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Improvisation and experimentation are at the core of Robocobra
Quartet’s DNA, almost intentionally at odds with their roots as a
post punk band.
 Including members with no musical training alongside European
music conservatoire innovators, the result is a groove-driven but
cerebral blast, invoking the likes of Fugazi, Talking Heads and
contemporaries such as Squid and Black Country, New Road.
 The eclectic free nature of their live shows allows them to
channel hop from moments of joy and playfulness to periods of
intense fury, creating a unique sound that has earned them
invitations to Montreux Jazz Festival and Latitude.
 Robocobra Quartet have a rule: No Guitars Allowed. Their
unique sound, concocted and self-produced in Belfast, Northern
Ireland, sees that ‘middle’ space filled by other instruments such
as saxophones, samplers, keyboards and sound effects,
swirling around the melodic basslines and powerful drum
rhythms which prop up the core of each of their songs.
 On top of this music sits a single vocal from behind the drum kit
amid a fury of rhythm, sometimes marrying perfectly with the
pulse of the drums and occasionally at complete odds with it.
 Live dates / tour to be announced.
 “I genuinely don’t think there is another band like ‘em, anywhere
in these islands” - Tom Robinson
 “Free-floating musical explorers” - Hannah Peel
 “Fugazi meets Mingus.” - Drowned in Sound
 “Exploratory pioneers.” - BBC Radio 3 Late Junction
 “A cunning marriage of jazz, spoken word and punk” - The
Quietus

Two brand new tracks by Art Of Tones with The Funk District on remix duty. Crazay sounds like the perfect radio tune AND a true dancefloor filler. Boogie disco-influenced House music with the usual AOT extras : fat bassline, funky beats and guitar riffs - and of course, drumfills ! "Not the same" is a great B side, a deep and melancholic disco track.

Shaped by the currents of jazz, LaBlue - from his first name Sasha - multi-instrumentalist (drums, piano, bass and guitar) from the conservatory, meets Astrønne in 2019. A singer with a singular voice, she was spotted on the networks thanks to her soul and rnb covers.

A few months later, on the steps of Montmartre, the two young talents began discussing a joint project. Guided by their common love for neo-soul, the 21 year old duo started to produce several albums in 2020 between Rennes and Paris.

They draw their inspiration from the talents that have marked the last decade; Hiatus Kaiyote, D'Angelo, The Internet, Erykah Badu...

Together, they participated in a contest launched by the label Roche Musique during the confinement (March-April 2020) which they won thanks to their track "Keep it Smooth". This new signing will inspire their first 6 track EP "Blue Phases", released in May 2021."

LIMITED EDITION

Nigerian classic Black Children Sledge Funk Group 1976’s debut album full of positive vibrations and feel-good grooves! A sunny blend of Reggae and Afro-Funk with a lot of percussions, psychedelic and rhythmic guitar and organ. In the mid-seventies in Nigeria everybody loved them; they were a symbol and pride of Africa.

Michael Hammedatha Moore sang and played congas and percussion. Daniel Carlos Yakubu played guitar. Jerry Freeman Nwokolo was on keyboards. Ricky Hardnar on bass and And Benson Teteh played the drums. Everyone in the band changed their last name to Black.

Originally released in 1982, Anna's cosmic coldwave bomb "Systems Breaking Down" is one of the most mysterious singles of the period. Remarkably, it was released on a major label - RCA - yet very little is known about the shadowy Anna.

Despite being recorded nearly 35 years ago, it still sounds strikingly vital. Both sonically relevant and lyrically prescient, it's hard to imagine a more apposite track to soundtrack the dark days we're currently occupying. A masterful study in dread, describing the gentle collapse of all structures, it is set against a backdrop of eerie, synth-heavy electronics.

Produced by 80s disco-pop mavericks Geraint Hughes and Ken Leray, the A-Side contains the epic synth-pop original, all heart-wrenching atmosphere and haunting vocals.

The B-Side wins again, however. The more uptempo 'Dance Version' is a dubbed out dark-disco tour-de-force, with cut-up vocals drifting in and out of a bassline that throbs like Carpenter's best (think Assault on Precinct 13) and a palette of head-nod minimal wave.

Both sought-after mixes have been remastered for vinyl by Simon Francis and are housed in a replica jacket of the maxi original. Outstanding.

3x12"

Extraordinary musical talent returns with a deeply textured third outing on Blu Mar Ten Music.

Having made serious waves with the release of his debut album "Coeur Calme" in 2014 and the incredible 2016 follow up album "Zawadi", Kimyan Law steers his sound in a darker, more introspective direction with the twelve heavily themed set-pieces of his new album, "Yonda".

The album title, "Yonda", homophonically flits between a location in Kimyan Law's native Congo and definitions of something situated at a distance but still visible, foreshadowing the artist's move away from his typical uplifting palette into less playful territory.

While previous work seemed to be a personal exploration of joy-tinged melancholy, "Yonda", feels much more sober and pensive, infected with external events. In conversation with Kimyan Law the artist described one piece ("Krieg") as his "portrait of war", with the music moving through phases of violence, silence, panic, redemption and peace. Ever the allegorist, Kimyan Law relates themes of conflict and war not just to obvious geopolitics but also to his own physical struggles, and even an obsessive battle with the music itself, ("Yonda" has been more than three years in the making). In 2017 the artist wrote, "I've reached a point where I couldn't sleep because it bothered me so much... I have found myself unable to make any music except for Krieg".

An accomplished drummer in his own right, Kimyan Law's intricate rhythmic sensibility is the lifeblood that runs throughout the album, incorporating ever more outlandish sources of percussion recorded from his natural surroundings and filtered through technology.

"Yonda's opener, "Jaardin", is deceptively gentle, with off-kilter rhythms and pianos providing fertile ground for Elyn's delicate singing before the whole piece careens off into what can only be described as orchestral proto-jungle territory. It soon becomes apparent that this placid introduction is misleading, with subsequent tracks fluctuating between pounding tribal beats ("Arboreal Epitone" / "Kin"), chilling orchestration ("Byo" / "Krieg") and rehabilitated jungle forms ("Seven Ant Foley"). A constant mix of light and dark, futuristic yet primitive atmosphere hangs over the album, with waves of luscious synths and deeply musical string arrangements lovingly cloaked over the razor-sharp drum work.

Unusual conceptual themes litter "Yonda"; "Dor Rhythm" is about a Dung Beetle's journey, "Lampion" is about paper lanterns, "Nova" is about plant growth while "Kilele" is a song about peace, featuring Kimyan Law's own vocals in a new language he created himself, conjuring memories of Cocteau Twin's Liz Fraser.

