "4,000 year-old rock'n'roll band" (WILLIAM S. BURROUGHS) or even "6,000 years old" (ORNETTE COLEMAN) – without doubt, the music of the ensemble in all its incarnations over the centuries is deeply rooted in Sufi mysticism, paganism and the cult of the goat-god Boujeloud. According to a myth, many centuries ago Boujeloud appeared to a shepherd called Attar, an ancestor of today's ensemble leader BACHIR ATTAR, and till today every year at the end of Ramadan a fire in honour of the goat-god is ignited. This pagan root aside, the music performed in several hour long rituals on traditional instruments like tebel and tariyya (drums), ghaita (a woodwind instrument), lira (flute) and gimbri (stringed instrument) reveals hypnotic, trance-inducing qualities and is considered to have magical and healing properties.

In the 1950's, BRION GYSIN along with PAUL BOWLES were among the first westerners to witness such a ceremony, and it was GYSIN who invited the MASTER MUSICINS OF JAJOUKA to play in his restaurant in Tanger, and who later (in 1967) brought BRIAN JONES to the small village of Jajouka where the ROLLING STONES guitarist recorded the ensemble for what became the first "world music album" and that raised interest in the MASTER MUSICIANS OF JAJOUKA in the western world. Since those days, a wide number of creative minds like WILLIAM S. BURROUGHS, ORNETTE COLEMAN,MARC RIBOT, FLEA, TALVIN SINGH or the ROLLING STONES have worked with THE MASTER MUSICIANS OF JAJOUKA who are now performing regularly outside Morocco.

In 1991, iconic producer BILL LASWELL also embarked on a trip to the small village of just 800 inhabitants in the Rif mountains to record the group for his AXIOM label - "Apocalypse Across The Sky" is, unlike other LASWELL projects that bring together different cultures and genres, a pure document of the ensemble, raw and unpolished but exquisitely recorded, and ranks according to the world music magazine Songlines among the essential recordings of the legendary MASTER MUSICIANS OF JAJOUKA and is now available on vinyl for the very first time!

Legowelt has been a key figure in the Dutch electronic music scene since the early nineties, steadily relea­sing timeless music that merges the pioneering sounds of Detroit and Chicago with idiosyncratic sci-fi fascinations. "Unconditional Contours" captures Legowelt's stint at the Swiss Museum for Electronic Music Instruments (SMEM), after he was invited to be the first artist in residence at the institution's "Playroom" project.

Legowelt visited SMEM in Fribourg, Switzerland, in early 2019 to explore the collection and record music. Possessing an extensive collection of synthesizers himself, he used hand-picked synthesizers from the museum's archive: the rare Farfisa Synthorchestra, the EVS-1 Evolution, the "shittiest rompler ever made", amongst many others. The 10-track album "Unconditional Contours" is both a probe into the vast collection of SMEM, and a display of Legowelt's well established composi­tional qualities. Leaving ample space for new sounds to unfold, Legowelt invokes gentle trips, brooding excursions, bleep heavy soundscapes, and reimagined elements of dance music classicism.

SMEM and -OUS are launching the "smem+ous" series to document the "Playroom" residencies. A limited edition of this album was already sent out to early supporters of the "Playroom". Founded in 2016 and based on a collection of more than 5000 synthesizers, organs, drum machines and effects that had been collected over a 35 year period by Klemens Niklaus Trenkle, SMEM offers residencies, studio sessions, talks and workshops.

Freshly signed artist named Ian Ash (also know as “H” and Sunny G) delivers a massive filtered boogie house track. So What U Want will also come with a Lord Funk remix which sound a bit more electro funk to blast the dancefloor.

This track is a radio killer and should be loved by many musiclovers including DJs, producers or simply people who like to listen to mainstream vocal house as French touch production. A bunch of samples and played instruments make it efficient and support the
sweet voice of the singer Djemaïli. He is known first as an R’n’B singer, but he liked to perform on this future classic – and you can hear it! Ian Ash is known as a resident DJ of the World-famous Montreux Jazz Festival where he has spun records yearly between 2001 and 2019. Including 1st and 2nd parts of George Clinton Parliament Funkadelic, Spearhead feat. Michael Franti, Doctor L, Tony Allen,Jean Grae, Raphael Saadiq, Will Calhoun, Common,Dj Cam, Mister Mike, Benji B, Souljazz, Andy Smith,Buddah Monk, Jimmy Cliff back band, Jamie Lidell, and Claude Nobs himself! He spun also at Cargo (London), SPACE (Ibiza), NL (Amsterdam), Divans du Monde
(Paris), etc. He surely is in the top 10 Funk DJs in Europe. He also has been stage and studio audio engineer for 2 decades and has mixed a couple of live artists such as Joe Sample, Mandrill or even AIR. He has mixed more than 90 concerts at Montreux Jazz Festival 2002 and deeply participated in producing 4 Days in Geneva by Ohmega Watts
more recently.

