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This is a direct repress of the classic Cloud 9 EP that was released on Moving Shadow in the early 90s. Lovingly remastered and repressed, it is here for a short period of time as it is likely to fly off the shelves,...

They still exist, these stories: A fresh newcomer project from Cologne sends their first demo to just one address. An A&R, who has a medically certified autotune allergy, listens to the demo, hears an autotune track and signs the band anyway. ‘Streetpoet’ by Mourad Kehailia & Sebastian Fischer aka 9OASES is as unusual as the genesis of this record. It’s a wild hybrid of raving breakbeats, a chord hook that would have done Underworld proud in their heyday and the aforementioned autotune rap. It is magical. Axel Boman is a remixer who can make the magic even more magical. His 8-minute version of ‘Streetpoet’ establishes a long overdue new genre: trancehall! With ‘New Ballad’, 9OASES show us that they really mean business with their plans for world conquest. This is great techno pop with heart and mind. We are very excited to see what the guys from Cologne will do next.

Es gibt sie noch, diese Geschichten: Ein frisches Kölner Newcomer-Projekt schickt ihr erstes Demo an nur eine Adresse. Ein A&R, der eine ärztlich bescheinigte Autotune Allergie hat, hört sich das Demo an, hört einen Autotune Track und signt die Band trotzdem vom Fleck weg. ‘Streetpoet’ von Mourad Kehailia & Sebastian Fischer aka 9OASES ist so ungewöhnlich, wie die Entstehungsgeschichte dieser Platte. Es ist ein wilder Hybrid aus ravigen Breakbeats, einem Chordhook, der Underworld zu ihren Glanzzeiten alle Ehre gemacht hätte und eben besagtem Autotune Rap. Es ist magisch. Mit Axel Boman wurde ein Remixer verpflichtet, der das Magische noch magischer machen kann. Seine 8 minütige Version von ‘Streetpoet’ begründet ein längst überfälliges, neues Genre: Trancehall! Mit ‘New Ballad’ zeigen uns 9OASES, dass sie es wirklich ernst meinen mit ihren Welteroberungsplänen. Das ist großer Technopop mit Herz und Verstand. Wir sind sehr gespannt, was die Kölschen Jungs als nächstes tun werden.

A sense of destiny hangs over Sentir Que No Sabes, Mabe Fratti’s fourth solo-credited album released in a five year span. Her work has always possessed a finely tuned sense of drama capable of expressing a range of emotional states, and across this new album, she conveys the struggle to process various relationships or situations–and the actions that come next. Sentir Que No Sabes is urgent and clear, poppy, generous and approachable, while showcasing a considerable emotional hinterland. It is also, as Fratti is quick to mention, “groovy.”

Written and recorded with her partner, multi-instrumentalist, and co-composer Héctor Tosta (I.La Católica, Titanic), Sentir Que No Sabes is the result of an intense, detail-oriented process. Fueled by a new confidence gained in their collaborative project, Titanic, and its critically acclaimed 2023 LP, Vidrio, the two hunkered down in the familiarity of their studio (aka Tinho Studios) to bash out the initial sonic coordinates of her new record. “We talked and talked, and discussed ways of playing and recording, until things became inevitable,” Fratti explains. “We recorded a bunch of demos at our home studio and that meant we had a lot of time to re-edit and experiment. We really dug in. We were super focused on detail.” Tosta also took up the controls as producer and arranger-in-chief for all additional instruments. The album was later completed at Willem Twee Studios in Den Bosch in the Netherlands, and Pedro y el Lobo Studios and Soy Sauce Studios, in Mexico City.

For the final studio recordings, the pair were joined by drummer Gibran Andrade and trumpetist Jacob Wick to fill out and expand on Tosta’s percussion and brass arrangements. This small group of friends were able to work quickly and openly, and without fear: a testament to the exhaustive groundwork put in at Tinho Studios. This can be heard in three short, intermediary tracks that also manage to be the most aggressive on the record: “Kitana” (a scratch-laden instrumental that acts as a strange prelude for the last track, “Angel nuevo”) and a pair of two-minute instrumental interludes, “Elastica” I and II. None are throwaway mood pieces; rather they act as emotional cue cards, and hint at the way Fratti and Tosta created the overall atmosphere of Sentir Que No Sabes.

A strong sense of rhythm irrigates the sound from the jump, as heard on the glorious opening track, “Kravitz.” Here, the brilliant plucked cello line acts as a bassline and props up the steady thump of the kick drum. The cello’s growl serves as a conduit for a set of slightly paranoid lyrics that tell us “Quizás haya oídos en el techo” (“maybe there are ears in the ceiling”), while the song also introduces another staple of the record: the clever brass stabs, whistles, parps, and other interjections that paint a canvas of traffic in a city. It’s a postmodern, widescreen sound that for some might recall The Blue Nile’s Hats.

Sentir Que No Sabes is a record full to the brim with a modern pop sensibility, invoked by the sort of magpie spirit that ensnares anything it can find, repositioning sounds for the here and now. The keys and melody on the melancholy “Pantalla azul” (“Blue screen error”) transport us back to the glossy mid-1980s. “Oídos” (“Ears”) is a beautiful slice of contemporary, hybrid pop, in which Fratti’s vocal lines delicately spin themselves around the lean structures erected by the brass and drums, and the descending “plink” of a set of piano chords. Then we have a gloriously strong ending with the swell of “Angel nuevo” (“New angel”), another cinematic track full of gentle, instrument-rich swells and eddies that manages to be almost endless in its range–and yet intensely personal, as Fratti’s voice is close, almost whispering in your ear. A much needed lullaby for our fractious times.

The lyrics, for their part, have a stop-start quality to them, and hint at the small, incremental emotional taxes we pay through just living our lives. They circle around the music like birds waiting to swoop. There is something of the spiritual in all of Fratti’s work that expresses itself in a form of yearning: she looks to new horizons while personal dramas find themselves internalized, contextualized, and then dealt with through metaphor. Here, she was keen to mention Tosta’s constant encouragement in her finding a path to best sing or phrase her words to impart their maximum effect. “Hector was super inquisitive about my lyrics and asked me questions about what I meant, which sometimes is something you don't wonder so much about in isolation,” Fratti explains. “Besides, he is a great poet, and you can see that in what he did on the Titanic record. This made me go deeper into my lyric writing and definitely transformed it into something that I feel super happy about now.”

Take “Enfrente” (“In Front”), a track that initially comes across as a languid, glossy number, with plucked cello strings standing in for a bass line and brittle synth parts. Soon we catch on to a brilliant minor chord switch, which mirrors the fear and doubt expressed in the lyrics as someone “trembles up to the podium” in a “search for meaning.” There’s also the startling introduction of a vocoder in “Quieras o no” (“Whether you want it or not”); it comes precisely at the point Fratti sings “Quieras o no es un desastre” (“Whether you want it or not, it's a disaster”). Moments like these leave room for interpretation and, over time, create a strong bond between the listener and the record.

In fact, across Sentir Que No Sabes, each phrase–whether instrumental or vocal–becomes at some level emblematic of acts and moods that impart deep emotional significance. We see this best on “Intento fallido” (“Failed attempt”), which could be the score to feeling trapped in self-doubt, only to suddenly be sprung free by the song’s gloriously upbeat ending. On “Márgen del índice” (“Index margin”), the quicksilver switch between initial disharmony and a beautiful melody is breathtaking, all augmented by evocative arrangements, textured production, and the slightly playful, gnomic lyrics. The track’s emotional ecosystem allows another brilliant ending, which uses the simple repeated phrase, “Cómo lo va a ver?” (“How are you going to see it?”).

So what to make of Sentir Que No Sabes? High gloss Pastoralism? The sound of a city-bound, post-post modern soulscape? No matter the emotions evoked, it's the work of an artist coming into their own, and creating a benchmark record.

TrioRox is a project born from the meeting of three protagonists of the Italian music scene (and not only): pianist Giovanni Guidi, bassist Joe
Rehmer and electronic musician DJ Rocca (Luca Roccatagliati). Three characters who boast an eclectic and consistent curriculum. Guidi, enfant prodige of Jazz piano, has published several albums for the prestigious ECM label, and has collaborated with the best jazz and electronic musicians, from Enrico Rava to Matthew Herbert, from Joe Lovano to Ricardo Villalobos. Joe Rehmer, an American transplanted to Italy, is one of the most sought-after bass players, sharing stages and recording studios together with authorities such as Bob Mintzer, James Moody and Danny Gottlieb.

DJ Rocca is a DJ and musician active since the nineties, and boasts numerous albums, singles and remixes with, and for key protagonists of the alternative dance scene (Andrew Weatherall, Dimitri From Paris and Howie B), as well as a militancy in the jazz scene with several albums together with Franco D’Andrea.

The music that the trio proposes is a mix of electronic, dance, Jazz and pop, with groove impulses in the field of house and techno music, without neglecting mixes between electro, classical and minimalism. A melting pot of styles between Keith Jarrett and Carl Craig.

Album to be released by IRMA Records in October 2024, with guests Luigi Di Nunzio, Gianluca Petrella, Dan Kinzelman and Jacopo Fagioli.
“Moods” is the debut album of Triorox that represents the photograph of the ‘Here and Now’. All the music was born from a studio session that lasted a few days, in which the mood of the three musicians gave the album its sound imprint. What came out of it became incandescent material to elaborate the musical flow of the entire work, which had three different phases.

The first, in which the tracks were born from the recordings, some developed as creations with a common denominator (the three moments of Mood), some as thematic suggestions (Angels, Corea and Next To Canada), and others as a stylistic challenge (the techno of Space Rain, or the drum and bass of Sax & The City).

The second phase, where the compositions were subjected to the test of live concerts, in which it was understood how the tracks could be better arranged, optimizing them and keeping the best ones. The last phase was the choice and insertion of the guests, reasoning according to the type of suggestion that we wanted to give to the specific song. So we gave free rein to Luigi Di Nunzio, who also participated in phase two, playing with us on stage on some occasions. In the same way, Gianluca Petrella chose the piece where he felt most at ease, also contributing to the arrangement.

Dan Kinzelman, a historic collaborator of both Guidi and Rehmer, was included because we wanted his bass clarinet in a specific suggestive situation. Finally, we wanted Jacopo Fagioli (the Tuscan reincarnation of Don Cherry), we wanted him in a specific episode of Mood, for his particular style, impeccable in determining the mood that the piece needed.

They’re Only Chasing Safety is the fourth studio album by American melodic hardcore band Underoath. It was released on June 15, 2004, through Solid State Records. Following the release of their third studio album, The Changing of Times (2002), half of the band's members were replaced. After finalizing the line-up with vocalist Spencer Chamberlain, the band recorded They're Only Chasing Safety with producer James Paul Wiser (Dashboard Confessional, Further Seems Forever, Paramore). In the heavy and punk music scene, the album is considered a watershed moment.
The blend of heavy metal and hardcore influences with a strong pop/punk sensibility spawned a new branch of heavy music. The sound eventually became synonymous with the scream scene of the mid-2000s. The record went gold in 2011

Willie Roy Turner a native Mississippian, migrated with his family to the South Side of the city of Chicago during the 1950’s. Initially taking up employment at the Golden Rod Ice Cream Company, his first foray into secular music arose when he was accompanied by Muddy Waters Band at Smitty’s Corner Club and performed an impressive recital of the 1959 Big Jay Neely standard “There’s Something On Your Mind” at an Open Mic Night sometime in 1963. A regular talent show entrant, Duke would eventually meet and befriend fellow Mississippian, Garland Green. Green himself had been spotted at the Trocadero Theater by the then husband and wife team of Mel Collins and “Joshie” Jo Armstead, who signed him to their Giant Enterprises production company where he recorded several excellent singles for MCA’s subsidiary, Revue and Uni labels. Green’s third Revue single release, “Ain’t That Good Enough” was composed by Jo Armstead, brothers Howard and Walter Scott and session drummer Ira Gates. It was Green who introduced Duke Turner to the Scott Brothers. The Scott Brothers Review (later known as The Scott Brothers World), one of Chicago’s most respected bands, operated their own production company, Capri Productions, producing songs on both their own and other labels artists. With the Scott’s, Duke recorded his first 45, the upbeat funk mover “Doggie Dog World” b/w “Put Some Soul In Your Dance”. The tracks penned by Duke and respected arranger Johnny Cameron was released on Don Clay’s Omega label in 1968.



Duke then formed his own company, Spinning Top Records, initially releasing “Shake Your Rang-A Tang (Rang-Dang-Du) to be followed by a second single “(Let Me Be Your) Baby Sitter”. Originally intended for release with a b-side entitled “Friendship Or Friends” the studio engineer on the project Ed Cody persuaded Duke to drop “Friendship” in favour of a part 2 version of “(Let Me Be Your) Baby Sitter”. “Friendship Or Friends” was sadly never revisited and with Duke moving to several different addresses across the ensuing years, the tapes eventually became lost. Fast forward half a century, and following a conversation with collector Malcolm Collins who divulged the existence of a acetate of “Friendship Or Friends” won on e-bay by a British collector Russell Gilbert (now living in the Netherlands), the idea of releasing the song was born. When contacted, Russell was only too happy to loan to us the acetate as a mastering reference. Upon receipt of the acetate, we realized in addition to the unreleased “Friendship Or Friends” the version of “Baby Sitter” was a longer and different mix to the released 45 version. After confirming and reacquainting Duke with his long-lost masters a licensing deal was struck which will see the long overdue release of “Friendship or Friends” along with the alternative mix of “(Let Me Be Your) Baby Sitter” as part of a 3- track EP courtesy of Soul Junction Records that also includes the original 1974 version of “Give Me Some Sugar, Baby”, a song now finding favour with the ‘Lowrider’ scene. “Give Me Some Sugar, Baby” became Duke’s signature song, which he recorded again in 1983 under the title of “Sugar Baby Your Love” with his then band ‘Torch’, which included two young musicians that Duke had previously mentored, Terry Coffey and Jon Nettlesbey, the successful 90’s songwriting partnership responsible for several RnB/Pop hits for Howard Hewitt, Alexander O’Neil, Teddy Pendergrass and Keith Washington. Their credits also include Joey Diggs “Always Coca-Cola” hit commercial jingle.