While "Yonda" contains moments of incontestable beauty it can often be a difficult listen, an illustration of an anxious mind yearning for peace. An obsessive and intricate musician, Kimyan Law's use of African percussion, finely honed polyrhythmic patterns and celestial sprinklings of keys melded with slabs of sub-bass power and sheer energy makes for an intoxicating listen. As ever, Kimyan Law has delivered a profoundly serious piece of work that expands the vocabulary of his genre. Despite the darkness saturating the work, a soft light still breaks through the window. It is the east, and Kimyan Law is the sun.

Founded in 2019, Astral Flex is a band of musicians/producers born of an ascendant local culture of producer based, improvised music in Melbourne, Australia. Recorded on the 50th anniversary of humankind's first step on the moon, their debut release "I Can See My House From Here" is presented here in two forms; as a spacey nu-jazz improvisation on Side A, and as a collection of house/electronic remixes on Side B.

Felix Meredith - Trumpet

Angus Gray - Keys

Horatio Luna - Bass

Odyssey Zelno - Drums

Memento catalogue number 046 will be the first release of the label for 2022, a solid way to celebrate its sixteenth birthday.

Dj Rocca is a veteran Italian producer whose first releases came out in the late 90s, ad drum&bass and breakbeat cuts under the moniker Maffia Soundsystem, representing the legendary Italian club withe same name.

His four tracks for Memento are dance floor essentials grooves with a fine arrangement and an exquisite sonic flavour. Blending together retro drums and futuristic synth lines, dj Rocca has achieved to bring on vinyl a touch of freshness with a super organic arrangement.
A massive E.P. with brighter moments and darker excursions, bounded by a deep clubbing awareness.

The debut LP from duo Sunflower Aquarium offers a full spectrum bloom into the electronic ecosystem. Dylan Batelic (Paper-Cuts) and Thomas Martin (Furious Frank) fuse together for a 7 track collection of low-slung immersive deepness, embodying a cycle of life via the ebbs and flows of sonic seasonal evolution. A collaboration of cyber synthesis; written simultaneously Melbourne through Adelaide during late 2021, the result a refined yet spontaneous take on dubbed downtempo through to driving dance deviance.

Beginning with a birth, the stand alone Intro’s saturated glow cultivates a vivid timbre and sun kissed sub-stratosphere. Sprouting melodic constructions continue to blossom throughout the record and growing pains are welcomed with open arms, a mature moodiness brooding delicately through assured drums and fleeting Janet vocal fragments. Broken beat patterns group together and tessellate, the woven sunken bass leaves space for flickering hi hat fissure in SA-124, this groove based atmospheric momentum evolving cohesively track after track. Bright, refined concepts that linger and dissolve in your subconscious for weeks. The B Side preserves the introspective tip but dives deeper, faster; Birds Of Paradise melting organic field recordings into blissful synth voices and ricochet breaks. Bubble (Contagious Mix) feels like a midnight highway dub drive, shooting and gliding fluently; coloured lights iridescently blurred as if it was all a dream... then the closing track, which induces a sharp sense of hypnosis. Traditional techno expressions flirt with your ears, layers of repetition locked and loaded, dwindling into the abyss; conclusion of the cycle.

Introducing Josh Caffe’s second single on Phantasy, ‘Do You Wanna Take Me Home?’ is a sensual yet gritty return, a keen document of just one of the many stories of desire always occurring in the shadows, just beyond the strobes. Produced in collaboration with Quinn Whalley, one half of Paranoid London, ‘Do You Wanna Take Me Home?’ also features a headsy interpretation from Steffi & Virginia, marking their first ever collaborative remix.

Inspired by the rawest shades of early Chicago house music, ‘Do You Wanna Take Me Home?’ finds Caffe in thirsty pursuit of pleasure and recognition, eyes locked on an unidentified but all-too enticing individual in the club. Whereas previous single ‘According To Jacqueline’ turned the heads of dancers with it’s outrageous sexuality, Caffe’s follow-up finds him switched by a different strain of lust, head down in a blend of analogue jack and vocal vulnerability.

Steffi & Virginia have long since established themselves as distinct individual forces in contemporary dance music. Here, reunited in the studio together in the first instance since 2019’s ‘Work A Change’ EP on Ostgut Ton, the duo transplant Caffe’s yearning invitation into a sensuous reverie that touches on the deeper, tripper ends of their house and techno heritage. Driven by creeping organ chords and a powerful shuffling bassline, the result is a sophisticated reimagining primed for the heat of the function.

"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.

Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album with the Infinite Fog release boasting eight further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."

Hailing from downtown Los Angeles, Nuklear Prophet, aka Erik Villalpando, is heavily influenced by West Coast Hip Hop and Electro. Winning multiple DJ awards, including 3x World Records DJ Competition under his DJ Dope-E alias, Villalpando cites his inspiration as coming from some of the most influential Los Angeles DJs of his childhood, including Tony G, DJ Joe Cooley, Julio G, and DJ Aladdin.

With releases on Urban Connections, Abseits Recordings, Diffuse Reality and Bass Agenda Recordings as Nuklear Prophet, the LA-based DJ/producer readies his full-length album 'Prophecies 11:21' for Utrecht-based U-Trax. Formed of an eclectic and energetic collection of gems mined from his overwhelming archive, the album takes in genres such as Electro, Hip Hop, Footwork, Juke, and beyond.
Leading the release is the 808 luminary Egyptian Lover's remix of 'L.A. Rockz', featured on the recently released 'L.A. Rockz' EP, kicking off the LP with his trademark 808-infused sound. A nod to Detroit-flavoured Electro is presented via the dark and brooding tracks 'Nuklear Prophet' and 'Compton', with the lighter atmospherics of the genre covered on 'Solar Winds'. The pounding electro killer '808 Plague' sounds like it came straight from the sewers of The Hague.
'Everlastin' Bass', 'Back Up Off My Tip', and 'The Train Ride To Coconino' offer Footwork inspired bangers, with the latter previously featured on the Legowelt curated U-Trax compilation 'U R Here!' earlier this year.
Moving across a spectrum of tempos, styles, and moods across the album, exemplified on the sluggish trip-hop of 'The Mars Goblin', Nuklear Prophet expertly touches on a range of bass-driven genres, displaying his widespread influences and knack for hard-hitting production throughout.

a 01: L.A. Rockz (Egyptian Lover Remix) feat. Krazy Dee & Nasim

Jesse Bru joins forces with Max Ulis this April for the collaborative ‘Similar Nature’ EP, comprising five original cuts from the duo and pencilled for release on SlothBoogie Records.