After spreading several music videos and EPs all year long, Jumo starts the decade with a first much anticipated album. More than a compilation of his past works, “Et le vent?” extends the artist’s experiments and add new colors to his palette.
Featuring Léonie Pernet, Pénélope Antena, Hyacinthe.
Staying on the line traced by the previous tracks, “Et le vent?” perpetuates Jumo’s taste for narration with all its forms.
Six years ago Clément Leveau gave birth to Jumo a musical avatar with whom he asserted a singular identity characterized by a sophisticated production of heady melodies and a cinematographic atmosphere allowing him to give free rein to his passion for the image. The release of the Radio Nova hit 'Aléa' marked the beginning of a fruitful collaboration with the Parisian label Nowadays Records (Fakear, La Fine Equipe, Clément Bazin, Leska). As a graphic designer Clément makes Jumo a true transdisciplinary project in which sound and video feed off each other, putting his collective Cela at the service of a dark and arty visual universe that perfectly matches the contours of his music.
After spreading several music videos and EPs all year long, Jumo starts the decade with a first much anticipated album. More than a compilation of his past works, “Et le vent?” extends the artist’s experiments and add new colors to his palette.
Staying on the line traced by the previous tracks, “Et le vent?” perpetuates Jumo’s taste for narration with all its forms. “L’exode”, first single of the album, is a perfect example. It gives the album’s tone and also dives us into Jumo’s powerful aesthetic thanks to the music video.
“Steve (Ft. Léonie Pernet), is a tribute to Steve Maia Caniçot, young man who dramatically died during a police charge on Nantes docks on June 21st, 2019. A track on which Jumo confronts with Léonie Pernet’s grunge intonations, an unexpected collaboration sounding like an evidence.
Another main track of the album is “Une Belle Personne (Ft. Oré)” where the producer’s synths converse with the French singer and offer us an original and efficient pop song.
The great Awir Leon, the French rapper Hyacinthe, Hier Soir (Jumo’s side project) and Penelope Antena complete the cast of an album that goes from the calm contemplation of the world to the underground clubs filled with energy.

"Lugar Alto's newest project is the idiosyncratic album MUMIA (portuguese for MUMMY). Never released before, it is a work that was originally recorded on cassette and combines elements of post-punk, industrial and ambient music.

Kodiak Bachine and Celso Alves formed the ephemeral and eponymous duo in 1988. The partnership resulted in a single recording derived from improvised sessions using minimal amounts of electronic equipment at Celso's country house, located in the interior of São Paulo.

Bachine was an important figure in the São Paulo underground. His most renowned project was the band Agentss from 1981, which also consisted of Miguel Barella, Eduardo Amarante, Elias Glik and Lyses Pupo (later replaced by Thomas Susemihl). In its brief duration, the band released only two seven inches that were considered seminal artifacts in the Brazilian post-punk scene: “Agentes / Angra” from 1982 and “Professor Digital / Cidade Industrial” from 1983. These two rare records are highly sought after by collectors and DJs from around the world for their inventiveness and originality.

Similar to Agentss, MUMIA brings with it extreme authenticity, managing to extrapolate the barriers of more traditional Brazilian music and interact with unorthodox elements. The lyrics are a mixture of Portuguese and English and it is still possible to identify picturesque fragments of Spanish, French and German. In addition, sonically, the record portrays aesthetics from the eighties and dialogues with themes relating to LSD. Another notable feature is the fixation on Egyptian post-mortem themes, providing a cinematic and lysergic experience of the desert landscapes from the African country.

It is a recording with comic passages which provokes an unpretentious reaction from the listener. However, it still has more ethereal and atmospheric moments, such as the opening song “Ave do Deserto”. In the final two tracks, it is possible to enjoy a darker MUMIA, which with “Massacre da Serra Elétrica I” and “Massacre da Serra Elétrica II”, provide a sound experience capable of accompanying intense scenes from the macabre productions by Tobe Hooper and George Romero.