Theme: collaboration. Or how to remain creative in the modern world. Nanocluster started as a bespoke one off pop up gig that turned into an album series. Built around Colin Newman from acclaimed UK post-punk band Wire and his partner in life and sound Malka Spigel from Minimal Compact with various guests, they define collaboration. Colin met Malka when he produced her band in 1985.The collaboration started there. They became a couple and created their own projects like the instrumental electronic duo Immersion in 1994 and Githead in 2004 - spaces where they both 'feel really comfortable.' Growing out of Immersion, Nanocluster was birthed as a series of one-off gigs at the Rosehill in their new hometown of Brighton in 2017 with an added cast of influential and cutting edge musicians. These were not ad hoc jams. The songs had been written and rehearsed prior to each performance. This adventure led to a debut album, Nanocluster Vol 1, released in 2021 with Stereolab singer/guitarist Laetitia Sadier, German post-rock duo Tarwater, electronic musician Ulrich Schnauss and experimental artist Robin Rimbaud (Scanner). Released again as double 10 inch with each collaboration taking up each disc, the new album Nanocluster Vol 2 has further developed this idea with a stark beauty that sounds like a future pop with sleek lines and unexpected great melodies. Disc one is built around Thor Harris, the charismatic percussion player from Swans and many other projects, who they met and performed with at South By South West in Austin, Texas in 2023. Thor adds ideas, his tuned percussion instruments, clarinet and trumpet to the sessions. Disc two is built around Cubzoa (Jack Wolter from the band Penelope Isles) who brings his musical craft, beguiling voice, guitar and much more. Meanwhile Matt Schulz from Holy Fuck plays drums across both combinations helping the resulting music become a third entity. What results is a true collaboration that, enhanced via Immersion's production, merges its elements to develop a new harmony. Key to the process is Colin and Malka's radio show for Slack City radio, 'Swimming In Sound' with its entertainingly diverse playlist that has widened their horizons. It's also helped build relationships not only with these collaborators but also musicians like ambient country masters SUSS, with whom they plan an extended Nanocluster tour in the USA with in 2025 and Brighton via Falmouth's "jangly pop punk" Holiday Ghosts with whom they will perform the next Nanocluster event in their hometown, as well as many more in the pipeline. Malka: 'Nanocluster is collaboration but in a very specific form. We don't have rules. It's a series of creative snapshots. We start as the gig with our collaborators with tracks that we rehearse because this is not a jam and where it stops is an album.' Colin: 'It's chemistry & music. Malka & I operate as a team and now we've taken it to another level. Malka comes from a band where they would stand in a room together and work out the material. In Wire, I would present the songs, so when Malka and I first started working together, we had to find a third path, and that was the concept behind our collaboration.' Nanocluster Volume 2 is a 21st century collusion of shared ideas, creating a momentary extended musical family. It's about musical and personal relationships and the meeting place in the middle. A temporary band of house guests. The place where Immersion happens.

“Wild Boy …” is a reissue of the well-known 2016 release curated by Brian Chidester, renowned researcher and biographer of Eden Ahbez. Especially for this album, Brian wrote an interesting text about Abi’s life, which definitely became the decoration of the release.
With the new 2020 re-release, we went a little further and kept what is commonly referred to as studio cuts. It’s a few more minutes in the studio with ahbez himself, full of emotion and life. In addition, to the delight of fans, the edition includes an additional composition Nature Boy (Mantovani Orchestra).
Especially, it is worth noting the outstanding mastering prepared from practically decomposed tapes by the Grammy-nominated Jessica Thompson, which guarantees the deepest and warmth possible sound. Jessica a huge ahbez fan and we’re highly appreciated for what she has done to save his music for the future.
Eden Ahbez is definitely at the origin of psychedelic music and this release can be taken as further proof. Over the past twenty years, the iconic figure of the world’s first hippie Eden ahbez has become famous primarily for his 1948 song “Nature Boy”, praising universal love, and his amazingly solo album from the 1960s called “Eden’s Island” – one from the first concept albums in the history of music and probably the first psychedelic music album. “Wild Boy: The Lost Songs Of Eden Ahbez” deepens understanding of the origins of the psychedelic movement in the 1950s.
The disc contains a musical selection of works by Eden ahbez himself, written by him in the period after Nature Boy. The inclusion of songs such as “Palm Springs” – Ray Anthony Orchestra and “Hey Jacques” by Erta Kitt gives the listener the chance to discover for the first time the little-known recordings of world-famous artists composed by Eden ahbez. Through “Wild Boy” and “Surfer John” you can hear the author’s handling of absurd rock and exotic experimentation, as well as sweet psychedelic pop like Monterey (with Paul Horn on flute). Overall, Wild Boy: The Lost Songs Of Eden Ahbez offers an overview of the lost works of 1949-1971 with seven unpublished recordings and eight rare singles.
If in 2020 you are missing the hallucinogenic content in Eden Ahbez, it amazingly makes up for that deficiency with simple chords, expansive arrangements, and lyrics about travel, relaxation, free love, and spirituality. Thus creating the standard of psychedelic music. Eden Ahbez’s songs weren’t only fantasy and his personal philosophy was the real thing that he lived.

reviews:

“This carefully and extensively researched compilation culls covers by top notch mainstream artists juxtaposed with unreleased Eden recordings. What might sound like a mixed bag is actually more like a chronological, musical non-fiction novel about Eden Ahbez. While Eden was writing hundreds of songs and performing live and making recordings in various styles, his songs were also being picked up by popular artists like Nat King Cole and Eartha Kitt who recorded with a more polished mainstream style. There are also some early rock n roll style recordings here. Eden’s professionally recordings often end up as Novelty Pop records such as “Child of Nature” and “The Clam Man” but if you read between the lines and listen to the lyrics it is pretty eye-opening that he is singing about Eastern-religion-style and pre-hippie philosophies about being at one with the planet Earth.
All of this is explained in the lengthy liner notes inside the lp along with a few choice photos that establish Eden as a founding father of Southern California mystic/psychedelic music.” – Tiki_News
“Eden Ahbez’s life philosophy was summed up in the lyrics of his most famous song, “Nature Boy,” a 1948 hit for Nat King Cole: the song describes a “strange enchanted boy” who wanders the world in search of truth. “The greatest thing you’ll ever learn,” he concludes, “is to love and be loved in return.” Ahbez was a pre-cursor of California’s beatniks and hippies, and an exalted icon of ex-otica via his rare 1960 album Eden’s Island. Beyond “Nature Boy” and Eden’s Island, though, there were nu-merous lesser-known Ahbez record-ings. Ahbez biographer Brian Chidester has been doing an exemplary job of archiving and documenting that catalog of work. The Exotic World of Eden Ahbez (reviewed in UT#38) appeared a few years ago, gathering together 14 Ahbez-related rarities” – Ugly Things

Matching breezy, Bossa nova-tinged sophistication with softly spiralling psychedelia, Testbild! arrive in the Quindi lounge as though they've always been there. On their 12th album, Bed Stilt, the Swedish collective cast their attention back to the earlier days of their 25-year trip through sweetly mysterious pop-not-pop rendered in warm tones and shot through with surrealism. It's tricky to get a precise fix on the story and structure of Testbild! The project was spearheaded by Petter Herbertsson in his hometown of Malmö in the late 90s, although the story on their website credits the inspiration and source material to a chance meeting and unpublished manuscript from a retiring scientist. The collective's evolution since then is a tangled web of facts and fiction spun by a revolving cast of collaborators including Siri af Burén, Katja Ekman, Rikard Heberling, Douglas Holmquist, Mattias Nihlén and Petter Samuelsson. Along the way, their music has touched on chamber pop, post-punk and modern jazz with the elaborate harmonies and catchy songwriting charm of the Canterbury scene. The tracks which make up Bed Stilt were in fact track recorded in Malmö back in the mid- 00s, lying in wait for the right opportunity to be brought to light with some delicate overdubs and finishing flourishes in the here and now. The core musicians working on the record were Herbertsson and Douglas Holmquist on a similarly expansive list of vocals, guitars, bass, synths and keys, Siri af Burén on lead vocals and Mattias Nihlén on synths and additional mixing. Meanwhile Tomas Bodén - better known as Civilistjavel - lent some additional synth work as well as mastering the record. Musically, Testbild! stay true to their idiosyncratic approach on Bed Stilt with six immaculately rendered sojourns through lilting harmonies and brushed rhythms, feeling nostalgic but beguiling in equal measure. Theirs is a luxurious sound, not least on the opening strains of 'The First New Years Eve,' which purrs to life draped in silky Rhodes and chiming vibes. Behind this comfortable veneer the enigmatic lyrical themes unfurl through Herbertsson, Holmquist and af Burén's vocal harmonies like fractalized puzzles waiting to be solved. The finger-picking delicacy and languid harmonica of 'Streams' strike a pastoral mood neatly countered by the elegant slide into dislocated ambience for the track's final stretch. By contrast, 'And Her Eyes Are Red' surges with a big beat urgency which plays beautifully with the mellow jazziness of the chord sequences, boldly toying with song structure to dart down curious tangents without losing the immediate impulse of a great pop record. Somewhere in this tension between clarity and chaos we can understand the addictive charm of Testbild! - a band steeped in the considerable craft of making accomplished and unconventional music so very easy to sink into. If that doesn't make for a perfect addition to the Quindi catalogue, we don't know what does.

Dark Entries picks up Severed Heads yet again for Ear Bitten, a double LP reissue of some of the band’s earliest material. As originary Aussie industrial legends - although founder Tom Ellard would balk at being branded as such - Severed Heads shaped the continental subcultural sound with their kitchen electronics, chaotic tape loops, and quietly infectious nursery-rhyme-esque melodies. In 1979 Ellard, Richard Fielding, and Andrew Wright abandoned the moniker Mr. and Mrs. No Smoking Sign and adopted the edgier name Severed Heads “to pretend to be an industrial band such as Surgical Penis Klinik & Throbbing Gristle.” Noise-rockers Rhythmx Chymx had placed an advertisement in a local shop looking for a band to share the costs of pressing an LP. The Heads set about recording a Dadaist racket on a pair of open reel dictaphones and a cassette deck using a TRS-80 computer, Kawai Synthesizer 100F and Korg Mini Pops drum machine. Ear Bitten was released in 1980; original copies now fetch obscene sums, in part due to most of Severed Heads’ copies perishing in a fire at Richard’s home. The band’s next endeavor was a cassette titled Side 2, a collection of free-form experiments fashioned as Ear Bitten’s second side. For this reissue, Dark Entries has collected both Ear Bitten and Side 2 on the first disc, presenting the album in its full form. Disc two includes the original first version of Ear Bitten, which was only unreleased because it was recorded in a format not suitable for pressing. The album comes in a gatefold sleeve designed by Eloise Leigh and includes photos, liner notes, and reproductions of the original Xerox inserts from the 1980 issue. Ear Bitten delivers 22 tracks of pain you can dance to!

Since we finally brought Countdown into the Acid Jazz orbit
four years ago, we have released a series of excellent records,
all tied to our own Ed Piller’s roots in the mod scene. After all,
Ed originally founded the label (with Maxine Forte and Terry
Rawlings), as an offshoot of Stiff Records, against the backdrop
of the mod revival of the early ‘80s.
Something that we have been looking to do for a while is launch
a special series of Countdown 7” singles, looking back at the
original Mod classics of the 1960s – and the time is now!
The first release is from the Fleur De Lys – who we have been
working with for some time – pairing their 1965 cover of Pete
Townshend’s ‘Circles’, with the first-time single release of their
cover of The Temptations’ ‘You’ve Got To Earn It’.
The band emerged from the vibrant Southampton scene with a
love of Soul and R&B, and were signed to the Immediate label
by Tony Calder, who had connections on the South Coast. Their
first single was ‘Moondreams’ (produced by Jimmy Page no
less), before their incendiary take on ‘Circles’ – a number
originally slated as The Who’s follow up to ‘My Generation’,
before getting caught up in legal matters. The Fleur De Lys
version remains one of the finest slices of the Pop Art Mod
sound, and is as fresh today as it was then. Originally released
to take advantage of The Who’s misfortunes, it was rushreleased and failed to chart. It proved to be their final release on
Immediate, before they signed with Frank Fenter.
‘You’ve Got To Earn It’ is from a tantalising, lost session from
1966 (which also included takes of The Impressions ‘Amen’ and
Don Covay’s ‘Sookie Sookie’). All that survived from the
session was an acetate of this amazing cut, found by group
member Gordon Haskell, from which this cut derives. We
originally released it as the title track of the first Fleur De Lys
compilation on Acid Jazz in 2013. It has never before been
available on 7” vinyl.

2024 Reissue

Strut present the first definitive retrospective of an icon of 1970s and ‘80s soul, jazz and disco, Patrice Rushen, covering her peerless 6-year career with Elektra / Asylum from 1978 to 1984. Joining Elektra after three albums with jazz label Prestige, Patrice had shown prodigious talent at an early age and had first broken through after winning a competition to perform at the Monterrey Jazz Festival of 1972. By the time of the recordings on this collection, she had become a prolific and in-demand session musician and arranger on the West coast, appearing on over 80 recordings for other artists. She joined the Elektra / Asylum roster in 1978 as they launched a pop / jazz division alongside visionaries like Donald Byrd and Grover Washington, Jr. “The idea was to create music that was good for commercial radio / R&B,” Patrice explains. “We were all making sophisticated dance music, essentially.”

Drawing on some of the leading musicians in L.A. like saxophonist Gerald Albright, drummer “Ndugu” Chancler and bassman Freddie Washington and keeping an open minded approach from her training in classical, jazz and soundtrack scores, Patrice’s music was a different, more intricate proposition to many of the soul artists of the time. “L.A. musicians were not so locked into tradition,” she continues. “None of us were accustomed to limitation and the record label left us to take our own direction.”

Early classics like ‘Music Of The Earth’ and ‘Let’s Sing A Song Of Love’ were among Patrice’s first as a lead vocalist before her ‘Pizzazz’ album landed in 1979, featuring the unique disco of ‘Haven’t You Heard’ and one of her greatest ballads, ‘Settle For My Love’. “Although ballads make you feel more vulnerable as an artist because they are often personal, I think listeners relate to that sincerity,” she reflects. By now, Patrice’s records were supremely arranged and produced as her confidence as an all-round writer, producer, arranger and performer grew. Slick dancefloor anthem ‘Never Gonna Give You Up’ and the ‘Posh’ album in 1980 led to her landmark album ‘Straight From The Heart’ two years later. Receiving little support from her label, Patrice and her production team personally funded a promo campaign for the first single from it, ‘Forget Me Nots’. It went on to peak at no. 23 on the Billboard Hot 100 and the album was later Grammy-nominated, while the track became a timeless anthem and popular sample, inspiring Will Smith’s theme for the film ‘Men In Black’ and George Michael’s ‘Fastlove’.

Patrice’s final album for Elektra, ‘Now’ kept the bar high with sparse, synth-led songs including ‘Feel So Real’ and ‘To Each His Own’. It concluded a golden era creatively for Patrice which remains revered by soul and disco aficionados the world over.

‘Remind Me’ features all of Patrice Rushen’s chart singles, 12” versions and popular sample sources on one album for the first time. Formats included a 3LP set and 1CD fully remastered by The Carvery from the original tapes. Both formats include an exclusive new interview with Patrice Rushen and rare photos.

• First definitive Patrice Rushen compilation released on vinyl since the ‘80s
• Includes all of her chart hits, DJ favourites and sample sources
• Official release featuring full interview with Patrice Rushen about her career and music • Features rare photos from her personal collection + some of the photographers she has worked with during her career
• Fully remastered by The Carvery from the original ¼” tapes
• Start of full Patrice Rushen reissue programme from her Elektra era

Dark Entries again shines a spotlight on bathhouse disco don Patrick Cowley with a newly remastered release of Kickin’ In. Although Cowley tragically passed from AIDS-related illness in 1982, he left an extensive archive of unreleased tapes, many of which Dark Entries has had the honor of releasing. While working as a lighting technician at The City, SF’s disco cabaret, Cowley saw rising star Frank Loverde perform. Cowley asked Loverde to contribute vocals to some material in progress, and Frank, Linda Imperial, and Peggy Gibbons joined Cowley in the studio. The resulting songs included “Kickin’ In,” a 9-minute cybernetic disco stormer that taps into the essence of Cowley’s hi-NRG sound: equal parts spaced out and zoned in on the dancefloor. In May 1978 Cowley joined Loverde on stage at The City to perform “Kickin’ In” as they opened for disco diva Sylvester.