West Coast Canada producer and DJ Jesse Bru, as well as being a regular on SlothBoogie Records, has been releasing his twist on contemporary house via the likes of Happiness Therapy, Pulse Msc and Inhale Exhale amongst others in recent years. Here we see him team up with fellow Vancouver-based artist Max Ulis, who also operates as one half of the duo Sabota.

‘Banh Mi’ leads the way and much like the Vietnamese delicacy itself lays down a delectable soul-infused feel filled with dubbed out chords, distorted drums, and vocal chants. ‘Moisture Cult’ follows and retains a similarly dubbed out feel, fusing spiralling stab echoes and pulsating subs with shuffled drums. ‘TBH’ then shifts focus over to a modern electro feel with crunchy 808 drums, snaking arpeggio lines, resonant leads, and elongated subs.

Up next is ‘Semblance’ which twists and turns through choppy breaks, intricately intertwined bass stabs, plucked synths and airy atmospherics before ‘Big Chirp’ rounds out the release on a raw house tip with swinging drums, squelchy acid bass tones and sweeping ethereal pads.

Welcoming Arfa to the Time Is Now family with his debut EP: a tight 5-tracker which sees the emerging producer come into his powers with a fiercely forward-facing take on dark garage, featuring a raucous remix from London's Bakey.

Real Badman EP starts as it means to go on. 'Run It Back' is driven by a fractured syncopated rhythm and a heavy warped bassline which lends it its tune, fusing together the stylistic elements of dark garage and speed garage to offer a fresh take on both genres. Clattering rimshots and a womping bassline compliment 'For The Mandem's luscious pads before being carried onto 'Ain't Ready' which adds a tight two-step rhythm and the chopped-up vocals of an old skool garage MC. Finally, 'Real Badman' sees the EP at its most playful. Staccato piano chords infuse it with an uplifting melody before Time Is Now family member Bakey steps in to deliver his take: a half-time rendition which strips back the higher ends to make way for a focus on the subs. A real stomper.

This album doesn't blurt it out: There is no loud "Ta-Dah!", no exclamation mark. "The ghost that carried us away" flatters in a rather unobtrusive way. However, it has encircled you after the third song at the latest. Fragile hymns of nonchalant casualness, created by the 24-year-old Sindri Már Sigfússon. Guitars, piano, his almost bashful and yet so present voice. "Nature, mortality, love", these are the topics of his debut album. Even the one who listens only briefly, is able to make them out within the sounds. "Do you remember how the things look when you were young."

Reykjavik again. Iceland, the musical heartland. On top of that, there is a violinist with her voice in the clouds: Gudbjörg Hlin Gudmundsdóttir (violine, vocals, harmonica). There further are musicians Sindri shared his hometown and his passion: Orn (guitar, lapsteel) who forms together with Sindri and Gudbjörg the inner triangle of Seabear. Or Eiki, Orvar, Gudni and Dóri. One plays the flugelhorn, the slide-guitar or upright-bass. One belong to the live line-up of Sigur Rós (Eiki). Another is part of the sensational múm (Orvar). Some are stage members of Benni Hemm Hemm's Band - the other Icelandic artist on morr music. Sindri Már Sigfusson has invited them into his small studio, placed them in front of the only microphone, let them think about his musical thoughts. He likes the notion and the feeling of LoFi, Sindri says. Only for the recording of the drums three microphones were used. The result is reminiscent of the reduced stereo recordings of the 1960ies.

Libraries is the most direct promise that pop music is able to make. Tiny and gigantic, unobtrusive and exciting at the same time. A song like a blink into the most beautiful sunrise. A tumbling piano, swinging drums. Melodies, melancholy: "My little bird flew away from me". Or "hands remember", the singing being close to one's ear. "The voice of an old friend", a murmur, two violins. There is later "summer bird diamond", birds twitter to the accords of an old banjo, a glockenspiel. It is almost a radio play, chamber folk. And "seashell" at last, a pocket symphony, arranged around jumping drums. Sufjan Stevens would have done it in a very similar way.

The classic second Big Thief LP originally released in 2017, limited repress at a decent price! Gatefold LP & download code, don’t miss out.

The trails that Brooklyn's Big Thief -- Adrianne Lenker (guitar, vocals), Buck Meek (guitar), Max Oleartchik (bass), and James Krivchenia (drums) -- take us down on Capacity, the band's highly anticipated second record out 6/9 on Saddle Creek, are overgrown with the wilderness of pumping souls. After last year's stunning Masterpiece, Capacity was recorded in a snowy winter nest in upstate New York at Outlier Studio with producer Andrew Sarlo. The album jumps right into lives marked up and nipped in surprisingly swift fashion. They are peopled and unpeopled, spooked and soothed, regenerating back into a state where they can once again be vulnerable. Lenker's songs introduce us to a gallery of multifacted women and deal with the complicated matters of identity — at once dangerous and curious, though never unbelievable. Lenker shows us the gentle side of being ripped open. Tricked into love, done in and then witnessing the second act of pulling oneself back together to prepare for it to all happen again, but this time to a sturdier soul, one who is going to take the punches better than ever before and deal some jabs and roundhouses of their own. The album is thick with raw, un-doctored beauty: most of the songs on Capacity were played for the first time in the studio and were recorded the same day. There is a darker darkness and a lighter light on this album,' Lenker explains. The songs search for a deeper level of self-acceptance, to embrace the world within and without. I think Masterpiece began that process, as a reaction from inside the pain, whereas I feel Capacity examines the pain from the outside.'

The eagerly anticipated second remix package of André Hommen’s More Than This album is set for release in April on his These Eyes imprint. Following the Remixes Pt.1, featuring Robag Wruhme and Jonathan Kaspar, André recruits heavy-weight’s Donato Dozzy, Michael Mayer and Manuel Tur to deliver the remixes of Pantone. Donato Dozzy kicks things off with a tribal-esque remix. A bass-heavy, rolling drum at the heart of the track is met with intricate percussion and bird sounds, which take you on a tropical journey. Michael Mayer’s remix gets to work with a punchy, up-tempo bassline, perfectly partnered with airy synths and soothing pads. Rounding off the release, Manuel Tur’s remix offers darker drums that progressively build, enhanced with finely chopped vocals that echo in and out combined with minimalistic melodies. Italian native Donato Dozzy is widely acclaimed in techno circles across the globe. Displaying a large variation in terms of sound and method, his releases can be found on Tresor, Spectrum Spools and his own Spazio Disponibile. As a co-founder of Kompakt, Michael Mayer works closely with artists on their releases for the label. With three studio albums under his belt and numerous remixes for the likes of Miss Kittin, Pet Shop Boys and Depeche Mode, it’s easy to see why Mayer has such an acclaimed status in the dance world. Manuel Tur was born and raised in Essen, Germany. He released his debut EP at the age of sixteen and has gone on to release on labels such as Freerange and Running Back.