The striking new artwork was created by the Sometimes Always studio, a partner of Lugar Alto and responsible for diverse graphic collaborations with artists, venues and parties in Brazil. The album, mastered by the prolific Arthur Joly, also has a booklet containing Kodiak’s texts in Portuguese and English, in addition to the lyrics, which serve as a logical exercise for further understanding of the album.

MUMIA was unearthed by the renowned Brazilian DJ Millos Kaiser, who in addition to kindly curating this album, put together the compilation “Onda de Amor: Synthesized Brazilian Hits That Never Were (1984-94)”, released by Soundway Records.

Now, after 32 years in its tomb, the MUMIA has risen and thanks to Lugar Alto it can finally be celebrated and appreciated."

A new project by Chicago-based drummer/producer Makaya McCraven. An addendum to his critically-acclaimed 2018 release Universal Beings, which The New York Times said "affirms the drummer and beatsmith's position as a major figure in creative music," Universal Beings E&F Sides presents fourteen new pieces of organic beat music cut from the original sessions, prepared and produced by Makaya as a soundtrack to the Universal Beings documentary film. Directed by Mark Pallman, the Universal Beings documentary follows Makaya to Los Angeles, Chicago, London and New York City for a behind the scenes look into the making of the artists breakthrough album, taking the viewer through the story of Makaya's life, his process and the community of musicians that helped bring this project to life. The Universal Beings documentary and Universal Beings E&F Sides album will be released on all DSPs this July 31st on International Anthem.

Dukes of Chutney, the transcontinental trio of Dustin Lynn, John Paul Jones, and Petra, explore the different spaces and places, between nothingness and nature, that nurture inner and outer peace for their debut full-length Hazel. Cosmic yet intimate, long-gestating and free-flowing, diffuse and centered, Dukes turned toward their immediate sanctum, and a network of friends and colleagues, to realize the vision of Hazel. “Pretty much everything we do is without purpose,” the Dukes admit, in line with their pursuit of joy. But it’s not empty hedonism or passivity at play on Hazel, so much as an expression of freedom. “Why not?” was scribbled on the white frame of the Polaroid documenting their first appearance on Tim Sweeney’s Beats in Space many years ago, and it remains their motto, their mantra.

The Sly Stone sampling, scene smashing hip hop track 'Because I Got it Like That' that launched the Jungle Brother's to the world in 1988, housed on their groundbeaking debut album 'Straight Out The Jungle'.

Original copies of the single now change hands for £50 if you’re lucky so a fully remastered, official reissue is exactly what the doctor ordered! Backed with the rare Ultimatum mix (aka The Stereo MC's).

Steve Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the gothic Americana he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil. 

FOR FANS OF : MARK LANEGAN/MICHAEL GIRA/NICK CAVE.

Over the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.

Von Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form.

With a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework.

With a foundation of simple melancholy piano chord progressions that came to fruition during jetlagged nights in his wife’s childhood home in Germany, No Wilderness Deep Enough was further embellished with mellotron and electronic treatments in Von Till’s home studio in North Idaho.  Viewing the emerging result as an ambient instrumental album, he consulted friend and engineer Randall Dunn (Marissa Nadler, Earth) about adding live cello and french horn and piano in a proper studio.  After enlisting Brent Arnold on cello and Aaron Korn on french horn, he challenged Von Till to sing over the music and make it his next solo album—which is exactly what happened, with final work being completed at Tucker Martine’s (the Decemberists, Neko Case) Flora Recording and Playback in Portland.

When Upset The Rhythm released Normil Hawaiians’ lost album ‘Return Of The Ranters’ back in 2015, the band members got back in touch with each other after a 30 year break and starting playing music together again. Out of this the group played a launch show for the album and followed that up with more concerts, including an appearance at Supernormal, a residency at the Edinburgh Festival, gigs at Cafe OTO and supporting Richard Dawson in London too. They even recently toured Greece in support of having all three of their renowned exploratory post-punk albums finally back in print.