“Kickin’ In” was initially released in 2015 via Honey Soundsystem who found the tapes in the basement of Megatone Records owner John Hedges. This newly remastered version was made possible due to the discovery of the original multi-track recordings of "Kickin’ In," allowing for a fresh mixdown by Jim Hopkins as well as the creation of a new instrumental version. Also included are two impeccably sleazy Cowley jams recorded in 1980, “Thief of Love” and “Make It Come Loose.” Cowley narrates excerpts from his erotic journals on these raunchy slow-burners, capturing the vibe of SF’s leather bars and backrooms. “Thief of Love” features frequent Cowley collaborator Paul Parker on background vocals. This reissue of Kickin’ In includes features an illustration by Gwenaël Rattke that originally appeared Cowley’s erotic journal, Mechanical Fantasy Box, as well as a postcard with lyrics. “Patrick parted the veil and entered a dark world of forbidden vices, wondrous musical panoramas and bold, strident, hopeful possibilities. Patrick brought the future to us and laid it at our feet.” – David Diebold, Tribal Rites

"This is a live album that was taken from the tour for YTILAER. Songs tend to mutate after they"ve been recorded. These songs were mutating faster than usual. Like whatever happened to Bruce Banner in the lab - I knew these songs were about to get superpowers. As far as I was concerned, this change needed to be documented. The best thing about documenting something is that it gives the creator permission to move on should they wish to move on. I usually prefer to move on. These songs were recorded in Chicago, America"s heart. And at one of the best clubs in the country - I try to only work with venues that are not entangled with LiveNation/Ticketmaster. Thalia Hall, baby. Stay free. The date was mid-point in the tour, so I knew we"d be as hot as we were going to get. Not too green, not too brown. There was the thought, "let"s take this op to make it something special." So we took advantage of Chicago"s easily accessible players - we got Nick Mazzarella to add alto sax to one song, and from the opening band, Pascal Kerong"A to sing on a song, and Nathaniel Ballinger on piano on one song - and I couldn"t pass up the opportunity to invite Joshua Abrams and Lisa Alvarado to play on "Natural Information." The hardest part of making the record was cutting songs out - it could have been a triple album. But I don"t know, maybe the show should have been this short?" - Bill Callahan

Make The Ting is a project born out of my writing on creativity that lives online as post it style notes known as the ‘Yellow Squares’ found across Instagram and Twitter. The first square was posted on July 31st 2021, as covid-19 restrictions were lifting in the UK and I was thinking about what the music scenes and wider creative communities are after 18 months of lockdown. The idea’s developed into lectures presenting them in real life, but the platform felt right to explore my own creativity more broadly to challenge my own ideas in real time. My history as a DJ, Label Owner and Promoter in the Grime scene wasn’t at the forefront of these ideas, but I wanted to reconnect back to the ecosystem that inspired and gave me a creative career in the first place. Blay Vision’s ‘Cammy Riddim’ in the summer of 2022 inspired an idea to translate the ideas in the squares into song form. I approached Grime MC Jammz about the idea, and the first song ‘Yellow Square’ was done with the core principles that I had written about so far. 6 months passed, and while on a Muay Thai retreat in Thailand in February 2023 I thought about expanding the musical side of the Yellow Squares further. I text Jammz about turning this idea into an album, that we make as quickly as possible using my writing as a guide, and his voice and creativity to turn them into songs. We gave ourselves two weeks, set up a shared notes in iPhone did two zoom meetings, one phone call, exchanged messages on iMessage and he wrote 7 songs in a week, then recorded them all in one day at Ten 87 Studios in Tottenham, London. Jammz wrote all of the songs to one of his own beats, then we selected the final instrumentals we liked that we thought fit the ideas from both our camps the day before recording. The speed forced our hands creatively and it would have been a completely different project if we worked on it for months. Time is the creative director. Albums don’t have to be blockbuster projects with big budgets and huge campaigns behind them. Albums are just collections of ideas. Removing the pressure of trying to make a perfect one meant it got done and released with the least stress possible. Even the business of the album took 5 mins to handle. An equal revenue split on each song between me, Jammz, and the producer. Everyone gets paid quarterly into their own account automatically by our distributor. On announcement of the album in March 2023, we released the acapellas, for people to do their own versions, before most of the original songs had been heard by anyone. We encouraged people to Remix The Ting, and I did custom artwork for everyone that sent me a complete remix before the album came out on the 30th June 2023. The front covers are drawn individually by me. I wanted to make the record an extension of what I do with the yellow squares themselves and capture the energy of where my head is at in 2023. If it’s blank, it’s space for you to draw your own yellow square. Maybe what you think about the album, what it’s inspired for you, or just a snapshot of where your creative brain is at on the day you are picking up this record. This could be the first of many albums, this could be a one off. Nobody knows what is going to happen next. It all may make sense in the end – Elijah

"I am in shock of what you are saying and don’t you go anywhere else and spread such false information”

Inspired by the underground night life in Iran, where Salar Ansari’s journey as a selector started in the mid-2000s, each cut on 'Chi Gofti? Nagi Jayi!" touches on a specific mood & scenario.
"Dorehami Melo دورهمی ملو", referring to a mellow get together after the last rave being raided;

"Tu Jaddeh Savaarkaar تو جاده (سوارکار)" is the rush of driving through the mountains listening to driving beats, heading to a party on the outskirts of Tehran through mountains

"Raghs e Ghalamou رقص قلمو" touches on the artist's commitment to painting sonically to unify with his people through creativity and resonance

"Long before discovering house music as a teenager I was bred as a dancer, a slave to the rhythm, in my parents vibrant house parties of dancing the night away till you drop. This is my culture, to surrender, to give in, to react to the rhythm, every corner of it. PGS is family to me and I am so happy to have this music that is very dear to me, come out through this imprint. PGS is about community, Hamtramck is about community, Detroit is about community, Iran is about community, this music is about community." - Salar

Written, produced, recorded by Salar Ansari
Design by Salar Ansari & Ben Saginaw
Thanks for: Ahang Ahmadi, Sina Matinsefat

"Tu Jaddeh Savaarkaar تو جاده (سوارکار)" music video by Vinnie Massimino, shot by friends in Iran

[a] A1. Dorehami Melo [دورهمی ملو]
[b] B1. Tu Jaddeh (Savaarkaar) [تو جاده (سوارکار)]
[رقص قلمو]

2024 Reissue

Led by Danny Leak, a guitarist who was active in the Chicago soul scene in the 60s and 70s, the legendary group 100% PURE POISON brought together a total of nine artists and released only one album.Their only album, "Coming Right At You", was released only in the UK in 1974, but it was appreciated worldwide during the rare groove movement of the 80's and continues to be appreciated by collectors around the world.The opening track, "You Keep Coming Back," is a soul-tastic song with fresh vocals that seem to stretch out forever, and the horns in the background are wonderful. This is the song that starts the party. The following song, "No More City, No More Country," has a funky guitar riff that invites you to dance, and the flow from the female chorus to the trumpet solo in the middle of the song is irresistible. Windy C", the first track on the B-side of the record, is the highlight of the album, with its dramatic interplay between Danny Leak's strong guitar and Steve Maxwell's pleasant organ, and its wordy vocals, making it a song that can reach a wide range of rock fans other than soul and funk.Throughout the album, you'll find a good balance of soulful, comforting songs to upper-key, funk-inducing, dance-inducing tunes!

Stefano De Santis kicks off this Best Of Various with Murk, as the name suggests its a dark workout from one of Rome’s finest producers. Following that are Batavia Collective from Jakarta. When we first heard the live demo for this we were blown away and had to get it out on TLM. Batavia Collective are Elfa Zulham on drums, Doni Joesran on keys and Kenny Gabriel on synth bass. All mixed by Stefano De Santis. Rounding off the A side we have Cormac Fulton and his follow up to Perplexed on TLM025 with a new track called Loungeware. Based in Salford this is another atmospheric track from Cormac featuring Netherlands born but now Rio de Janeiro based flautist Floor Polder. Floor also appeared on Steve Conry’s rework of Guinu - Eletromadinga which featured on Colin Curtis Presents Jazz Dance Fusion 4 Part 2. Loungeware was mixed by Steve Conry and Matt Cox. Onto the AA side and we have Montreal resident Mike Perras with Soullous, a superb dancefloor track, live drums and amazing keys, in fact everything you want from house music. Next up is Future Jazz Ensemble from Vibo Valentia who follow on from their Rough Time EP TLM028 and appearance on TLM030 with another broken jazz monster of a track called Over The Rainbow. Finishing off side AA is Takahiro Fuchigami from Fukuoka with another fine track called Outer Heaven, a great follow up to Strange Acquaintance which was on TLM034.

Just a few months after the release of "Shine," his debut solo album featuring some of the finest R'n'B voices of the moment, Stefano Cosi presents his new single "That's On Point" on Angis Music, already home to the HUMA project of which he is part along with pianist Alberto Lincetto. The single, which boasts the important collaboration with UK soul legend Omar, was written and produced remotely during Covid, waiting for the right moment to be released. Now it seems that the moment has finally arrived and to complete the offer alongside the original version are two remixes by Abacus, prominent figure in the deep house scene since the '90s, plus a mid-tempo dub version by Italian talent Edoardo Della Bitta aka EDB. Don't miss out on this future classic!

One of the stand-out acts on Freshly Squeezed in 2023, ELLE & THE POCKET BELLES released increasingly acclaimed singles and videos across the year. Now their full 10 track album drops showcasing the diversity and strength of songwriting, musicianship and jazz-infused production. Now available on Clear Red 12" vinyl!

Not just a singles band, the album offers real jazz sophistication on songs like OLD FASHIONED and a moving theatrical flourish on DON'T YOU WORRY. But on songs like WHAT'S A GIRL TO DO... the group really show off the many years spent on London's vintage club scene refining their sound and style into the perfect distillation of a classic retro style in a thoroughly modern way.

Since release, the album has shared a combined 1 million streams across Spotify and YouTube, and several tracks have been featured on several editorial playlists on Spotify. SEE YOU LATER was played over 25k times across YouTube and Spotify in its first weekend, now reaching 700k streams. The album was also nominated record of the week by BBC Cornwall.

The group are reminiscent of a cross between classic 60s soul and 50s girl groups given a joyful and wry modern twist. ELLE & THE POCKET BELLES are gigging across the UK's summer festival circuit in support of their album.

Don’t pretend like you didn’t know that this was coming. Yes, our first vinyl release from the mighty DeepStitched is here, and we have one of the longest standing artists on DeepStitched, Forteba. After having not released on vinyl for such a long time, we felt that Forteba will be the best option to open up this vinyl catalogue, that promises to change how we listen to deep house and dub techno on vinyl.

‘Diré’, Idrissa Soumaoro new album, comes as a surprise to Malian and international audiences. Composer, singer, guitarist and master of the kamalen n’goni Idrissa Soumaoro presents here a beautiful collection of songs on his third album, Diré, named in honor of the town where he met his wife and where his first daughter, who is no longer with us, was born.
In 1971, after his studies at the INA in Bamako, Idrissa was transferred to Diré to teach music at the lPEG (Pedagogical Institute of General Education). He was 22 years old when he arrived in Diré. Idrissa has always been nostalgic for this beautiful place in the 333 Saints of Timbuktu region. As Idrissa sings in ‘Diré taga’ (Going to Diré), the track that opens the album, the city evokes deep emotions for the artist, as if it were a long-lost friend or lover. Celebrating the memory of the city of Diré leads the artist to retrace stories and lived situations that marked and animated him in years gone by: ‘I really miss the people, the colleagues, the friends and that period. Despite the time that has flown by, I would ardently wish to see Diré again’. Today, at the difficult time Mali is experiencing, remembering the city of Diré in the 1970s also means for the artist not giving up hope for peace: ‘The memory of Diré, a beautiful town in northern Mali, strengthens my hope for peace, union and real independence for the happiness of my people’; as he sings in ‘Sababou’, ‘Without hope, there is no life. Together we will succeed’.
The ten highly original compositions of the album are strongly based upon traditional music of Mali, but Idrissa’s life experiences, travels, education, collaborations and personal musical career have led him to compose and perform music with other influences. As Idrissa quotes: ‘My inspiration generally comes from the donso n'goni, a Bambara instrument played by and for hunters throughout Mali. This is a pentatonic instrument, similar to the blues exported to the USA by black African slaves. I've also spent so much time playing a variety of music that my music also reflects rumba, salsa (as well as Bamanan blues and a few derivatives: jazz, country, soul, rhythm and blues) etc. I have looked for and hope to have found my own form of expression from these influences’.
Throughout the album, his strong, clear voice sings in French, Bambara and English. It rides seamlessly upon a complex rhythmic sea of distinctly West African stringed instrumentation and percussion with accents of flute and balafon. There are keyboards in a few songs, but these, happily, do not dominate the music as we hear so often in today’s music. This album presents the music of a mature artist who has ‘been there, done that’ and returned to celebrate his country, his roots and his dreams in a flawlessly produced collection of songs of love, reassurance, fatherly advice and hope.
The album already has a long history: it was initiated in 2012 by Marc-Antoine ‘Marko’ Moreau, former producer and manager of Amadou and Mariam. Moreau had plans to produce the album and invited Idrissa Soumaoro to start recording in Manjul's studio in Bamako. When Moreau suddenly passed away, work on the album was still missing. The pandemic still added time for the production to continue. With the help of Climax Orchestra, arrangements and orchestrations were finalized in France. At the artist's behest, 'Diré' will finally be presented to the public by Mieruba, the independent label based in Ségou, the home of the blues in Mali. 'Let's stand together so that Mali can flourish': from conception to production and distribution, this is the message that 'Diré' carries.

It is 1983 and you've just stepped into your Ford Capri with your girlfriend Julie. You live in Harlow, but in your head you're really somewhere near Salou in Spain, next to your yacht. But the thing you really love is soul and they play nothing but at Sups in Loughton. OK, so It's not 1983 at all. It's 2014, but listening to this electrofied soul, will put you back in the zone. Tom Findlay, one half of Grammy-nominated Groove Armada, has put this collection together: a stamp of authenticity in itself. Tom has also put a few of these through the edit wringer, reworking many of the tunes for maximum towelling sockability.

You'll probably recognise a few tunes. There's Mtume's incredible 'Juicy Fruit', still sounding advanced and modern, while 'I Specialize In Love, mixed by disco legend Tee Scott, is even older yet sounds equally perky.

The 1980s was a period that was pretty much owned by Minneapolis thanks to Prince and former cohorts Jam & Lewis and the latter weigh in with a pair of killer productions, Thelma Houston's 'You Used To Hold Me So Tight' and Alexander O'Neal's 'What's Missing'. And since this is Late Night Tales, there is always our exclusive cover version, this time done by Findlay and Tim Hutton's Sugardaddy, who've delivered an ace version of 'Don't Look Any Further'.

Grab yourself a bar stool, order a cocktail, take a sip and make believe you're lying on a shagpile carpet with the soul star of your dreams.