"We're a bunch of outsiders who refused to be kept out," says High Pulp drummer Bobby Granfelt. "We've never had an academic approach to jazz-most of us grew up playing in DIY bands-so it was the rawness and the energy and the absolute freedom of the music that called to us in the first place." Indeed, there's something defiant, something utterly liberating about High Pulp's remarkable ANTI- Records debut, Pursuit of Ends. Drawing on punk rock, shoegaze, hip-hop, and electronic music, the band's brand of experimental jazz is both vintage and futuristic all at once, hinting at times to everything from Miles Davis and Duke Ellington to Aphex Twin and My Bloody Valentine. The songs here balance meticulous composition with visceral spontaneity, and the performances are nothing short of virtuosic, fueled by raw, ecstatic horn runs ducking and weaving their way around thick bass lines and dizzying percussion. While the Seattle-based collective is centered around a crew of six core members, they also make judicious use of a broad network of collaborators on the album, wrangling special guests like sax star Jaleel Shaw (Roy Haynes, Mingus Big Band), harpist Brandee Younger (Ravi Coltrane, The Roots), GRAMMY-nominated trumpet?er Theo Coker, and keyboardist Jacob Mann (Rufus Wainwright, Louis Cole) to help stretch the boundaries of their already-expansive sonic universe. The result is a lush, cinematic collection that's as unpredictable as it is engrossing, an urgent, exhilarating instrumental album that manages to speak to the moment without uttering a single word.

Building on the success of a solo EP released in early 2021, Franco-American jazz pianist Tom Sochas, previously known for his work with London staple Phoenician Blinds, releases his debut album 'The Sorcerer', which introduces Tom's new trio with Greek bassist Thodoris Ziarkas and British drummer Olly Sarkar. The record is very much an ode to story-telling, to ancient myths and tales, which presents itself as a present-day reimagining of a classic character. The album follows a linear story-line through which Tom Sochas blends his love of hard hitting post-bop and his passion for western classical repertoire to create an atmosphere rich in risk and solace.

Peter Brötzmann - alto & tenor saxophone, E flat clarinet, A clarinet, bass clarinet; / Misha Mengelberg - piano, voice / Han Bennink - drums, tenor saxophone, clarinet etc. - Recorded by Jost Gebers on February 26th, 1979 at the Akademie der Künste in Berlin. Produced by Peter Brötzmann and Jost Gebers. - Cover Design by Peter Brötzmann, Photograph by Roberto Masotti. This album was originally released on FMP in 1979 Remastered by Martin Siewert in 2021.

Danish singer-songwriter Soren Munk releases his debut solo album Purr Show on 15 April 2022 via Navarino Records.Soren also travels the world as a cameraman for Channel 4 News, and the album was written and recorded in between trips to cover some of the major global events of recent times, from the war in Mali to the Taliban resurgence in Afghanistan

Soren also co- wrote the much- loved theme tune to the hit animated TV series Charlie and Lola – which is currently trending on TikTok with millions of views.Despite the nature of his news work, the songwriting on Purr Show has a more private focus, dealing in intimate but ambiguous moments of love and loss.

Melodic and intense, the album has elements of Dream Pop, Slowcore and classic songwriting, while the blend of electric guitars, analogue synths and vocals draws on the work of artists that combine restraint and power, such as Neil Young, Low, Big Star and Elliot Smith. Soren worked with Andy Ramsay from Stereolab to record the album, and Jimmie Robertson (Depeche Mode, Arctic Monkeys) during the mixing Soren explains, “I wanted to create slow pop songs. Romantic and melodic but with an edge of strangeness that makes them harder to pin down. That's the music I respond to – things that are assertive but fragile at the same time. Where every element counts.”Soren drew together a strong lineup of musicians and collaborators, including guitarists Garo Nahoulakian (Emiliana Torrini, Gaz Coombes, Piney Gir) and Nick 'Growler' Fowler (Gaz Coombes, Luke Haines); a Danish rhythm section of drummer Nikolaj Bjerre (Lamb) and bassist Andreas Jensen (Dub Pistols); and
pianist Tom Dyson (co-writer of the Charlie and Lola theme). Soren's vocals are often combined on the songs with the soft alto of backing singer Emma Faulkner, creating a sense of something confidential, like snatches of pillow talk.

In November 2020, with the entire world locked down at home, Amir
Bresler was itching to create - He'd spent years onstage, but never
released a full solo album

A friend's invitation brought him to a rural village outside Tel Aviv, and the move lit a spark: Bresler set up shop in the village's local auditorium named 'The House of Arches', and planned single-day sessions with different combinations of Tel Aviv's finest, including keyboardist/ producer Rejoicer, Yemen Blues frontman Ravid
Kahalani, bassist Gilad Abro, pianist Nomok and trumpeter Sefi Zisling. For nearly a week, crews of friends drove north and dug into psychedelic jazz and funk, all built upon Bresler's polyrhythmic beats. They captured spontaneous bursts of energy ' free-form jams in the morning reigned into tight, mesmerizing grooves in the afternoon. Those six compositions ' each recorded live in one day ' make up
House of Arches, Amir Bresler's first solo LP, out on Raw Tapes, with grooves as deep as the Mediterranean where it was conceived.

Much anticipated, the band's first full length release sees the four- piece surf a swirling wave of reverb-drenched organ, garage-rock guitars, hypno-motorik bass and pounding, ritualistic drums. Preferring to work in a village hall deep in the wilds of the east British countryside, JTV recorded live to an old 8 track machine with The Wytches' Kristian Bell.In 2020 the band released their third EP slice of
off- piste cosmic- beach psych before calling in top remixers ncluding UNKLE, Gabe Gurnsey, and James Welsh for a 2021 Record Store Exclusive around a headline UK tour culminating in a triumphant homecoming London show at The Lexington and playing with friends Snapped Ankles. EP III had followed two previous critically acclaimed and quickly sold out EPs supported heavily by key
alternative tastemakers from Marc Riley & Steve Lamacq at BBC 6Music to the likes of So Young, NME, and Clash.