Throughout this time, Normil Hawaiians revisited their original songs for these live performances. However for a group always so interested in evolving their sound and seeking nuance, it comes as no surprise that they shirked the idea of a faithful retread of old material in favour of reimagining their songs. The group experimented by pushing their songs into new inventive dimensions, still progressive at heart, but now imbued with a cosmic uncanny. A cinematic, even pastoral approach that was always quietly present has come to the fore. The quaint weirdness of folk song, the humanity of communal practice and the group’s ecological mindedness have all found a place in Normil Hawaiians’ current sound world. With this conducive atmosphere brewing, the band’s first new songs in decades started to emerge.
Being far-flung across the UK, the Family Hawaii encamped to Tayinloan, a small village on the west coast of the Kintyre peninsula in Scotland with the intention of recording new music. They set up their own studio in an isolated, windswept house overlooking the sea and started the tape rolling. Noel Blanden from the band explains how the spirit of the location was such an inspiration to the group during this initial recording session: “Our time immersed in the place and the unique energy it generated in us allowed us to write ‘In The Stone’. It goes right back to our first album, this need to document experience before it passes over and eludes us. We were grabbing at the musical ether and letting it shape itself through the band.” From loose, improvised sessions and reflective periods of listening in Tayinloan, Normil Hawaiians captured the moment. ‘In The Stone’ is a motorik thrill of distorted guitars, locked rhythms and morphic resonance. Guy Smith is joined by Zinta Egle on vocals, skilfully sharing lyrics informed by Alan Garner and Nigel Kneale’s ideas around recurring events being linked to place and historical artefact;  a kind of residual haunting known as ‘Stone Tape’ theory. In keeping with the context of the song, sounds from several previous live recordings of the track were woven into its present being. Flipside ‘Where is Living?’ is a decidedly more delicate affair of questioning lyrics and eerie traces, droning strings and impressions smudged. This resultant 7” is a tantalising glimpse of Normil Hawaiians now, an echo from the past, an echo from the future.

Pittsburgh Track Authority is back. After a five year hiatus from releasing music--during which time PTA maintained focus on expanding the catalog of their labels Pittsburgh Tracks, Love What You Feel, Machine Age Records, and Sleeve -- Preslav and Adam are back with a rejuvenated outlook on music and a renewed sense of purpose. The new album titled PA System is a collection of house and techno written to serve as a document of the past 18 months. As always with PTA, friends near and far, old and new, were a part of the writing process and the album includes collaborations with C. Scott, Santiago Salazar, Stuart Bogie, Nic Offer, Samurai Velvet, John Hall, and Kenny Peagler.
Released by:
Pittsburgh Tracks

- All Songs are New and Exclusive Recordings to this LP and the Movie. The inside of the album features Rare Photos of the Record Session.

Collector first-ever and worldwide release of the original soundtrack of the sumptuous documentary NICE GIRLS DON'T STAY FOR BREAKFAST, (2019) about the legend Robert Mitchum, directed by the famous photographer Bruce Weber (Let's Get Lost about Chet Baker). Soundtrack directed by Bruce Weber, on a 33 rpm with gatefold, mastered by Translab Mastering. Limited to 600 copies.

Vital Sales points

The exclusive release of the sumptuous documentary NICE GIRLS DON'T STAY FOR BREAKFAST, about the film legend Robert Mitchum, immortalized by the eye of phographer Bruce Weber.

Directed by Bruce Weber himself, the soundtrack includes melancholic and jazzy unissued tracks performed by Robert Mitchum, along with the performances of Marianne Faithfull, Rickie Lee Jones and Dr. John.

Score entirely mastered by Translab Mastering.

Sleeves designed by Nathan Kilcer. Printed inner sleeves with stills from Bruce Weber.

Limited edition, 600 copies.

Two things become immediately clear when you hear “Body Electric”, the third original album by White Haus, João Vieira (X-Wife / Dj Kitten)’s solo project. The first is that we’re faced with an insatiable music lover, with an exemplary historical awareness. The second is that is music, although it channels all that passion, does it in such a way that is increasingly all his own. The thing is, that if on one hand, in these twelve new tracks, we’re assailed by the presence of the tutelary Talking Heads and their satellite projects, by Vivien Goldman, Sexual Harrassement or Konk’s New York No Wave, by the electronic pop of Soft Cell or New Order, by the hybrid funk of Prince and his Minneapolis accollites, by the Italo-Disco inspired by Giorgio Moroder or Patrick Cowley or the Acid House of Adonis or Maurice.