Bill Brewster

Automatic Soul, like my previously compiled Late Night Tales Music For Pleasure, is based very much on a sound. It's a sound that I feel has been overlooked: 80s R&B-infused music, with drum machines, synths and invariably brilliant vocals. It's formed the bedrock of my rare groove sets for all the years I've played. It's not the most fashionable, but to me it's the perfect marriage of technology and soul, hence the title for this album, Automatic Soul. There are plenty of songs I could have included, and no doubt some that I shouldn't, but I've tried to represent what's best to me from this era. It's not a classic Late Night Tales. It's a pretty personal journey, which I hope some of you might be willing to share... Tom Findlay Groove Armada September 2014.

Glasgow based Seated Records return with more 1980s Scottish Post-Punk / New Wave material. In this 8-track mini compilation the label introduces the work of Stirling band 22 Beaches, offering a deep dive into music recorded between 1980-1984 - the majority of which has never seen the light of day!

22 Beaches formed in Stirling in the late 1970s as an evolution of the short lived group ‘Alone at Last’ - drummer Fred Parson’s and guitarist Stephen Hunter being the two who spanned the divide. Out of the six members of 22 Beaches, many were school friends, and the rest naturally fell together. The band toured extensively and played at a truly diverse set of venues across the UK: from a local swimming pool boiler room, to small nightclubs and university parties, to several fundraisers for the miners strike. Maybe most notably of all, drummer Fred Parsons described playing at what he calls “the Grangemouth International”, organised by local promoter Brian Guthrie and which featured an all-star lineup of 22 Beaches, The Exploited and the first incarnation of The Cocteau Twins. A coach was hired to ship the audience to Grangemouth from Stirling, the cost of which was included in the ticket. The gig then paused halfway through for a 'help yourself' buffet. Young promoters take heed. This is how it's done!

Over the course of the 80s the band released music on three different, and now sought after, various artists compilation cassettes. “What Day Is It?” and “Sadie When She Died” were released on a compilation of local Stirling artists 'The A.N.K.L.E File'. The track from which the current record takes its namesake - “Dust” - was initially released on a compilation-tape for the fanzine 'Another Spark'. And ‘‘Zoo” (also featured on this record) was first released on Glasgow label Pleasantly Surprised via compilation, 'An Hour Of Eloquent Sounds', where 22 Beaches rubbed shoulders with early music from Scottish names Primal Scream, Cocteau Twins, The Wake and Sunset Gun. Unfortunately, 22 Beaches never met the same level of commercial success as these others and decided to retire the project in 1984 - leaving their recordings and demos to gather dust (hehe)…until now!

This compilation, “Dust: recordings 1980-1984” follows the band's journey and the changes in their sound over the years. It moves from the raw, punk energy of early DIY recordings through to the A Certain Ratio style Balearica of their later pieces. The record's opener and title track “Dust” is perhaps the most shining example of the latter. Characterised by the plenitude of sonic space in the mix, “Dust” has an almost dub sensibility that is communicated through centrality of Parsons’ drums, McChord’s percussion, and Fildes’ Bass while the harmonising vocals of Sharkey and McGregor chant over the top to give the track its distinctive psychedelic edge. This is an atmosphere only exacerbated by the lofi quality of the recording which sits the vocals in the same aural realm as much 1960s psych-folk. On “Cartoon Boy”, the band strips things down further. A droning bass line persists through the tape fuzz and is accompanied by the sounds of a sole looping guitar chord sequence and McGregor and Sharkey’s vocals - respectively and carefully dancing around one another before harmonising in the most beautiful way. The result is a haunting and abstract Marine Girls style heartbreaker. ‘That Girl’ again delivers a dub adjacent rhythm section similar to that of “Dust”. However, on this instance crisp guitar chords, a distant, phased organ and blue-eyed soul vocal delivery, produce a track that could easily have been a lost Orange Juice recording from their sessions with Dennis Bovel. On “Somebody Got It Wrong” and “One Of Us” the band employ a more macro approach where a jangling guitar with an almost highlife-influenced tone, vocal ad-libs and syncopated percussion give the music a Talking Heads-esque swagger.

Taken together these tracks illustrate a clear trajectory in the band's sound, moving from from the high energy no-wave quality of early recordings towards a more dub influenced, and stripped-back sound - a sonic trajectory followed by so many bands of the time, not least those emerging from the diaspora of Manchester’s Factory Records.

On “Breathing’’ we hear the beginning of this transition, with the strong influence of the oddball NYC disco styles of Was (Not Was) and ZE records. All of this is meshed together with the residual punk rock energy of 1980s UK. This combination is employed to excellent effect with the addition of the distinctly Scottish (and what the band confirmed to me to be spontaneous) vocal delivery of: “Do you love me? Do you want me?” “Aye!” “Do you love me? Do you need me?” “Naw!”.

On the record’s closing tracks, “Zoo” and “Talent Show”, we hear early examples of the band’s work, playing with their rawest all-in-one-take live energy where Hunter’s spiralling guitar riffs and McGregor's distorted vocal exclamations lead the charge. The band recalls that these initial-forays did not always translate so well into multitrack recording and overdubbing: “the deconstruction took away some of the band's natural feel”. On “Talent Show” the record ends with Sharkey delivering an almost unintelligible spoken word section over the top of the track, making for one final, disorientating, almost manic slice of post-punk.

These tracks from 1980-1984 chart the progress of a unique contribution to the world of Scottish Post-Punk and New Wave, encapsulating not only the musical trajectory of 22 Beaches but also echoing the broader sonic landscape of 1980s UK, a testament to the adaptability and creativity of the UK’s underground music of the time.

"Deep Dancefloor Jams of African Disco, Funk, Boogie, Reggae & Proto Electro Music 1977-1986reggWhen a passionate DJ and crate digger intuitively selects music for a DJ compilation, without artistic compromise and without the burden of trends, AfroMagic vol.1 emerges from the depths of his soul. Herewith we present the new favorite phonomancer’s tool for all the DJs who experience the dance floor as a sanctuary and a source of freedom and love.

The most fundamental thing that defines African music is that it was created for dancing. In African dance, there is often no clear distinction between ritual celebration and social recreational entertainment – one can seemlessly merge with the other. Because dance and rhythm have more power than gesture and more richness than words, and because they express the deepest experiences of human beings, dance is in itself a complete and self-sufficient language. It is truly an expression of life with all of its emotions – joy, love, sadness and hope – without which there is no African music and dance. For the African people, dance and music are integral parts of the body and soul, thus depicting the expression of life, current emotional states, visions or dreams. Through hypnotic repetitive music and dance, people communicate with each other and with the souls of the dead, the animals, the plants, the stars, the Gods… They free the body and the spirit through ecstatic states, reaching a healing sense of freedom, happiness, and satisfaction.

Throughout history, this transcendental perception of rhythm and dance originating from Africa, influenced popular music worldwide, thus creating new living and breathing forms of musical genres – freeing them from their industrial mold. Funk, disco, soul, boogie, reggae, dancefloor jazz etc., developed in parallel all over the world. It is foolish to perpetually discuss where they originated from and who were the creators of all these fiery dance floor genres – being obvious that they directly or indirectly originate from the African continent and its people who were as well, over the centuries, influenced by disturbing socio-cultural factors of colonialism. However, no one can enslave the soul. The seeds of free and uninhibited dance and rhythm, true to their original form, initially first sprouted onto the USA’s fertile fields of clubbing and popular music while later evolving in other parts of the world.

The disco funk club culture manifested itself as a phenomenal explosion of artists and grooves in the second half of the 70s in the USA. Shortly it spread around the world continually reigning over charts in its various forms – to this day. Clubs emerged where the DJ is an almighty shaman and the dancers are a tribe united under one roof. This urban ritual had and still has a single goal: togetherness, freedom, and love. Clubs have evolved into temples where we free ourselves from the burden of a consumerist lifestyle and suppressed emotions – a place where we receive love and give love – to be who we really are.

Disco funk clubbing was such an influential global phenomenon that its influence can be observed in various other genres from the disco funk era i.e. progressive rock, which mutated by layering complex rock arrangements with a disco funk groove resulting in hybrids, highly sought by today’s diggers, producers and collectors. The profit-hungry music industry of the 80s very quickly commercialized the original disco funk sound by amputating of its original Afro groove to be able to easily ‘sell’ it globally. So, the original disco funk groove became underground again, and it has remained so until this day. Today, for a DJ to unearth that ravishing groove that will lead the dancers to the stars, he must dig passionately like a true musical archaeologist in search of that groove that picks you up after just a few initial beats. That groove which forces the atoms in your body to vibrate, that groove which unites the body and releases the burden.

The AfroMagic compilation series is created as a tool for real DJs who stick to the aesthetics and essence of clubbing.

This continuation of the Afromagic compilation by DJ Borovich was created in a private jam session which served as an escape route from intense and complex love problems.

Unconsciously driven by intuition and emotion and following a live mix tape framework where many tunes are arranged instantaneously, Borovich narrates his story with a strong rhythm that cuts loose even the most blocked off energy nodes and restores happiness to the spirit and the body.

The musical experience of the groove is completed by the lyrics of the songs, which symbolically give DJ Borovich universal answers to his questions arising from questioning the boundaries, nuances and other forms of love.

When considering that Borovich’s selection was created to facilitate an escape from the burdens of reality through rhythm and dance, we can be sure that Afromagic Vol. 2 will have a 100% uplifting, energized and spaced-out effect on the listeners.

The intro to A1, “Feeling Happy” by the Apostles, introduces us to an experienced and slow, cool and irregularly tight groove containing a confidently sung chorus that instantly gives a sense of freedom and hints at the remainder of Afromagic Vol. 2: “I’m gonna feel happy, ´cause I know I’m gonna be myself.” After the anthemic song mantra of the Apostles, Aigbe Lebarty uncompromisingly continues with a dirty disco rhythm. Acidified by accented synths that elevate it to shamanic levels and held together by a female tribal choir, we embark on an uncompromising ritual disco journey. Without a moment to take a breather the prog funk band Mighty Flames and their Road Man launch a highly vicious and raw, thick funk groove spiced with acid synths and dirty RnR breaks, raising the bar for the A side. Jimi Hendrix himself would surely praise it given the ultimate freedom and virtuosity in the solo sections. With the last tune on A side DJ Borovich decides to burn the floor with Geraldo Pino’s psychedelic, acid furious groove and lyrics which describe this HEAVY part of love problems: “The way she walk, the way she talk, the way she does a funky dances, she is really really heavy – that woman”.

While the A side represents a compact intoxicating afro groove machine that separates us from reality and lifts us up to the stars in over 23 minutes, the B side is a treasure trove of proto sub-genres gems. This selection represents the mission of the Afromagic: to find singular events in African recorded discography of popular music from the 70s and 80s that give evidence to the birth of new modern genres on the Dark Continent even before they emerged in the U.S.A. or Europe. The beginnings of electronic music influenced genres are represented back to back with 80s synth jazzy pop, all painted in African colours.

The B side opens big with Jake Sollo and a huge reggae blues number singing about the humiliation of a man – goosebumps guaranteed! “You think I’m nobody that’s why, you don’t know the way for me, I’m somebody I know, I found myself at last”. Adolf Ahanotu then enters the scene with a hard sliding tackle at B2 and an exotic rare disco funk dancefloor napalm. A ‘Sensation’ that would ignite even the coldest of introverts. While we approach the end of the compilation the narrative revolves again and takes a different turn. No less and no more than to the proto-electro that Baad John Cross serves us in “Give Me Some Lovin´”. The fat and repetitive broken electro synth groove, championing many early 90s electro tracks, is presented here without hesitation and with constant tension accompanied by a mantric chorus “Gimme some, gimme some, gimme some looooovin’, EVERBODY!!!”. Finally, we’re guided to the end of Afromagic Vol. 2 by Eji Oyevole’s 80s synth pop style presented in an authentic afro manner, giving us a glimpse at yet another released Afromagic edition, as well as giving an answer to DJ Borovich’s love problems. A smoothly broken electronic rhythm resembling electrified highlife sounds, carried on the wings of a virtuoso dreamy saxophone on top of which Eji presents the most intimate parts of himself. Finalizing the track with a symbolic chorus, on the surface referring to the dancefloor and simply having fun, but in actuality referring to the skill and happiness of living: “I´m a dancer, I can dance”. So, get up and dance among the stars with DJ Borovich and Afromagic.

This new opus marks a major comeback for Samuel Sanders, who made a name for himself in the 2000s with his first productions alongside Max Walder on Ghoststyle, whose track "Cyclone" was covered by big names such as Ken Iishi, Marco Bailey, Frank Biazzi, Technasia, Marco Carola ... but also on the Invasion label with "Dependance" (N.E.W.S label) and among others on the Kevlar "Illusion" label, where this EP received great support from Dave Clarke, Carl Cox, Chris Liebing ... He also produced alongside Manu Kenton on the Kentek, Frenchtek and Fanatix labels. With N.O.B.A, he returned to production, choosing Vibes Addikt for his comeback.

The A-side "Do You Like ... 2024" is a remake of a track he and N.O.B.A created in 2008 on Reaktion, in a much more Hard Techno version with a spirit all its own.
Side B is dedicated to Samuel Sanders himself and presents his new productions:
B1 "Desolation" a hypnotic spirit with a touch of Acid on the cover for lovers of this spirit
The B2 "Don't Be Afraid" is close to Hard Techno with a more clubby style for fans of this style.

DJ Support: David Morales, David Penn, Kevin Yost, Mark Knight, Michael Gray, CJ Mckintosh, Hector Romero, Marc Cotterell, DJ Meme, Melvo Baptist, Seamus Haji, Dr. Packer, Dj Romain, Angelo Ferreri and many others.

From 1990 to 1994 Irma Records Italy was on a top level with house music. 'Alright Alright' by Centric House was one of the main successful projects of that years. 30 years later Groove Culture bosses Micky More & Andy Tee pay tribute to the pioneers, restoring this amazing track in a modern way but keeping the main beautiful ingredients. On The Flip We have A super team-work made by MM & AT, Don Carlos and Chaka Khan’s Sister Taka Boom, who provides a new version of 'The Music Of Your Mind', here vibes are more disco-house with epic piano chords and fire bass notes, everything melt and arranged smoothly around the powerful vocals of Taka Boom.

Standard version on 2LP black vinyl in gatefold sleeve. ‘Lefto presents Jazz Cats' is back with volume 3 and still doing what it does best: putting you in the front row of what the thriving Belgian jazz scene currently has to offer and revealing a melting pot of the musical talent.



'Lefto presents Jazz Cats' is back with volume 3 and still doing what it does best: putting you in the front row of what the thriving Belgian jazz scene currently has to offer and revealing a melting pot of the musical talent coming out one of the smallest countries in Europe. Never change a winning team they say, so we're happy to have Belgian DJ and eclectic connoisseur Lefto on board again.

Although you expect thecompilation to be talking jazz, volume 3 explores a broader array of styles, genres, and sounds than ever before, arriving at a point where the 'young cats' of today don't bother no more. It may focus on the Belgian scene, but let's face it, seeing the influences, this one could be compiled from all over the world. From the empowering and bittersweet voices of Oriana Ikomo and Adja, over the more acoustic-electronic productions of Moodprint, Ciao Kennedy, Kassius and echofarmer. It's even expanding the Jazz Cats universe to dub and bass-heavy tracks with Kin Gajo and Le Ministère, Ethio-jazz from Azmari, while sending you back to earth with bodies' swirling sax and drums. That saxophone still rings in your ears when you end up in the orbit of the march-like drums of Bodem, Orson Claeys' piano testing your ability to follow him, slamming the breaks to go smooth cruisin' with HONEY (Morricone meets Khruangbin, anyone?), to crashing in a raging tempo on that last track of Bruno x Soet x Moene. And there you are, back with us.