For his first solo album since the early 1990s, Steven Brown,
Tuxedomoon's joint-front man, delivers a hypnotic collection of songs
which draws from his life in Mexico, where he's been living for many
years

'El Hombre Invisible' is centred around his emblematic vocals, melodies and lyrics, set in an intimate environment, with sparse elegant, arrangements for guitar, bass, occasional horns, and his own trademark piano and saxophone playing.The atmosphere and lyrics of the songs reflect some of the experiences and impressions he has gathered including earthquakes, a kidnapping, rubbing shoulders with the Zapatistas in Chiapas, and being confronted with the still omnipresent traces of the Spanish conquest five centuries. Other influences are Steven's years of working as a cultural activist, and his enduring love for the beauty of the natural world and the people of his hometown of Oaxaca. El Hombre Invisible was recorded in Oaxaca with local musicians, including Lila Downs, who duets with him on the song Familias Ricas plus special guests:

Tuxedomoon's Luc van Lieshout on trumpet and Chris Haskett (ex-Rollins Band) on guitar.

FLAPAAaaam!!! the first snare roll leaves no doubt: this is a dub album, reminiscing the pioneers of the genre like King Tubby, Lee "Scratch" Perry and Scientist and of course, it's a tribute to the revolutionary music of Bob Marley and the Wailers. The original record from which these dubs derive - "Bob" by Kapelle So&So feat. Cpt. Yossarian - was recorded in 2020, the year of Bob Marley's 75th birthday. Due to the strict lockdown all the tracks were recorded separately - which perfectly qualifies them for a dub rework. The musicians involved took great care to dig deeply into the original music, absorbing every note of the Wailers' recordings and translating it to their own instrument. But at this point we leave common paths, because what would be Aston Barrett's electric bass turns out to be a tuba and his brother Carly's distinguished bassdrum sound resurges on an old leather suitcase. We are talking of a traditional bavarian folk band (trumpet, cornet, tuba, accordion, guitar, drums) playing Bob Marley's sacred music. Simultaneously seriously sticking to the original score and adding color to the music by the masterful use of their rather uncommon instruments. What sounds like an impossible -almost blasphemous- endeavour actually sounds pretty neat and leads to the next big venture: A dub album paying tribute to the music of Bob Marley and the Wailers. The dub versions naturally lead on the abstract that was introduced by the uncommon orchestration by muting or emphasizing single instruments and sending them into the sonic orbit. The melody itself is almost completely left out. Nevertheless one never loses one's orientation since the defining elements of the songs alternate skillfully, vanishing in clouds of reverb, losing themselves in echo feedbacks and then popping up again, guiding us through the song. Despite being focused mainly on bass and drums you will catch yourself singing along Marley's part more than once thereby proving the profound impact of this divine music on our souls and our common musical knowledge. Bob Marley in Dub is the abstract of an abstract and still manages to transport the heart and soul inherent of the music. With all due respect to the original, Cpt. Yossarian manages to illuminate nuances of the material yet unheard and takes us on a trip through his conception of this otherwise well known material. Following the tradition of the before mentioned mentors of dub music he uses his mixing desk, a couple of studio effects and whatever odd sounding kids toys to present us with his approach to a musical genre that defined so many styles of music that followed.

Volume 20 of Attack the Dancefloor kicks off with what we think will be a future classic – ‘Atlantia’ by Level 42’s Mike Lindup. A stunning mid-tempo boogie cut with great spacey production, excellent lyrics and an extended mix by Dave Lee.

Next up is Lazywax’s synth heavy, 80s soul style rework of the forthcoming Raw Essence ‘Do it Again’, the original being featured on Produced With Love 2.

Flip it over for Dave’s much played take of Jungle’s crossover hit ‘Keep Moving’, which gives the song an authentic bassline driven disco mix. Last up Chicago’s Emmaculate delivers a live instrumentation filled afro disco version of Doug Willis feat Zeke Manyika ‘Dougswana’.

DJ Stingray 313's highly-praised FTNWO LP returns to heed its sonic warnings and powerful messages on his own label, Micron Audio. Originally released on WeMe Records in 2012, FTNWO displays the high-tempo, ever forward production DJ Stingray 313 is known world around for. DJ Stingray 313 says "FTNWO was conceptually centered on conspiracy theory, science, prepper doomsday preparation / survivalism and social commentary," and the foreboding introduction of "Evil Agenda" sonically explains just what lies ahead for the listener. The stark warning leads into DJ Stingray 313's stomping "Dark Arts", beginning the FTNWO experience. "Room Clearance" gets straight to business with raw, gritty and true-to-the-art Detroit electro sounds, along with a heavy, quivering lead to piece the track together.

FTNWO's cyber-explorations continue with "Denial Of Service". "I NEED a computer!" shouts a destitute voice throughout the track, as a hypnotic siren lead weaves through pounding 808s. The uptempo onslaught continues with "Interest Rate" - pads that give a feeling of falling accompany samples lamenting the realities of debt in modern society. These statements in the samples permeating the aptly titled track eerily foretell many present-day situations in 2022, as well as prove testament to DJ Stingray 313's ahead-of-the-curve production techniques. "No Knock" also carries on with arpeggiated square waves and dissonant FM stabs laced intricately over thundering drums. "Outsourced" has a call and response feel, with lush, bright tiny synths talking with each other over a thundering rhythm akin to a drum & bass arrangement.

DJ Stingray 313's sound also stretches to more melodic planes, as "Reverse Engineering" displays. Brooding pads and icy percussion engage in a sonic dance. In the same on "Image Search", cold drums and riffs intertwine the warmer layering pads and leads. Both create two powerful compositions on FTNWO that move unlike any other. "Remote Viewing" only moves lower in tempo compared to the rest of FTNWO, DJ Stingray 313's keen ear to melody still burning brightly. F.T.N.W.O. remains an ageless album - an ominous piece from a near-distant past, back again as part of the Micron Audio catalog to soundtrack the new and uncertain times we live in.

His Master's Voice makes his second appearance on Delsin. Late 2019 the low-profile German producer released his first EP on the label backed with a remix by Vril -- who's taken care of the mastering on this EP again. 'Carry On In My Name' contains yet again four original works of engaging electronics. It's a fresh combination of dusty break-beats and stuttering rhythms boosted by rough, yet emotive melodies. A very well balanced pack melting together all sides of electro, drum & bass and glitchy atmospheres.

Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics, overlooked gems and never heard before material, mined from the last 30+ years of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond. Mint Condition have got their digging hats on to bring you exclusive heat and those rarer than rare jams that have been in your wants list for years.
Dig in....

Eze-Ozo's 'How To Stay Alive' is a bonafide bass 'n' bleeps classic that has topped wants lists for decades. Originally released in 1991, this groundbreaking
2 tracker took the Warehouse Scene by storm and ensured it would never be the same again. 'How to Stay Alive' opens with lush pads and sparse percussion, the heavyweight sub-bass drops , then in come breakbeats that really deliver the funk. There's bubbling synth riffs and stabs aplenty, whilst sublime strings add
to the track's emotive quality. Over on the flip 'Kick The Break In' features more bass-bin rattling sub-bass, but rolls with an infectious acid line. The percussion passages are deftly programmed, as beak beats intertwine with more electro-tinged 4 to the floor rhythms, there's those ever essential bleeps and strings, both sinister and elevating give the track a more melancholic feel.

This very sought after slab of wax is an essential rarity that has achieved a cult status amongst the most discerning DJs and record collectors alike. It has been legitimately re-released with the full involvement of Ezo-Ozo, lovingly remastered by London's Curve Pusher from the original DATs especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition!

Nile Marr is the son of former Smiths guitarist and current solo artist
Johnny Marr and his wife Angela
He was named for one of his father's musical heroes, Chic's Nile Rodgers. Marr
started out as a solo artist, then as a duo with American singer- songwriter
Meredith Sheldon, and then in the trio Man Made, alongside drummer Scott
Griffiths and bassist Callum Rogers, with future tour manager for Blossoms, Dan
Woolfie, as their sound engineer. They released their debut album TV Broke My
Brain in 2016, although its constituent songs were written over a period of eight
years. Marr released a debut solo album in 2020, titled Are You Happy Now? 'Part
Time Girl' was released as its first single in 2019. 'Are You Happy Now?' followed
in June 2020. An EP, Still Hearts, was released on 24 April, 2020. 'Still Hearts' was
its first single. Aside from the title track, there are two other tracks: 'Hush' and
'The Pusher'. Marr added acoustic guitar and backing vocals on 7 Worlds Collide's
2009 album The Sun Came Out. He has also appeared on two of his father's
albums: on 2013"s The Messenger he plays as a soloist, while on 2014"s Playland
he adds backing vocals. Marr has toured extensively with German film score
composer and record producer Hans Zimmer. His influences include John
Martyn, Fugazi and Elliott Smith.

Combining machine-like accuracy with jazz-influenced improvisational sensibilities, Richard Spaven's

drumming has landed him gigs with vastly varied artists such as Flying Lotus, José James and

Mala, as well as recent recordings with Jordan Rakei, Alfa Mist and Sandunes. Unveiling his

forthcoming EP 'Spirit Beats', Spaven's musical talent is further demonstrated beyond his world-class

performance abilities, weaving his incredible technical skills into unique textured productions and powerful

compositions.

First single 'Hoodie Beats' begins amidst instant urgency. Atmospheric in mood, whilst relentless with its

accuracy, sub-bass locking into place with tight drums for a euphoric dance floor drop. Second single

'Nova' sees a continuation of the collaboration between Spaven and Jordan Rakei. Soul and substance

abound. Jordan delivers a delicate performance over the captivating harmony. Spaven says 'this is a

crazy beat to play. If you want to get technical - call it micro timing. If you don't - just call it hip hop'. 'Icarus

'88' brings a MC Barney Artist into the mix. Barney flows effortlessly over the micro shifted groove as

the tale unfolds. - synonymous with previous Spaven records, this ancestral drum beat of 'Spirit Beat'

soundtracks the sonic journey through this spiritual piece the harmony takes form, carrying the listener to

higher ground.

Spaven Will Release "Spirit Beats" Via Fineline Records On 25th of March 2022

PR Handled by Josh Byrne (DeepMatter, First Word, Gondwana...)

Following widespread acclaim for his recent LP ‘Always Inside your Head’, on March 4th / April 8th Matt Cutler AKA Lone releases four re-works of tracks from the album, entitled ‘Natural Aerials’.

On ‘Natural Aerials (Mouth of God Part Two)’, Lone utilises a similar sound palette as album track ‘Mouth Of God’, but rebuilds it into a brand new banger. Energetic, deep, trancey and driven by jungle-schooled breakbeats, with bassbin shuddering low-end, he delves deeper into the vortex. Whereas the album was made predominantly using software, Cutler has since been buying hardware – and this marks the first track made on these newly acquired synths.

Based around a version from Lone’s recent sold-out live show at London’s Village Underground, on ‘Inlove2 (One Thirty Mix)’ he ups the original’s BPM count, with sights set firmly on the dancefloor. Taking cues from the ‘Ambivert Tools’ series, this is a high-grade, proggy, main room acid rush.

On ‘Visited By Astronauts (SHERELLE Had A Groove Remix)’, the fast-rising star takes an ambient interlude from the album, and gives it what she calls “a space age, footwork jungle twist”. Her first released remix, Sherelle continues an impeccable purple patch, with a re-rub that’s both airy and light, but also heavily percussive, full of propulsive forward motion. She states, "it’s a pleasure and honour to remix for Lone, as being a long time fan, it's a beautiful thing to be able to collaborate. I really wanted my first remix to be special and also for someone who I hugely admire, so Matt asking me to be involved in this process wastruly magical!”

‘Echo Paths Ebb And Flow’ takes a downtempo album highlight, strips it back to just the synths, then unfurls them into a blissful ambient work that’s melodic, warm and fuzzy, swaddling the listener in candy floss clouds.

The Vicious Seeds from St. Petersburg have been putting out 45s with their blend of raw cinematic grooves and deep funk instrumentals for a while, here they introduce us to vibraphonist Pavel Chiznik, who adds his midas touch to the group's well seasoned rhythm section. Reminiscent of early CTI recordings and - of course - Roy Ayers, the band delivers their own version of summer jazz dope beats, with sample-friendly drumbreaks, funky basslines, psych guitars and lush vibes. With communication to the group largely cut off or heavily censored, we leave it to the music to do the talking and spread the band's message. "Make records, not war".