2018's 'Lefto presents Jazz Cats' included tracks from some of Belgium's biggest hitters, including Black Flower, STUFF. De Beren Gieren and Glass Museum who have all gone on to receive global acclaim. The album was given the accolade of 'Album of the Week' on Worldwide FM and also received further radio support from Jazz FM in addition to numerous glowing reviews. The 2022 follow-up 'Jazz Cats volume 2' paved the way for a new generation inspired by its peers, entering another era of very talented individuals and collectives. Maybe even more so than 4 years before. It uncovered a beautiful balance of more established but also obscure musicians and artists. Opening up to electronics and dance, enter bands like ECHT!, Stellar Legions and TUKAN. Thrilling innovative soundscape grooves and jazz fusion with Bandler Ching and L?p?GangGang, not to forget about the weaving musical odyssey that is M.CHUZI. In addition, there's the balanced unease of One Frame Movement, the laidback 'acoustic electronica' of Boombox Experiments, the classic funky jazz stylings of Cargo Mas and cinematic The Brums, all of these have set volume 2 on the map as an essential release for any jazzhead with a passion for new sounds.

Tastemaker, selector, curator, DJ and producer, these words often get mentioned when Lefto's name pops up in discussions. And rightly so. If you've ever had the pleasure to listen to one of his incredible Boiler Room sets or one of his many radio shows, you'll know why. Famed for his gloriously eclectic taste on the decks, he switches effortlessly between hip hop, funk, breaks, neck-snapping beats, future bass, South-American influences, bruk riddims, some wild African rhythms and of course, jazz.

Growing up as a child, his father would have the sounds of jazz flowing through the speakers. Which led him to bars around town to hear the latest jazz ensembles. Falling in love with the genre, he would later refine his knack for record digging and fine ear for music working at Belgium's legendary Music Mania record store in his hometown Brussels. Which makes that Lefto is consistently a couple steps ahead. He doesn't wait for the next thing to land in his lap, but actively seeking it out.

Lefto on Jazz Cats volume 3:
"Another release in less than two years! I am very impressed by the amount of creative "jazz" talent we've managed to compile over the last couple of years. Thanks to the internet, young musicians find inspiration from around the globe and incorporate diverse influences into their work. Given the history and heritage of jazz in this country, it has managed to create a healthy jazz scene supported by festivals, venues, press, and labels. Therefore, I am very proud to present to you the thirdinstallment of Jazz Cats. This compilation is dedicated to the young and hardworking musicians who are the present and the future of Belgium's jazz scene."

Now-Again Records presents catalog-wide reissues of Latin music propellant Joe Bataan’s legendary Ghetto Records. Next up in the series - La Fantastica. This brash, big band Latin orchestra from Brooklyn debuted on Ghetto Records with an underground Salsa album which also contains the beguiling, English-language Psychedelic Soul of "Latin Blues." Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

repressed !

Lenticular-Cover 2x12″ 180g black Gatefold 2x printed Innersleeves Dl-Card

Released in 2018, Monolink's debut album, Amniotic, has collected over 100 million combined streams to date. The project was largely supported through remixes from the titans of the modern house and techno scenes such as Patrice Bäumel, Tale Of Us, Rodriguez Jr, Ben Bohmer, Artbat, Adam Beyer and Nicole Moudaber. These remixes all went on to achieve Beatport Top 10 placings, with Artbat's remix of 'Return to Oz' reaching a staggering 43 million combined streams.
"Under Darkening Skies" will pick up where "Amniotic" ended.

In spring,
Again.
But it's true this time.

In Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.

If the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.

Their geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.

"Done before,
And I'll do it again"
Ringing in my head
While I try
To feel

Studio One was founded by Clement "Coxsone" Dodd in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.
Amongst its earliest records were "Easy Snappin" byTheophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos.
The label and studio were closed when Dodd relocated to New York City in the 1980s.

DJ Elephant Power (Nicolas Baudoux) based in Brussels, Les Octaves de la Musique awarded musician, is returning with his new EP ‘Blowing From Above’ on May 2024 with limited edition vinyls. The abundantly creative producer never tires of exploring the possibility of new sounds and rhythms. This time he delves deep into numerous genres from breakbeat to bass and he added more colours on each track which composed, performed and produced by himself. Mastering was done by Beau of Ten Eight Seven Mastering in UK. This new EP will be the first page of the upcoming album in June 2024.

‘Blowing From Above’ feat Eunsol

Now you entered the city where you can feel the atmosphere of heat with full of energy. Under the welcome sign of breakbeat and bass, you breathe the dopamine of electronic dance deeply. Alongside baseline skyscrapers covering the sound of this city, mysterious Korean words lead you to hyper pop buildings. Across the traffic lights with barking dog and staccato synth arpeggio on the road, you reach the futuristic bridge between jungle and grime.

‘I Got You’

Under the repeated street lights of ‘I Got You’ scratch samples, you are in the car passing through continuous cowbel 808 sounds on the techno road. In front of the funk graffiti wall, a powerful metal guitar sprays the paint with no compromise. Buildings of synth grab you to follow the new banging club anthem.

‘Shades’

Curly hair architect, who is well known for perfectionism of repeated linear, built a new Mantronix satellite laboratory. This is located on the mountain of Detroit and built on the solid ground of analogue synth signals. Filtered synth and bassline are the main columns of the building. In the main lab, the next satellite has been developing on woah woah sound mattress. Visitors can experience zero gravity in the room in the middle of kick and snare which provides perfect unbalance.

‘Infinity’

A colourful new dish is ready for you. You will feel beautifully balanced and harmonious tastes of progressive techno, trap and bass. This astonished dish was sourced the very best of heavy bass and synth melody for well balanced scent with thoughtful contacts. Geomungo, a traditional Korean string instrument, enhances and amplifies stunning ingredients and it makes a highlight with amazing pairings.

2023 sees the return of multi-talented Norwegian producer Espen Horne to Wah Wah 45s, after a 24 year hiatus. The man behind the label's very first release, the now seminal Magnetica, never lost his connection with the imprint and has remained very much part of the Wah Wah family, making a comeback this year with his first solo material under his own name since that club classic from 1999.

Back in the spring, the first single from the project, the gorgeous soul-jazz beauty Bakeren, featuring the stunning vocals of Resonators' Faye Houston, quickly found a home on Gilles Peterson's internationally renowned BBC Radio 6 show as well as that of Jazz FM legend Robbie Vincent, Bandcamp Weekly and the Fresh Finds Jazz Spotify playlist.

Following that, Bergen Sunrays, became a weekly fixture on the Craig Charles Funk & Soul Show on BBC 6 Music, with the limited 7-inch of both singles selling out within hours of release.

Next up was the wistful Den Franske Gitaren, a lugubrious soul-jazz piece with drum & bass leanings featuring Bergen based MC and vocalist Aich, which found favour with legends Laurent Garnier and Jazzanova as well as hot Japanese production outfit Dazzle Drums.

This was closely followed by the final single to be taken from the album, the stunning and outspoken vocal jazz waltzer Nada Pode Me Calar (which roughly translates to Nothing Can Shut Me Up!) featuring the sublime talent of Olav Wöllo on vocals and Juno - anotherr big one with Gilles Peterson on Worldwide FM and Deb Grant on BBC 6 Music.

And now the full album, entitled The Anatomy Of Serene Eloquence is available for your aural delectation. Recorded largely during lockdown, the LP is a sophisticated and composed piece of work that sees the Norwegian producer make connections with musicians from across Europe, and some closer to home, to collaborate on this sedate and peaceful collection of songs.

The aforementioned Faye Houston also appears on the soulful, dub flavoured Don't Fall Asleep, a piece of music that explores the feeling of being isolated whilst sharing a mutual love and drive to explore new sonic possibilities.

Elsewhere, Olav Wöllo pops up again too, this time on O Mar E A Lua and once again singing in Portuguese to give this track a certain Tropicalia feel, as Espen explains:

"Olav Wöllo is a close friend, an excellent musician and vocalist, and a capoeira professor here in Bergen. He has spent much of his life living in Brazil and speaks Portuguese fluently. He wrote the lyrics for this tune years ago and had just been waiting for the right collaboration to come along.

We went to his lovely studio out on this remote island, made a massive gyoza meal, had some serious good wine and stayed the whole night to record his vocal harmonies and outspoken lyrics."

The single Bergen Sunrays also appears on the album in instrumental form with featured keys courtesy of London based player Rory More - here entitled Rory's Sunrays. His Lowrey organ adds a more melancholic feel to the track, as it does on the stunning Belle Époque, alongside the ivory work of Eirik Blåsternes - an emotional, contemplative and atmospheric track that was tested and shaped in the eclipse of Covid.

As with Belle Époque, La Psychosomnie is a playful yet explorative cut that examines insomnia, paralysis and hypnosis courtesy of some enigmatic French spoken word spinning around a framework of drums, bass and swirling keys.

And finally, the album offers up an alternative version of the single Den Franske Gitaren, this time featuring Martin Halla, a vocalist out of the Bergen Grieg Jazz Academy and winner of the Norwegian version of The Voice back in 2012! The perfect flip to Aich's more mournful interpretation of this bass and drum future classic.

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

On Gift n Curse Principle, Jnn Aprl puts forth her own signature interpretation of “techno”, relying on her art school drop out sensibilities and analog ear. After spending the better portion of the last decade immersing herself in the heartland of electronic music, The Seoul by way of Chicago by way of Detroit by way of Seoul again producer and DJ is proud to present the debut of her new EP as well as her new label, Rene Koala.

Find on the record a set of tracks spanning the gamut, made with the assistance of a MPC 1000, a Prophet Synth, vocal effect and some grit. For the dancers and for the artist alike, each song represents a journey. 'Gift n Curse Principle' employs a minimal beat with raw intention. ‘Freedom Bondage’ taps into a low frequency and steady modulation, emulating a heartbeat. All tracks ask to be heard in their entirety.

This EP was made with support from Piranhahead of Rustbelt Studios and Bill Skibbe of Third Man Records.




c A3. 323 Ear To Ear
[d] A4. DLASM [Don’t Let Anyone Stop Me]

The making of Congo Funk!, our long-awaited journey to the musical heart of the African continent, took the Analog Africa Team on two journeys to Kinshasa and one to Brazzaville. Selected meticulously from around 2000 songs and boiled down to 14, this compilation aims to showcase the many facets of the funky, hypnotic and schizophrenic tunes emanating from the two Congolese capitals nestled on the banks of the Congo River.

On its south shore, the city of Kinshasa – capital of Democratic Republic of the Congo, the country formerly known as Zaïre – is often seen as Africa’s musical Mecca, the city that spawned such immortal bands as African Jazz, O.K. Jazz and African Fiesta, and the place to which aspiring musicians from throughout the continent would go to make a name for themselves.

But the city of Brazzaville on the north shore of the river – capital of the Congo Republic – played an equally important role in spreading Congolese sounds continentally. In addition to producing legendary bands such as Les Bantous de la Capital, it was the powerful transmitters of Radio Brazzaville that allowed the unmistakable groove of Congolese Rumba to be heard as far away as Nairobi, Yaoundé, Luanda and Lusaka thus turning the electric guitar into the continent’s most important instrument!

Although the musical landscape of these cities had been defined by a core group of bands in the late 1950s, the modernisation of Congolese music has been steadily evolving until the events surrounding the Muhammad Ali vs George Foreman boxing match marked a turning point. The promoter of that event known as “Rumble In The Jungle” was none other than the notorious Don King who needed 10 millions dollars to get Ali and Foreman into a boxing ring. The only candidate willing to put this kind of cash on the table was Mobutu Sese Seko, President of the Democratic Republic of the Congo.

Mobutu - the megalomaniac dictator who got to power with the support of the United States and Belgium in exchange for unlimited and affordable access to the riches of the country - had a soft spot for music and it doesn’t come as a surprise that he agreed to a three-day live music festival being organised prior to the “Rumble”. Zaïre 74 - as the festival was dubbed - was meant to hype the boxing match and many stars were invited.

Although a myriads of artists flocked in for the occasion, it was the performance of James Brown on Zairian soil that caused havoc among the younger generation, inspiring hundreds of would-be musicians to take up their electric guitars and reverbs cranked to the max in search of a new sound in which hyperactive Rumba was blended with elements of psych and funk. While the results were very different from the popular music of the three Musketeers - as Tabu Ley, Franco and Verckys were known - they weren’t a complete break with tradition.

These new sounds emerged at a time when the Congolese record industry – previously dominated by European major labels – was experiencing a period of decline due to rising production costs and needed a radical change. The void was filled by dozens of entrepreneurs willing to take chances on smaller scale releases. It was the beginning of a golden age for Congolese independent record labels, and the best of them – Cover N°1, Mondenge, Editions Moninga, Super Contact – preserved the work of some of the region’s finest artists, while launching a generation of younger musicians into the spotlight.

The movement was greatly helped by legendary radio shows but it was the dynamic productions of Télé-Zaïre that set the dynamite on fire. Legend has it that TV shows were so huge that president Mobutu himself ordered RTV du Zaïre to put on daily concerts since it halted criminal activities for the duration of the evening.

Congo Funk! is the story of these sounds and labels, but most of all it is the story of two cities, separated by water but united by an indestructible groove. The fourteen songs on this double LP showcase the many facets of the Congolese capitals, and highlight the bands and artists, famous and obscure, who pushed Rumba to new heights and ultimately influenced the musical landscape of the entire continent and beyond.

In 2019, Susan Cadogan's first live performance in Italy with Magnetics will be released on LP! The album includes the chart-topping "Hurt So Good," produced under Lee Perry, Jump Up! and features hits from her 48-year career, including the 2017 comeback track "Take Me Back," which garnered a great deal of attention upon its release on the label, and "My Oh My," a duet with The Magnetics that sold out immediately after its 7-inch release. It was an unforgettable night of performances of the greatest hits of her illustrious career.

Repress!

4 To The Floor is committed to delivering seminal house music to wax, making sought after heritage tracks readily available on vinyl for crate diggers to add to their collections. The third edition of the series pays homage to one of the most heralded names in house music - Armand Van Helden. While Armand’s productions like ‘U Don’t Know Me’ and ‘Bonkers’ have soared to #1, he has remained a true legend of the underground. One of the most illustrious remixers in the game, this 12” package celebrates this part of Armand’s skillset. Kicking off the A-side is his remix of the 1993 club anthem by Tonja Dantzler ‘In And Out Of My Life’, followed by the Shan and Gerd Janson edit which amplifies the original even further. On the flip is a classic bouncing house and garage sound from 1997 on Armand’s remix of Geoffrey Williams’ ‘Sex Life’, followed by the more recent Armand remix of Lee Walker vs. DJ Deeon’s ‘Freak Like Me’ – an explosive club track that was championed by everyone from Marco Carola to Annie Mac.

Studio One was founded by Clement "Coxsone" Dodd in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.
Amongst its earliest records were "Easy Snappin" byTheophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos.
The label and studio were closed when Dodd relocated to New York City in the 1980s.

This is it. Poly dance theatre 006 arrives. Fresh arrival. For the 6th POLY DANCE THEATRE release, androo has decided to release exclusive dubplates from NS Kroo sound system (androo & baba). Yes. 2 tracks from the smoky, always intense and sometimes very special sessions of the NS Kroo sound system over the last 10 years. Exxxperienceee. Wave Dub style is a blend of synth wave, dub stepper and club elements. A side: Fast Dub, tribute to Kitachi, (Iration steppas). Indeed, NS Kroo didn't wait for the recent re-issues to play Kitachi tracks, and has been inspired by this vibe from the outset. Club meets Dub! Fast Dub is trance, it's raw, it's sporty, it's for the legs, it's good support (aducteurs), it's for nimble feet, it's a book whose last sentence ends on the first, it's repetition, it's different style, it's dance, it's wild, it's club rhythm, it's baba operator, it's androo selector, it's sound system vibes, it's NS Kroo in 2019, it's a discreet, slightly punkish non-chalance, it's distortion, it's "we don't give a fuck about codes", it's that and lots of other things... B side: Wave Dub Style Is Back. It's all in the title. This track is probably from 2014? Wave dub... A mix of new wave/synth pop and dub, with a club mix feel. Again, trance music, the kind you play when the night never ends to end, an epic end-of-session odyssey. Soft and strange synth with strong 808 rhythm. 2 mixes. 1st mix: pop synth experience. 2nd mix: raw trance club mix. Wave Dub Style Is Back was remastered by androo in 2023 with the support of poly dance theatre compagnie.

There are two versions of the vinyl - classic black and triple-color limited Indie Shop edition.

Both have special insert inside with the bands bio and photos.

Generacja JAZZ is a project showing a fragment of the new wave of Polish jazz, treading its own path, creating, touring and jamming across Europe. Borders don't exist - especially musical - the new generation is engaging with nightclubs, festivals and playlists. The time has now come to show its broader perspective. We created a project which involves a handful of groups that have already racked up debut albums and festival wins, as they set out on their musical odyssey. The groups also have other things in common, like their passion, originality and, for the needs of the project, age - all the artists during the recording of this album were under 30 years old. This is the new generation - the Jazz Generation.

For the Jazz Generation record we invited five bands who had already released debut albums: Immortal Onion, Klawo, Rejoin, Twoosty Mayonez and USO 9001. We also reserved two spots on the compilation for the winners of our open call competition, whereby on the basis of the jury's choice (jury: Monika Borzym, Paulina Przybysz, Envee, Wojtek Mazolewski i Marcin Groh Grośkiewicz) we met the winning bands: Kosmos and quietet.

The sleeve artist is Kornelia Nowak, who won our open call for young designers and graphic artists. Here once again we could rely on the opinion of a prestigious jury comprised of: Beata Śliwińska Barrakuz, Bovska, Maciej Animisiewasz Grochot, Grzegorz Forin Piwnicki i Marcin Groh Grośkiewicz.

Generacja JAZZ LP is also a start of the new imprint - U JAZZ ME, which will be focused on jazz from Poland.

And here are the bands from the album:

1. Immortal Onion - A band from the Tri-City playing a broad spectrum of instrumental music.

Band members: Wojtek Warmijak (percussion), Tomir Śpiołek (piano, synths), Ziemowit Klimek (Upright Bass, synths).

The band Immortal Onion has already established itself as one of the most interesting projects of the new wave of Polish jazz, and is consistently being labelled as such abroad. After two well received albums ("Ocelot of Salvation" (2017) and"XD Experience Design" (2020) U Know Me Records) they released their third album "Screens" in 2022, which was recorded with the well known Tri-City composer and saxophonist - Michał Jan Ciesielski.

The inspiration behind the band's formation were such artists as: Esbjörn Svensson, Hiromi Uehara, Tigran Hamasyan and Tosin Abasi.

The group's guiding principle from the very beginning was the fusion of often disparate musical styles, which bore "post instrumental aggressive gay pop". Despite the stylistic discrepancies, between which they swim, the group has forged its own identifiable language, characterised by complicated rhythmical structures, energetic riffs and trance beats with lyrical melodies.

The trio has performed its original material at many venues and festivals around Europe and Asia.

2. Klawo - seven adventurous adventurers from Gdańsk, who were brought together by their love for music, halvah and throwing Frisbee. Their self-named début album, released in 2022 on the local label Coastline Northern Cuts, is an amalgam of the inspirations of each of the team members and played backwards contains tips on how to reach the Kashubian pyramids. After a win at the international competition Jazz in the Park, held in Cluj-Napoca in Romania, the band began work on their second album. Meanwhile, they were also travelling the length and breadth of Poland on a mission to infect people with the idea of Baltic Funk.

3. Kosmos is a Łódż based jazz quintet. It was formed in 2020 by Pianist Stanisław Szmigero, Saxophonist Iwo Tylman and Trumpeter Jan Ostalski. However, it wasn't until 2022 that Kosmos found its true form when Kamil Gużniczak (Upright bass) and Kacper Kuta (Percussion) joined the line-up.

Their compositions are influenced by Polish yass bands, electronic music and hip-hop. Kosmos music is a mix of lyricism, space, intensity and elements of experiment.

The band members are all eccentric characters possessing different means of musical expression - looking at them, one could even argue they are a group of oddballs. Despite this, for reasons unbeknownst to themselves, the members of Kosmos complement each other on stage and form a unified artistic vision of the world around them.

Kosmos officially released their début single "Ja" in June 2023. They regularly play concerts across Poland and recently were selected as distinguished artists at JAZZiNSPIRACJE (JAZZiNSPIRATION) - a competition held during the 13th Lublin Jazz Festival.

4. Quietet (formed at the beginning of 2023) is the result of meetings between five talented musicians with a deep passion for musical creation. Its sound is a unique blend of Jazz and classical music with a hint of hard rock. The band is inspired by the Scandinavian approach to making music, which brings a characteristic atmosphere and melodies to their work. Their music captivates listeners with its originality, refined improvisations and flawless technique. Both classical and modern musical trends feed their inspiration when creating passionate and emotional compositions.

Their works are full of sound experimentation, which equally surprise and expose new musical horizons. Through their compositions, "Quietet" aims to share their emotions evoked during performances, creating a musical journey that affects and inspires.

5. Connecting jazz with electronic music in fresh interpretations, six young musicians make up the group Rejoin. The group re-formed in 2020 after a four-year break, playing their debut concert at Lotos Jazz Festival Bielska Zadymka Jazzowa. The musicians in Rejoin have performed alongside such artists as: Urszula Dudziak, Krystyna Prońko, Marcin Masecki, Szczyl, Kuba Więcek and Paulina Przybysz.

Most of the members of Rejoin are students from the Katowice Music Academy, where they also develop their own projects. Rejoin was a recipient of the Fabryki Norblin Music Masterclass Foundation scholarship.

6. Twoosty Mayonez is something your grandad would listen to with his younger sister. The non-standard approach to jazz alongside a pursuit of strange sounds, culminated in the conceptual album entitled "Carmin". The material was created by Bartosz Wolerta (percussion) and Dominik Kaniewski (bass guitar/synths). "Triceradiplodocus" tells the story of a mechanical dinosaur that lives on the yet undiscovered planet Carmin.

Reissue of the 1997 album from Britpop outfit Salad

RIYL Elastica, Echobelly, Sleeper

Critically received as one of their best albums, the album shows a clear development from theirearlier playing days and imbibes a more refined, skilled sound palette

Produced by veteran musician and producer Donald Ross Skinner, guitarist for Edwyn Collins and Julian Cope

Features the tracks ‘Cardboard King’ and ‘Yeah Yeah’

Pressed up on 140g black vinyl

Comes with an exclusive signed print from lead singer Marijna Van Der Vlugt

Fate is a funny old thing. One day in 2011, DJ/producer Tom Trago found himself sharing a train journey with Steven Van Lummel, a DIY musician, artist and co-founder of PIP, an underground nightclub and cultural hub in The Hague. Over the course of a rambling, open-ended conversation, the idea of making music together came up; a few weeks later, Trago travelled to van Lummel’s place – a former industrial unit that was now home to a rotating cast of artists and musicians – and didn’t leave for a month.

Cossetted away from the outside world in van Lummel’s loft, with multi-instrumentalists Janneke Nijhuijs and Wieger Hoogendorp joining them to create a musical four-piece, MEGA WEGA was born. Over the course of four weeks, the quartet embarked on an almost continuous creative session punctuated only by impromptu parties and mixing sessions. Life-long bonds were made and over 70 tracks recorded before the mundanity of day-to-day life came calling.

For one reason or another, the project never saw the light of day, with tracks sat gathering dust on hard drives for the best part of a decade. During the madness and loneliness of the COVID-19 pandemic, Trago rediscovered the tracks. Delighted by what he heard, a collective decision was made to add finishing touches and release the resultant album on van Lummel’s PIP Records imprint. Further instruments and vocals were added over two days at Hoogendorp’s studio, before mutual friend Tom Ruig got on board to mix the album.

So, what can you expect from Haunted, Mega Wega’s debut album? First and foremost, it’s the sound of pure creative expression – the distillation of a freewheeling, no-holds-barred, spontaneous musical journey variously inspired by the do-it-yourself ethos of musical counterculture, shared inspirations and influences, epic jam sessions, distant stars (Wega, sometimes known as Fidis or ‘the harp star’, is one of the brightest in the night sky), imaginary journeys across dusty deserts, and the comradeship of four new friends.

Enchanting and alluring, it’s an album that gleefully denies lazy categorization and ploughs its own eclectic, atmospheric musical furrow in vivid sonic detail. It’s a collective exploration of heady musical eclecticism unified by saucer-eyed vocals, low-slung bass, loose-limbed beats, sweaty percussion workouts and hazy electric piano motifs.

Haunted begins with the woozy and hallucinatory slow-burn soundscape of ‘Get Things Done’ – an effects laden shuffle akin to lying flat on your back tripping under an intense desert sun – and ends with the creepy, mind-mangling post-punk funk of ‘Brain Carpaccio’; in between, you’ll find spaced-out, low-tempo lo-fi soul (‘Move Around’, ‘Haunted’), tactile synth-powered boogie revivalism (‘Make Me Work’), deep and off-kilter opioid jazz (‘Copenhagen’), intoxicating psychedelia (‘Last Night on Earth’), piano-laden dream-pop epics (‘Shake Or Fall’), and Latin-infused, percussion-powered hedonism (‘Chopping Heads’).

Born out of spontaneous collaboration and immersive, almost endless recording sessions, Haunted is an album shot through with imagination and boundless energy, captured for posterity by four friends and collaborators at the top of their game.

Over the past decade, Be.lanuit has made a name for himself in Ibiza, both as a DJ, artist and fashion designer. Across disciplines he radiates a deep-rooted bohemian spirit harkening back to the philosophy on which the Ibiza-scene was originally founded. This creative hearth of soulful hedonism has now borne a full-length album, one that reveals a sprawling composing talent and complete mastery of the melodic downtempo terrain.

Be.lanuit says:

“Hippie Picasso is an album inspired by the life of a hypothetical Pablo Picasso with a hippie soul. I have a deep interest in Picasso that sparked when a work by him caught my eye at the Louisiana in Denmark, incidentally on a trip with Kenneth Bager who runs Music For Dreams. Since then, reading his biographies and visiting Malaga where he was born, where the Mediterranean culture, especially through music, spreads out to the world.

The tracks revolve around Picasso’s artworks and moments in his life, all from the point of view of a dream of an imagined life on the island of Ibiza. The melodies are all reminiscent of the Mediterranean with flamenco airs, sometimes melancholic. Jazz has a subtle presence alongside the electronics. The Spanish classical guitar as well, one of his favorite instruments.”

The album features a range of artists from around the world such as the legendary multi-instrumentalist Tupac Peralta, DJ Pippi, Melón Jimenez, Lara Wong, The Swan and The Lake, Jonas Krag, WALTHER and OliO.

Jackie Mittoo is one of the most important artists in the history of Jamaican music. As founding member of the legendary Skatalites, as in-house arranger/producer at Studio One and as a solo artist in his own right leading groups such as The Soul Brothers, Sound Dimension and Soul Vendors.

These classic and rare recordings were made in the mid 1960's at Studio One. The Soul Brothers bridged the gap between Ska and the arrival of Rocksteady mixing it all up with Funk, Jazz and Latin styles. The Soul Brothers recorded at Studio One between 1965-1967. This was the transitionary period between Ska and Rocksteady where the music was a mixture of Funk, Latin and Jazz sometimes with a reminder of Ska and the hint of Rocksteady.

The previous era of Ska had been dominated by the Skatalites, the first in-house band at Studio One who created classic hits such as "Guns of Navaronne", "Man in the Street", "El Pussy Cat" and many more. Unfortunately the strong personalities in the group meant that The Skatalites stayed together for less than two years. It was also around this time that the mentally unwell Don Drummond was arrested for the murder of his girlfriend, the dancer Margerita.

In August 1965, barely a week after the demise of the original Skatalites, The Soul Brothers (featuring ex-Skatalites members Jackie Mittoo, Roland Alphonso, Johnny Moore and Lloyd Brevitt) were up and running as the new house band at Studio One.

The Soul Brothers were essentially a collective, releasing material under their own name or under a nominal leader (usually Jackie Mittoo or Rolando Alphonso). The group line-up changed over time with Bobby Ellis (trumpet), Bryan Atkinson (bass), Dennis Campbell (Sax), Harry Haughton (guitarist) and Joe Isaacs (drummer) replacing various members alongside the ever present Jackie Mittoo.

REVIEWS

"Jackie Mittoo was a true star of Jamaican music; a founder member of The Skatalites, a prolific composer and the keyboard powerhouse behind many a classic tune. His simple, often hypnotic approach, to ska, rocksteady and reggae made him one of the most distinctive sounding musicians of the era." BBC.

"Jackie Mittoo was one of the great names in Jamaican music, manning the keyboards for the Skatalites, the Soul Vendors, and Sound Dimension-- three of the greatest house bands of the 60's
(and I mean anywhere, not just in Jamaica)." PITCHFORK.

A command across genres has distinguished Yasushi Ide’s work as a DJ and producer since emerging from the multiscene spawning big bang that was Tokyo’s highly influential club milieu of the 1980s. His productions draw variously from hip-hop, dub, house, punk, jazz dance, exotica and electronic music - and at their most expressive, synthesize sensibilities within a single track. The respect Ide’s earned is well evident in the impressive roll call of collaborators he’s accrued over the years - Masters At Work, Tom Verlaine, Don Letts, James Chance, DJ Krush, Pharaoh Sanders, U-ROY, and Bongo Herman, just to name a legendary few.



Now available for worldwide distribution from Love Injection Records in both digital and 7-inch 45 vinyl formats, the Yasushi Ide “A Place In the Sun (Kaoru Inoue Remix)” is paired with the equally gorgeous “A Place In the Sun (Dub).” On the former, Inoue’s treatment largely strips away the track’s beats, anchoring it to a subtle percussion pulse that emphasizes the composition’s irresistible melodic qualities. The latter finds Yoko Ota at the controls restoring and pushing reverb-soaked drums to the forefront of the mix, accentuating Ide’s affection for the sound system aesthetic while exercising just the right amount of spacial arrangement flourishes to inject some brawn amidst the beauty.