The Hill District were a group of working musicians assembled by bassist Walter “Sonny” Hughes who following one afternoon rehearsal session together the very same evening recorded their only ever 45 outing the somewhat elusive and now sort after amongst group harmony collectors “Your Scared Of Falling In Love”. The other group members were Sonny’s brother Richard Hughes (Lead Guitar), Anthony Law (Keyboards), William M. Standard Jr (Piano), Mark Smith (Drums) and Daniel S. Lee Jr (Lead Vocals). The groups name was taken from a grouping of African American neighbourhoods in the city of Pittsburgh P.A. locally referred to as ‘The Hill’. The recording session was held under the direction of record producer and song writer James Richard Calloway (A.K.A) Rich Calloway. Calloway would go on to release “Your Scared Of Falling In Love” on his own ‘C-Way Records’ label featuring a instrumental version on the flipside. Rich Calloway hailed from Uniontown P.A. with Uniontown being known affectionately by the local black community as ‘Oniontown’ the name which Calloway adopted for his publishing company. Unfortunately for the Hill District the final mastering of their song left something be desired (a scenario we’ve now rectified with our release) and as a result local Pittsburgh Disc jockeys refused to plug their song leaving their one and only 45 outing to fade into obscurity with the group members going their own separate ways to continue their careers as session musicians with other ensembles. Producer and lyricist Rich Calloway also continued with his own C-way Productions company later composing both sides of The Cleveland Ohio group ‘The Entertains’1975 outing for Steel Town records “Love Will Turn It Around/Why Couldn’t I Believe Them”. Calloway was no stranger to Cleveland having been earlier employed by Way Out Records owner Lester Johnson to compose the lyrics to Jesse Fisher’s “Your Not Loving A Beginner”, the songs arrangement’s being originally laid down by members of the Way Out group The Soul Notes, William Bell (A.K.A Bill Spoon), John Washington and Ricki Dannison under the working title of “I’ve Been Waiting For Your Love”. Prior to the Hill’s District release Rich Calloway had penned and released a 45 single on another local Pittsburgh artist Richie Merrett. The 1973 outing You’ll Always Have Yesterday Standing By” b/w “I Gave It Up” (C-Way 103). Merritt a professional singer who performed with several groups including The Electron’s on their 1968 outing “Turn On Your Lovelight (Shock 209) recorded his first solo outing on the Nashville Deltron label “Can I Get A Rebate/It’s Never Too Late” which he later released again on his own R.A.M label followed by two early 90’s outings, the modern soul favourite’s “Where Did I Go Wrong” and “You Got Problems”. Richie still performs today doing one off shows in between his solo performances aboard 7 Day Cruise ships travelling between Los Angeles and Sant Cabos, Mexico. “You’ll Always Have Yesterday Standing By” was later produced by Walt Maddox under the shortened title of “Yesterday’s Standing By” on his own group ‘These Gents’.

Therefore Soul Junction brings you two 70’s soul/Lowrider in demanders back to back for your delectation.

Since joining forces as Soul Mass Transit System a couple of years ago, Baby J and D Jason have released a wealth of club-ready 12" singles, many of which explore their love of vintage UK garage. This EP on Vivid is a little more eclectic but no less celebratory or peak-time ready. For proof, check saucer-eyed opener 'Set You Free', where giddy old school piano stabs, stretched-out sub-bass and spinetingling female vocal samples ride a rolling breakbeat, and the revivalist hardcore hedonism of the ludicrously bass-heavy 'Nah Nah Nah'. They doff a cap to their bassline roots on crunchy breakbeat roller 'Phat Booty', before drawing a fine EP toa close with the two-step-goes-Niche heaviness of 'Smoke'.

180g vinyl pressing of Norwegian trumpeter Mathias Eick's 2021 ECM
album 'When We Leave'
Eick's expressive playing, which according to the New York Times radiates a
"pristine yet penetrating tone", is remarkably well complemented in the company
of his gifted supporting players and fellow travelers. Violinist Hakon Aase, one of
the outstanding improvisers of his generation, shadows the leader with lines that
reflect a profound background in folk as well as jazz. Drummers Helge Andeas
Norbakken and Torstein Lofthus mirror their exchanges, as they interact with
purring precision. Near the centre of the action, pianist Andras Ulvo and bass
guitarist Audun Erlien ferry ideas between frontline and rhythm section and make
statements of their own. On several tracks, the delicate swell of Stian
Carstensen's pedal steel guitar adds a dimension of mystery.
'When we leave' was recorded at Oslo's Rainbow Studio in August 2020.
Mathias Eick: trumpet, keyboard, vocals
Hakon Aase: violin, percussion
Andreas Ulvo: piano
Audun Erlien: bass
Torstein Lofthus: drums
Helge Andreas Norbakken: drums, percussion
Stian Carstensen: pedal steel guitar

In March 2020, Tahiti 80 had a plan to start recording their new album in the studio. That plan, of course, along with everything else in the world, got derailed. But the five-piece group was resilient and resourceful. They quickly shifted to a socially distanced plan B that included file swapping and virtual sessions, all refereed by producer Julien Vignon. The result, due for release in March 2022, is the buoyant Here With You, a collection of eleven upbeat songs that unfold like a prescription for a post-pandemic panacea.

“When lockdown in France happened, we said, 'We're not going to stay at home not doing anything,'” says singer-guitarist Xavier Boyer. “And our new plan became a hopeful thing, waking up every morning and seeing what the other guys had worked on. It wasn't always easy, but this new method allowed a freer approach where we could really go all the way with an idea without being influenced by each other’s suggestions. It must've been overwhelming for Julien, who ended up selecting all our arrangements. But he stayed positive all the way through.”

To help stay inspired and focused during their time in isolation, the band created a mood board, with the centerpiece a photo of an early '90s rave in the UK.

Boyer says, “Whenever you see pictures from this era, people seem very innocent. There are no cell phones and everybody is in to what they are experiencing. We kept that picture in mind as a kind of mantra that would help everyone feel connected to this idea of people celebrating, gathering and just having fun. We were missing the connection with people, and thought it would be great if we could create music that would inspire that kind of emotion.”

Indeed, the songs on Here With You are brimming the feeling of communion that we've all been missing over the past two years. It's there in the catchy opener Lost in the Sound, which walks the walk with Chic guitar flicks, urban nightfall sparkles and an inviting chorus (“Your heart grooves like a thousand 808s on the right time”). It's there in the Jackson 5-style syncopated bounce of “Vintage Creem,” the lush, dreamy “Breakfast in L.A.” and the panoramic sweep of “UFO.” And it's there in the first single “Hot,” which matches an irresistible groove with a neon-lit, percolating arrangement that evokes the disco clubs of 1979.