These serendipitously rediscovered renditions of a back catalog deep cut are just the latest examples of Yasushi Ide’s artistic reach. In addition to recording such acclaimed albums as 2020’s Cosmic Suite and its 2022 sequel (for which Love Injection has remixed a track), his work has spanned music supervision of some 200+ compilations for major labels, artist management, his Grand Gallery shop/gallery proprietorship, and books showcasing the depth of his archival sensibilities, including vintage t-shirt and ephemera curation. Perhaps most inspiring, however, is that Ide is still winning new appreciators and collaborators in unexpected ways four decades into a revered career that continues to evolve and expand.

Debut album of heavy Colombian salsa by the obscure and short-lived El Clan Antillano. Founded in 1975 by singer Jacky Carazo and radio personality / composer Mike Char and backed by a studio orchestra comprised mostly of Fruko Y Sus Tesos band members. The record has been remastered from the original tapes, with an additional three bonus cuts taken from two rare 45 singles, including the sought after track ‘Alma’. First time reissue. 180g Vinyl.

El Clan Antillano was an obscure, short-lived salsa group started in 1975 by singer Jacky “El Caballo” Carazo, originally from Cartagena, and radio host / song composer Mike Char, from Barranquilla. The band was active only until 1977, with a mere two albums to its name. Carazo and Char, “los amigos costeños” (friends from the Caribbean coastal area) created El Clan Antillano as a fresh start after the previous group Carazo had been the lead singer for, El
Afrocombo, had become inactive.

Char primary passion was music, especially songwriting. One of his skills in this area was adapting foreign songs, often in a different language, rhythm, arrangement or genre, and refashioning the tune in an uptempo Caribbean dance mode as a salsa or cumbia. This formula, as well as his own original compositions, soon brought him success not only with costeño friends like Carazo and Vicentini, but also with Medellín’s Fruko, allowing him to make a name for himself with record labels in that city. It was at this juncture, in 1975, that El Clan Antillano was born. This is their first album and was recorded with local studio musicians. It’s been said that most on the first album were from Fruko Y Sus Tesos (the voice of Joe Arroyo can be heard on coro) as well as others involved with various groups like La Protesta (de Colombia) and Juan Piña’s La Revelación.

The album kicks off with ‘Donde ‘sta? Donde ‘sta?’, a medley of costeño lyrical phrases quoting various popular porros. Gradually changing the vibe, this is followed by Enrique Aguilar’s ‘El baile del
ratón’, a humorous cumbia that changes into a salsa halfway through. As if El Clan Antillano were not entirely confident about featuring purely salsa from the start, the same cumbia/salsa hybrid formula is used in the third piece, a faithfully rendered version of Eddie Palmieri’s ‘Mi cumbia’.

‘Estás equivocada’ rocks hard like the best Venezuelan salsa of the time. ‘Esta mañana’ is a cover version of an obscure bolero from Curaçao’s Erwin Castaneer with Super Combo Castaneer. ‘En la oscuridad’ is an interesting mashup of Puerto Rican bomba and New York style pachanga. ‘El despertar’ is a sunny sounding pop song reinvented as a Nelson y sus Estrellas style salsa/cumbia hybrid with a fantastic ‘montuno’ section.

Up next is a hard salsa jam in the ‘pregón’ (street vendor’s cry) genre, written by Fruko Y Sus Tesos percussionist Álvaro Velásquez (composer of ‘El preso’). The original album track list closes out with a fantastic rendition of Puerto Rican singer/composer Bobby Capó’s classic ‘El negro bembón’ that the world first leaned to love through Cortijo y Su Combo. Three bonus tracks have been added to the album as it was originally very short. Interestingly, there were four songs from two 45 singles cut by the band that were never included on either long play. While the ephemeral El Clan Antillano may not be as well known as the groups it’s related to, namely El Afrocombo and Fruko Y Sus Tesos, it certainly deserves credit as a worthy participant in the historical evolution of salsa colombiana.

Following up last year’s Acrobatic Thoughts album, Panoram delves even deeper into his own musical universe with Keep Looking Where The Light Comes From. We find the producer in confident form, exploring the fuzzy fringes of beauty and chaos. The result is an album that sounds even more like himself and yet surprising at each turn.


Opening track Feathers sounds like only Panoram can, buzzy arpeggiated distortion takes flight somewhere in the direction of a distant multiverse where Animal Collective and Boards of Canada soundtracked Koyaanisqatsi. But the psychedelic drift is all Panoram’s own, conjuring a stark sense of the uncanny with the repeated phrases. The digital guitar and vocal loops of I Can Only Repeat Your Love are practically on the brink of collapsing in on themselves, to the point where the structure begins to shift like a collapsing monument. Flat Stones nods towards ASMR, as flute and woodwind tones caress the ears and a whispered voice teases out an altered state.


It’s this dreamlike mood that pervades the whole album, a maximal effect that’s wrung from minimalist compositions. The Wide House picks up the baton from Laurie Anderson to trip gently through different states of awareness, while the piano patterns of Blank Sheep float through the synth ambience like ideas entering an empty dream. There Is A Hole Here is another mutant loop that unravels as it proceeds - the rhythms turn into a pulse, and despite what the lyrics say, it does indeed mess around with your brain.


Panoram balances dance tropes, classical composition, ambient drones and a washed out, fuzzy twist on avant garde pop, and manages to transform it all into a uniform whole that fits all those puzzle pieces together. Yet such is the assuredness of Panoram’s production that it sounds effortless. At this point, the music is more like a midwife, manifesting your future self‘s enlightened consciousness with surreal effect.

The Amsterdam-based duo of LYMA and Rebiere aka LIKEMINDS follow up their debut album On My Way with versions from its predecessor.

Sometimes life throws you a curveball and you still gotta make it to first base. That’s what happened when Rebiere’s laptop was stolen, along with all the recordings of their original debut album. The pair made a brand new album from scratch, but they kept coming back to the demos from the lost recordings. They started to rework the sound as a whole, adding finishing touches, including additions from Bo Floor and Gino Groeneveld from Jungle By Night. The demos weren’t the same as the stolen tracks, but they learned to love the imperfections all the same.

The Lost Tape takes you on a journey - through low-slung beats, party jams, soulful. melodies and woozy synths, all masterfully woven together with samples and field recordings from Amsterdam’s watery canalways. It’s also the story of how the duo met, at a time when LYMA felt lost at sea with his collection of unreleased tracks, before Rebiere threw him a lifeline and brought some focus and clarity. Sometimes finding a like-minded
friend can make all the difference.

Orchestral Manoeuvres In The Dark (OMD) return with their 14th studio album Bauhaus Staircase, over six years after the triumph of their Top 4-charting record The Punishment of Luxury. The album was born from the impetus to kickstart new explorations during lockdown when as Andy McCluskey admits: “I rediscovered the creative power of total boredom.”

The album’s first offering as a single is the title track which serves as a nod both to Andy McCluskey’s love of the Bauhaus era & the power of protest art. “I am a huge lover of visual arts especially mid 20th century movements” Andy comments. “The song is a metaphor for strength and artist passion in the face of criticism and adversity. When times are hard there is a tendency for Governments to look at cutting funding for creativity just at the moment when the arts are most needed to nourish our souls. It seems appropriate that the song and its eponymous album were created during Covid Lockdown.”

Ranging further from the beautiful film noir ballad of ‘Veruschka’ and the dance stylings of ‘Anthropocene’ - a term for the current epoch in Earth’s evolution to the sinister ‘Evolution Of Species’ and the hectic ‘Kleptocracy’ - OMD’s greatest straight-up protest song - the new album is a broad electronic sonic masterpiece that lyrically tackles the topics of the future. The record closes on ‘Healing’ - a moment of reflective calm.

By rights OMD should be in semi-retirement performing classics like Enola Gay and Maid Of Orleans on the nostalgia festival circuit like so many peers. Instead they’ve created a landmark album worthy of their finest work. Bauhaus Staircase remains unmistakably the work of a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s.


“I’m very happy with what we’ve done on this record" McCluskey summarises. “I’m comfortable if this is OMD’s last statement.”

IZIPHO SOUL are delighted to announce our second 7” release with Nashville smooth soul man Dwayne Scivally.

Prior to his highly respected LPs with French music maestro Thomas G, Dwayne recorded an album in 2016 entitled ‘Stay Until The Morning’. The CD has virtual invisible status, with no sales documented on Discogs. Our top pick is ‘Point of no Return’, this track was played upon it’s original release by a handful of elite DJs - Props therefore go out to Mick O’Donnell, Mark Merry, Colin Curtis, Steve Scotney and Brian Goucher (who ranked this as one of his top tunes of 2016 in U.K. Vibe magazine)

The flip ‘So Good’ - a sensuous mid tempo composition, beautifully complimenting the top side.

Aphrose reveals her sophomore album, 'Roses,' a captivating amalgamation of Neo-Soul and R&B, delving into the wellspring of ancestral strength and love.

Hailing from Toronto, Canada, Aphrose, also known as Joanna Mohammed, unveils her sophomore album, establishing her as one of Toronto's best-kept musical treasures. Known for her commanding vocal prowess within her hometown, this gifted songwriter and vocalist is rapidly garnering global acclaim and accolades from both fans and music critics alike. Signed to independent Soul label LRK Records, 'Roses' remains firmly rooted in Aphrose's signature style characterized by resounding R&B vocals. However, it also embraces a softer, more introspective aura that brilliantly showcases her remarkable versatility in navigating diverse genres, moods, and musical approaches with remarkable finesse.

This album offers a little something for everyone, catering to enthusiasts of Neo-soul, traditional Soul, Hip Hop, and R&B. Produced by her longtime friends/collaborators at SafeSpaceship Music (Scott McCannell, Chino De Villa, Ben Macdonald), the album serves as a compelling testament to the collective creativity of Aphrose and this exceptional production trio, delivering a kaleidoscope of soundscapes, textures, rhythms, and grooves. 'Roses' weaves together both lighthearted and profound elements as Aphrose explores her life journey, delving into her familial past and present, grappling with the challenges of new motherhood, and contemplating her relationships with herself, her partner, and her friends. Across the 35-minute LP, Aphrose draws inspiration from Neo-soul icons like Jill Scott and Erykah Badu, pays homage to Soul legends such as Aretha Franklin and MJ, and infuses contemporary R&B influences from artists like Frank Ocean, SiR, and SZA. The result is a sound that distinctly bears the 'Aphrose sound,' reflecting her deep admiration for her inspirations while imparting a refreshing twist to familiar genres.

The album commences with its title track, 'Roses,' which was released as a single on August 25th. This song sets the stage, invoking the strength of Aphrose's ancestors, particularly her late Grandmother Rose. Following suit is 'YaYa,' also released as a single on July 7th. This buoyant dance track whisks listeners back to the disco era of the late 70s and early 80s. The album's third track, 'Heavenly Father,' offers a brief interlude featuring a recording of Aphrose's Grandmother Rose engaged in prayer, setting the tone for the subsequent track, 'In The Time Of Sorrow.' This contemplative, chill piece captures Aphrose's musings on navigating a world often shrouded in fakery, while craving authenticity. 'Honey (Don't) Come Back' seamlessly transitions between two distinct musical personalities, commencing with a deep, almost Trap-like bass/drum beat before transforming into a spirited Funk/Soul jam—an anthem of empowerment encouraging the listener to leave a situationship that is no longer working. 'What You Don't See' strips the production down to its core, as Aphrose and guitarist/co-writer Heather Crawford craft an intimate ode to a friendship's sad ending.

The B-side opens with the evocative 'Weapons,' featuring a five-person choir including LRK label-mate Claire Davis, Nevon Sinclair (Daniel Caesar and LOONY), Kyla Charter (Aysanabee and Alessia Cara), Lydia Persaud, and Marla Walters. The track is adorned with a stirring string arrangement courtesy of Jessica Deutsch. 'Chop The Cake' acts as a breather, interlude-style, easing the intensity. 'Soft Nuclear' channels the spirit of the early 2000s R&B movement, bearing traces of influence from Lucy Pearl. 'Good Love,' released as the first single off this body of work on May 19th, transports listeners to the 70s with its soulful resonance, drawing inspiration from the likes of Michael Jackson and Teddy Pendergrass. 'Higher' stands as Aphrose's tribute to Prince, capturing the essence of his music within its hook and production. The album's culmination arrives with 'ZAG,' an acronym derived from Aphrose's daughter's name, commencing with the sound of her daughter's heartbeat in-utero from a sonogram taken when Aphrose was pregnant. This heartfelt composition serves as a dedication to her daughter and all parents navigating the rollercoaster of parenthood, emphasizing the imperative of nurturing love to shape the future.

'Roses' stands as Aphrose's homage to her history—her Grandma Rose and the ancestral trailblazers who paved her path to the present life she enjoys; her current experiences—her self-discovery, her relationships with her partner and friends; and her aspirations for the future—her daughter and the generations to come. This album crystallizes these temporal dimensions, prompting introspection, celebration, laughter, and tears. 'Roses' is a musical odyssey that scrutinizes the multifaceted beauty of existence, inviting listeners to partake in this thing called life.

The radio world has taken notice of Aphrose's talent, with national Radio Capital's Italy Massimo Oldani spinning her latest single "YaYa" for the entire month of July on his show "Vibe." And both singles getting to number 10 in the UK soul chart.Additionally, Aphrose has received national radio play on renowned stations such as BBC in the UK, RTVE in Spain, and Radio France FIP.

Aphrose has also made CBC's Top 100 finalist list for their Searchlight competition.

Huey Morgan played "YaYa" the second track off the album on his BBC radio six show

I Talk To Water, the fifth album for Kompakt by Danish producer Kölsch, is the artist’s most personal statement yet. While all the trademarks that make his music so popular and powerful are still present – lush, melodic techno; swooping, trance-like figures; sensuous, shivery texturology – I Talk To Water is also a deep and intimate rapprochement with family and history, a beautiful, finely detailed document of loss and memory, and a tracing of the long, unbroken thread of grief that runs through our lives once we’ve lost those we loved.

The emotional core of I Talk To Water, then, is a cache of recordings by Kölsch’s father, Patrick Reilly, who passed away in 2003 from brain cancer. With time rendered elastic by the pandemic and its associated lockdowns, its sudden, alienating shifts in everyday living, Kölsch found himself reflecting on his father’s passing and ongoing spiritual presence, thinking about how best to memorialise such a significant figure in his own life. Those recordings opened a gateway, of sorts, for Kölsch to move through – a way to bring past and present together and entwine them in a sensitive, poetic manner.

Kölsch’s father was a musician – “touring in the sixties and seventies, in the Middle East especially, he was doing the whole hippy trail, playing guitar, and wrote some songs over the years,” he recalls. “But all in all, he decided to focus on family rather than pursue a musical career.” Reilly kept playing and writing music over the years, though Kölsch hadn’t listened to the material for some time: “I’d never had the guts to listen to it, because I just felt too fragile listening to his voice. It’s such a tough thing to go through.”

During the pandemic, though, Kölsch listened through the fragmented body of work that his father had produced over the years. “I decided I’m gonna finally release my dad’s music twenty years after his passing,” he reflects. “This whole album is about the process of loss, and for me it’s been one of my main driving forces in my musical life, the whole emotional aspect of whatever I’ve done has been based in that feeling that he’s not there anymore.”