What's remarkable is that though Tahiti 80 displays a clear affection for sounds of the past, from bubble gum to '70s soul, they never trade in mere pastiche. Their take is more a slightly warped and playful carnival mirror mash-up of classic pop styles, given depth through Boyer's hang-gliding, coolly emotive vocals and lyrics that often rub against the euphoric grain of the music.

“I like to think of songs as a three-minute drama,” says Boyer. “This concept of drama definitely adds different levels to our music. There's the melody, the lyrics, then the production that can maybe emphasize or counterbalance the interaction between the yin and yang in a song.

“There's a difference between the very upbeat, sunshine-y soft rock and the lyrics, even on our past albums,” he continues. “Not dark, but a little more melancholy, and also looking for some kind of motivation, talking to yourself. Like with a lot of Motown songs, you get that feeling where you body’s dancing while your mind’s reflecting, reminiscing.”

That alluring blend of happy-sad has been a signature part of the Tahiti 80 sound from the time Boyer and bassist Pedro Resende formed the group in 1993, as students at the University of Rouen. Taking their name from a souvenir t-shirt given to Boyer's father in 1980, the duo recruited guitarist Mederic Gontier in 1994, and with the addition of drummer Sylvain Marchand a year later, the lineup was complete. The foursome released a self-produced and self-financed EP, 20 Minutes, in 1996, which resulted a record deal with French label Atmospheriques in 1998. Their full-length debut Puzzle, produced with Ivy's Andy Chase and mixed by Tore Johansson, went gold and featured the international hit “Heartbeat” that established the band throughout Europe and Asia.

In the years since, Tahiti 80 – with the additions of Raphaël Léger on drums and Hadrien Grange on keys - has released eight acclaimed albums. The band has fused what MOJO called a “glorious entente of old and new technology” (including singles like “Yellow Butterfly,” “1000 Times,” “Sound Museum,” “Crush!” and “Big Day,” which was featured on a FIFA video game soundtrack), while collaborating with such producers and arrangers as Richard Swift, Tony Lash and Richard Anthony Hewson, who famously arranged The Beatles' “Long and Winding Road.” Boyer has also put out two solo albums, the first under the anagram Axe Riverboy and the second under his name. In 2019, the band released Fear of an Acoustic Planet, a stripped-down reimagining of some of their best-loved tracks from the previous twenty years. It served not only as a look back but a reminder of their formidable songwriting skills.

Boyer is definitely a student of the timeless three-minute pop song format pioneered by '60s artists like The Beatles and The Beach Boys. He says, “I see it as kind of a frame for a painting. Most of the songs on this album, I wrote a verse, pre-chorus and chorus. There aren't many middle eights. I wanted it to be very concise. I feel like people have less attention. There's so much music. It's too easy to switch off or skip to another track, so I want to hook the listener. The three-minute song is kind of an easy code to crack, but at the same time you have to figure out a new way to tell the stories that we've heard before.”

And the stories on Here With You are very much about the longing for connection. Of the album title, Boyer says, “In the world right now, that can mean a lot of different things. Like missing our fans, missing going to concerts. In a way, it can be a statement of what happened last year, and a wish of 'I want to be here with you again.' It's our ninth album. We've had some had some very open, conceptual titles like Puzzle, Activity Center. Sometimes they were more specific like Fosbury orWallpaper for the Soul. Here with You, seems more personal, more engaging in terms of relationships. When I suggested that title, everyone in the band said, 'Yeah, that's it.'”

Until Tahiti 80 can resume a full tour schedule, Boyer says he hopes the new record will make that personal connection. “If I see from the point of view as a music fan, sometimes I see albums I like as companions throughout my life. So if we can be a part of people's existence, even if it's a song that reminds them of the time they were driving with the windows open and it was sunny. Or a sad song that resonates with them after a breakup. That's what we're all looking for when we're making music. You do this very personal thing and you want it to touch as many people as possible.”

Tubby did three original dub albums, “Dub From The Roots, “The Roots Of Dub” and the third is “Brass Rockers” with Tommy McCook ’pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named “Shalom Dub” you can call Tubby’s too because he mixed the versions as they were off the forty fives.

King Tubby and Producer Bunny “Striker” Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a “serious joke” (more of which later…) they went on to release the first pressings of this new musical genre namely “Dub Music”. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard…. The Remix / Version cuts to an existing vocal tune.

Osborne “King Tubby” Ruddock was born in Kingston, Jamaican the 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the USA. When he had qualified, Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm and Blues at local weddings and birthday parties His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Striker’s rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

Hope you enjoy the set……

West London's post-punk scene is showcased with an EP built on the raw energy of like-minded collective spirits of the time by the short-lived Hamburger All-Stars.

Primarily revolving around the ideas of Justin Adams, a recent arrival in London with his band, The Syndromes, they soon found themselves recording at Street Level Studios - a basement squat in then run-down Little Venice. With producers Kif-Kif Le Batteur (Here And Now / Planet Gong) and Grant "Showbiz" Cunliffe (Blue Midnight / The Fall), their open-minded techniques allowed Adams to develop his increasing interest in the "studio as instrument" principles he loved from the likes of Brian Eno and Lee Perry.

Not a band as such, but friends and musicians from other bands all contributing including The Impossible Dreamers, Alternative TV, Gong and more, this "All-Stars" collective would later go on to be part of, form or affiliated in The Invaders Of The Heart, The Pretenders, Moodswings and Mutoid Waste.

Appearing on just 2 releases, the now rare split 7" and LP for the aptly named 100 Things To Do / Fuck Off Records, the songs initial vocals soon shift into funk and dub improvisations. One Million Hamburgers, Swinging London Pt 2 and Studded Leather Jacket almost fall away into atmospherics, with guitar, bass, percussion and horns augmented by Dr Rhythm machine, shortwave radio and heavy doses of Space Echo that capture the period's rawness and naivety to perfection.

The Carpi-Chicago connection is back to work. Sometimes it just takes a simple riff of a funk guitar to wreak havoc in Soul People minds and that's exactly what happened here. A riff you hear your mate playing one night while having the very last drink and the next day a project is born. Deep vocals, strings stabs, subtle motherf... Fender Rhodes and driving basslines. A Philly inspired dancer you'll can't wait to throw on your decks.

As many of you will probably know, on the flip side of our releases we are use to place the plain instrumental version of the main side. This time it's different. We have worked on "Open Up" with a different approach. Synths, special effects, a pinch of electro claps all marching on a groovy breakbeat inspired by the great James Gadson and backed by an 808 kick. Listen from the Youtube link below and judge by yourself.