Recordings of Reilly appear on three songs across I Talk To Water. His guitars drift pensively across “Grape”, offering a lush thread of melody that Kölsch wraps with clicking, driftwood rhythms and droning, melancholy bass. “Tell Me” is a lovely three-minute art song, a sadly beautiful reflection, minimally adorned with gentle keys and a muted pulse. And on the closing “It Ends Where It Began”, Kölsch lets his father’s acoustic guitar take centre stage for a lament that’s unexpectedly folksy, a guitar soli dream, which Reilly originally recorded in 1996. “He actually recorded it for my first album that never came out,” Kölsch reveals, “and I had it sitting around forever. That is purely him.”

These three imagined collaborations between father and son are poised and delicate. But their relationship also marks the gorgeous music Kölsch has made across the rest of I Talk To Water, from the itchy yet lush “Pet Sound” (titled in tribute to one of Reilly’s favourite albums), the flickering synths and yearning vocal samples that slide through “Khenpo”, the ecstatic shuddering that marks “Only Get Better”, or “Implant”’s slow-motion pans and subtle reveals.

There’s also the title song, where Kölsch is joined by guest Perry Farrell (Jane’s Addiction, Porno For Pyros), singing a mantra for internal reflection: “I talk to water / Searching for myself / Looking for answers / Oceans of you.” Farrell’s appearance brings another timbre, another spirit to the album, aligning neatly with his recent interest in electronic music. “He was completely taken by this idea of talking to water,” Kölsch says, thinking about the ways we collectively lean towards the natural world as a comfort and a listener, a guide through mourning, a way to map out the terrain of the heart. This mapping is something that Kölsch has proven remarkably adept at through the years; dance music for both body and mind, but also both for the here-and-now, and for the hereafter.

“I Talk To Water”, das fünfte Album des dänischen Produzenten Kölsch für Kompakt, ist zweifellos das persönlichste Statement des Künstlers bislang. Während alle Markenzeichen, die seine Musik so beliebt und kraftvoll machen, immer noch präsent sind – üppige, melodische Techno-Tracks; schwebende, tranceartige Elemente; sinnliche, fiebrige Texturen – ist “I Talk To Water” auch eine tiefe und intime Annäherung an Familie und Geschichte. Es ist ein wunderschönes, fein ausgearbeitetes Dokument des Verlusts und der Erinnerung, und es verfolgt den langen, ungebrochenen Faden der Trauer, der durch unser Leben läuft, sobald wir diejenigen verloren haben, die wir liebten.

Der emotionale Kern von “I Talk To Water” besteht aus Aufnahmen von Kölschs Vater, Patrick Reilly, der 2003 an Hirnkrebs verstarb. Durch die Pandemie und ihre damit verbundenen Lockdowns, die plötzlichen, entfremdenden Veränderungen im Alltag, fand Kölsch sich in Gedanken an den Tod seines Vaters und seine fortwährende spirituelle Präsenz wieder. Er überlegte, wie er eine so bedeutende Figur in seinem eigenen Leben am besten verewigen könnte. Diese Aufnahmen öffneten ihm sozusagen ein Portal, um Vergangenheit und Gegenwart miteinander zu verbinden und sie auf sensible und poetische Weise zu verweben.

Kölschs Vater war Musiker – “er tourte in den sechziger und siebziger Jahren, vor allem im Nahen Osten, auf dem Hippie Trail, spielte Gitarre und schrieb im Laufe der Jahre einige Songs”, erinnert sich Kölsch. “Aber alles in allem entschied er sich, sich auf die Familie zu konzentrieren, anstatt eine musikalische Karriere zu verfolgen.” Reilly spielte und schrieb jedoch im Laufe der Jahre weiterhin Musik, obwohl Kölsch das Material lange Zeit nicht angehört hatte: “Ich hatte nie den Mut, es anzuhören, weil ich mich einfach zu zerbrechlich fühlte, seine Stimme anzuhören. Es ist so schwer, das durchzustehen.”

Während der Pandemie hörte sich Kölsch jedoch durch das fragmentierte Werk, das sein Vater im Laufe der Jahre produziert hatte. “Ich beschloss, die Musik meines Vaters zwanzig Jahre nach seinem Tod endlich zu veröffentlichen”, reflektiert er. “Dieses ganze Album handelt von dem Verlustprozess, welcher für mich generell eine der Hauptantriebskräfte in meinem musikalischen Leben ist. Der ganze emotionale Aspekt von dem, was ich getan habe, basierte auf dem Gefühl, dass er nicht mehr da ist.”

Auf “I Talk To Water” sind Aufnahmen von Reilly in drei Songs zu hören. Seine Gitarren ziehen nachdenklich durch “Grape”, bieten einen üppigen Melodiefaden, den Kölsch mit klickenden, treibenden Rhythmen und dröhnendem, melancholischem Bass umwickelt. “Tell Me” ist ein schönes dreiminütiges Kunstlied, eine traurig-schöne Reflexion, minimal geschmückt mit sanften Tasten und einem gedämpften Puls. Und auf dem Abschlusstrack “It Ends Where It Began” lässt Kölsch die akustische Gitarre seines Vaters im Mittelpunkt stehen, ein überraschend folkiger Klagegesang, den Reilly ursprünglich 1996 aufgenommen hatte. “Er hat es tatsächlich für mein erstes Album aufgenommen, das nie veröffentlicht wurde”, enthüllt Kölsch, “und ich hatte es ewig liegen.”

Diese drei erdachten Kollaborationen zwischen Vater und Sohn sind ausgewogen und zart. Aber ihre Beziehung prägt auch die wunderschöne Musik, die Kölsch im Rest von “I Talk To Water” geschaffen hat, angefangen bei dem nervösen, aber üppigen “Pet Sound” (benannt als Hommage an eines von Reillys Lieblingsalben), den flimmernden Synthesizern und sehnsüchtigen Vocal-Samples in “Khenpo”, den ekstatischen Erschütterungen in “Only Get Better” oder den langsamen Schwenks und subtilen Enthüllungen in “Implant”.

Es gibt auch den Titelsong, in dem Kölsch von Gast Perry Farrell (Jane’s Addiction, Porno For Pyros) begleitet wird, der ein Mantra für die innere Reflexion singt: “I talk to water / Searching for myself / Looking for answers / Oceans of you.” Farrells Auftritt bringt eine weitere Klangfarbe, einen weiteren Geist in das Album, der gut zu seinem jüngsten Interesse an elektronischer Musik passt. “Er war völlig fasziniert von der Idee, mit Wasser zu sprechen”, sagt Kölsch und denkt darüber nach, wie wir kollektiv zur Natur als Trost, Zuhörer, Führer durch die Trauer neigen, um die Gelände des Herzens zu kartieren. Diese Kartierung ist etwas, in dem Kölsch im Laufe der Jahre erstaunlich geschickt war; Tanzmusik für Körper und Geist, sowohl für das Hier und Jetzt, als auch für das Leben danach.

"Welcome To My World" is a collection of some of Daniel's most-beloved songs and is now available on vinyl for the very first time. These are the songs that built the legend...a must-have for the legion of devoted Daniel Johnston Fans as well as the perfect introduction for new listeners.

Welcome To My World serves as an introduction to Daniel Johnston, housing a number of his most acclaimed works. Johnston's music captivated fellow artists and fans with its childlike elements and lo-fi elements. The singer-songwriter and artist earned a cult following in the early '80s, sharing homemade cassette tapes of his music, and his prominence was established after Kurt Cobain was publicly seen wearing a shirt with Johnston's illustration.

Dead Fader is the alter ego of John Cohen - former Brighton resident, now based in Berlin - who has worked relentlessly since 2007 to realise his vision of electronic music. His tracks are characterised by pioneering sound explorations, which on one hand oscillate between sonic extremities and on the other hand carefully craft cinemascope sound worlds. The album became a very personal exploration for Cohen, as the themes are inquiring emotional states, and the writing process was predominantly influenced by falling in love whilst making the album. Furthermore, the film Interstellar visually influenced the album, mapped as an image for Cohen's tracks to exist in. I have watched his talent, his confidence in his ability and his output just grow and grow beyond what most humans are capable of imagining, never mind making. I think that comes from a place of wonder and exploration, a place where emotion, energy and experience are important, the long and narrow, the deaf arena, the blood forest and the glass cathedrals. Dead Fader rips you backwards through the portal as existence explodes around you, but you don't perish in the fire. It's just a ride.' - Barry Pendergast, former partner in Dead Fader T

Mella Dee Presents RYAN, a new project from one of the UK’s most prolific electronic producers. Exploring a darker, experimental side of the mastermind behind ‘Techno Disco Tool’, the new project sees RYAN take things underground with new track ‘Static Movement’. Alongside the track, RYAN has announced his forthcoming EP Connected Experiences, a 4-track collection of essential club tools due for release on August 11 via DJ and Body Movements co-founder Saoirse’s imprint trUst. The landmark release will be the first time the label head has featured another artist's music and is testament to the direction of Mella Dee’s new musical project, RYAN.

Already doing damage in the club circuit with support from the likes of Ben UFO, Shanti Celeste, Midland and more, ‘Static Movement’ sees RYAN. go back to basics with a drum machine and analog synths, ending with an infinite groove. Speaking on the track, RYAN. explains: “Trust the process. My name is RYAN. This is a collection of music I wrote for the purpose of dancing. Those moments we can all get lost together and connect through experience. trUst is a label built on love and connection. I just want to thank Saoirse for the trust she has shown and the love she gives.”

Label boss Saoirse adds: “This is the first time I've invited another artist to release on trUst and I'm so delighted it's from my close friend the absolute don from Doncaster - Mella Dee. Tracks I've been playing in every set over the past year with Static Movement being one of my most ID'd tunes ever. Once I heard it I knew this had to be the first track released on the label from someone else. Ryan is one of the best producers I know, completely and wholly committed to the dancefloor and I'm thrilled I will be releasing the first of his new project under 'Ryan'. I had complete trust in him to deliver a solid EP.”

Real name Ryan Aitchison, Mella Dee reached international notoriety with his anthemic 2017 single ‘Techno Disco Tool’, reaching number 1 in BBC Radio 1’s Dance Music Chart as well as one of Annie Mac’s ‘Tracks of the Decade’ (and was even played during her final show on Radio 1). A year later, the Warehouse Music label head won ‘Best Breakthrough Label’ at the DJ Mag ‘Best of British’ awards and he was also named one of Mixmag’s ‘Stars of the Year’, cementing himself as one of the most sought after names in dance music. Since then Mella Dee has delivered his debut Essential Mix for the legendary BBC Radio 1 series, curated a mix for Resident Advisor’s prestigious Podcast series, performed a debut Boiler Room set to rapturous acclaim, toured North America multiple times and joined the elusive Circoloco family for a summer of shows at DC10 and their momentous festival in Thailand. Ryan has also curated tours for his own Warehouse Music label, taking over illustrious venues all over Europe including his hometown at the infamous Doncaster Warehouse.

South London Soul Band Trambeat, influenced by the floor shaking sound of 1960's Motor City. With brand new single, "Don't Hold Back"

Trambeat were formed in 2012 by guitarist Graham Potter and drummer Des" Jammy" James. Graham and Des had played together in several bands previously and already had a good musical understanding. Trambeat's manifesto; to write original songs influenced by a love of Northern Soul, Motown, Rocksteady and RnB. But also to look forward and include elements of more contemporary genres. Bass player Nipper Smith, Saxophonists Robin Ogleby and Nadia Barbosa, and organist Emer O'Hanlon were recruited to form the core band and Trambeat set about recording and gigging with various vocalists until, in 2016, Aimee Grinter became Trambeat's permanent lead singer.

Written by Graham Potter and Des James, "Don't Hold Back" is in some ways a comeback single for Trambeat. The pandemic years took their toll on many bands and Trambeat in particular, with the loss of founding member Robin Ogleby being a very hard blow. Following a tribute single in 2021 to raise money for Robin's charities, and a couple of festival gigs in the summer of 2022, theyndidn't have much appetite for writing new material, and were unsure whether to continue as a band without Robin. It was during a jam between Graham and Des in late 2022 that the bones of "Don't Hold Back" came together. The drums and rhythm guitar clicked into an infectious dance groove with echoes of vintage Motown. The band members came together in the studio with renewed enthusiasm and laid down the track in just a day. The band, who remained close,even during this hiatus, realised how great it was to be back in the studio together again. Graham's lyrics, as well as the euphoric feel of the track, reflected this new optimism within the band. "Don't Hold Back" is a celebration of life, of deep friendships and most of all, of love!

Plays on Gary Crowley's show on BBC London.

Regularly played by Button Down Radio, Heavy Soul (Cambridge), The Influential Factor show on Solid Front Radio (album of the week for TTN), Mod Radio UK (various shows), The Edward B'stard Radio Show, several stations in Germany and Edge Radio and couple of others in Australia

Grammy nominated DJ and production mastermind Paul Woolford steps up to deliver a timeless house reworking of Gabriels 'Angels & Queens'.

The title track from the trio's debut album (part 1) that took 2022 by storm. Endeared by the masses and critically acclaimed Gabriels set out a refreshing new take on soul that the world was subconsciously crying out for - an antidote to over produced pop - providing a deeper, more meaningful and heartfelt cause at its centre.

Tantalising from the outset, Woolford steps up to the plate with a hard-hitting remix that drives in straight to your centre. Punchy TR-909 drums combine with thundering bass tones and his archetypal, rising piano hooks. A combination that brings Jacob Lusk's inimitable vocals to new heights.

After a feverish reception to Paul's Instagram tease of the track, we've been itching to release this remix into the wild. It's a big one, don't miss it!

'Three supremely talented artists simply excelling at what they do' - Paul Woolford

Gerd Janson - 'Gabriels!!! - Total madness at Panorama Bar. Like it was made for the room'

DJ Feedback:

Prins Thomas – I’m melting….Amazing

Groove Armada – Love this!

Gorgon City - yessss

Fred P - Dope!!!!

Marco Faraone - Super remix!!!

Sasha – Quality

Bakermat – tasty

Mano Le Tough – Ace

Hector Romero - Gabriels have quickly become my fav new artist. Paul!! You nailed it. Great collaboration.

Horse Meat Disco – Pretty big remix!

Gerd Janson – MEGA

Charles D unveils his debut Drumcode EP, following three excellent releases on the label.

Ever since the New Yorker shared his remix of ‘Your Mind’ with Adam Beyer, which would go on to become only the second officially released remixes of the legendary track, we knew we were onto a special talent. A strong single on A-Sides Vol.11 ‘Traction’ was to follow, proceeded by another superb remix, this time of Mike Macaluso’s ‘Final Chapter’, reinforcing his skilled studio touch.

Now a year on from his first appearance on Beyer’s label, he steps up for a richly deserved debut EP, ‘Don’t Stop’, which encapsulates all the stylistic facets of his productions. The title track is fun and driving, brimming with ‘90s rave stabs and peak-time fizz. ‘No Escape’ is a pulsating stomper fusing together percussive techno and melodic elements to form a track that will work in a variety of environments. ‘Choir’s Palace’ is a dreamy tool and perfect for shifting the momentum during a peak-time set.